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Charlie Chaplin's The Kid - Movie Review Example

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Summary
The dream sequence at the end of the movie is a unique strategic tools which helps the director to underline life grievances and destiny of the characters. The dream plays a role of the conclusion which ends the movie and sum up its themes. The dream sequence is at the end of the movie because it helps to distinguish the world of reality and fantasy, real and desirable…
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Charlie Chaplins The Kid
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11 September 2008 Charlie Chaplin's "The Kid" The dream sequence at the end of the movie is a unique strategic tools which helps the director to underline life grievances and destiny of the characters. The dream plays a role of the conclusion which ends the movie and sum up its themes. The dream sequence is at the end of the movie because it helps to distinguish the world of reality and fantasy, real and desirable. The dream is used a fairy tale which helps to express ideals and hopes of the main characters. The symbol of a dream is used as an opposition against the slum setting and Charlie's struggles to survive.
The dream adds emotional effect and appeals to emotions and mind of viewers It contrasts with such social horror as survival techniques used by the tramp. . When viewers from a wider spectrum of society appreciate a film that celebrates cross-dressing, this indicates not only that the film has an intrinsic emotional appeal, but that the general audience is ripe for the message of sexual variation and tolerance. The transformation is not at all simple or one-sided, though, and what makes the film emotionally affecting is the very fact that the main character maintains conflicting impulses, creating real tension within a single character. Even when the setting is changed, Chaplin is there under fake pretenses, and the comic elements of the film arise from his mistaken interpretations of social issues. I understand a unique nature of the main character and his universal wisdom based on personal philosophy and life experience. Chaplin carries the film in a number of senses, for it is not just her face, his words, and his gestures that enrapture us; all the dramatic conflict of the plot also takes place within the character.
It is possible to assume that "heaven" is a "better life" and a society free from social uinequalities and hardship. By association with a unique personality, the star will take on the exceptional attributes of honesty, courage, intelligence, passion, religious fervor, purity. In the world of dreams food and drinks are free.
The "Kid" is based on twp traditions: realism and fantasy-making. The film that presents a convincing impersonation preserves a balance to be effective for the mass audience. On the one hand, it portrays reality and hardship faced by the characters, on the other hand it portrays the ideal world free from poverty and hardship. It excites our desire to imagine ourselves the mysterious "other," to venture into a shadowy realm that defies our sense of what reality can be. Whether a film opens up new possibilities or returns to an affirmation of old standards depends in large part on the filmmaker's depiction of poverty-related behavior. A film may play on one or on several of these basic themes simultaneously. An audience more attuned to such hints may view them as intimations of creeping social decay. The alternative to earning an honest living on one's own therefore had to be made so unattractive that the poor would be forced to find work outside rather than submit to the semi-starvation and indignities The world of a dream suggests that the national welfare and security could be safeguarded only if, as circumstances required, legislation.
In sum, the movie "Kid" represents a unique combination of realism and fantasy-making. Chaplin vividly portrays the different between real world and difficulties faced by low class citizens and their dream of a better life where food is free. Amplify "human rights" to "human dignity" and one arrives at the heart of the case the, workingmen and men of letters alike, made against the spirit.
Works Cited
The Kind. (1982). Ch. Chaplin. Black & White, PAL Warner Home Video, 2002. Read More
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