City Lights 1930 1931 1932 next previous
City Lights Clippings 208/387
Film Daily, New York, February 9, 1931.
Cohan Theatre, exterior by day, marquee
„Outside The Law,“ oil paintings of exceptional pictorial
interest add to the strength of the prison
wall effect, as illustrated in the display, New York
(...) Photo, Exhibitors Herald, Feb. 5, 1921
& Cohan Theatre, auditorium with stage and
side boxes, New York, undated
& Geo. M. Cohan Theatre, James Cagney „Yankee
Doodle Dandy,“ New York, 1942, poster
& GEO. M. COHAN THEATRE Grace Moore THE DUBARRY,
Playbill Vault, program cover with photo
& Geo. M. Cohan Theatre, Grace Moore (By courtesy
of the Metropolitan Opera Company) in the
operetta „The Dubarry,“ Music by Carl Millöcker, Arranged
by Theo Mackeben, Orchestra under the
direction of Gustave Salzer, New York, Beginning Monday
Evening Dec. 5, 1932, Playbill Vault
& WE HAVE WITH US AGAIN: CHARLIE CHAPLIN
THE PRINCE OF THE MIMES COMES
BACK TO THE SCREEN, funny feet, trick hat, emotional
mustache and all. Reproduced here are scenes
from his new picture, „City Lights.“ In love with a bind flower
girl, according to the scenario, Charlie boxes to make
money for an operation for her eyes. But the pathos of the
love story is not permitted to submerge the comicality
of the movies‘ funniest man; he is still Chaplinesque, unique.
(...) Five photos, Chicago Tribune, Feb. 8, 1938
„I had a grand and glorious time at the opening last night“
Editorial content, „WHAT N. Y. CRITICS SAID
ABOUT ,CITY LIGHTS‘
City Lights
George M. Cohan Theatre
New York City
American – From the beginning the picture is buoyed
with elfin humor of its star ... the show is Chaplin – and
Chaplin is the show. To appreciate the merit of his art and
his vehicle, you must see it for yourself. To detail its
thousand laughs would be unfair. ...
Daily Mirror – There are laughs in this picture.
Sure-fire ones. Charlie‘s deft kid of refined boxing
is one. Charlie‘s delicately vulgar problem as a white wing
is another..
Daily News – Perhaps the most important thing
to say about the new Chaplin offering is that, on
viewing it, you react exactly the way you did to Charlie‘s
films some ten years ago. He‘s still the wholly
ingratiating, wistful, mischievous, mad, intellectual clown.
He‘s spontaneous. He‘s fresh. He‘s – well, he‘s
thoroughly human. He is the clown as Mr. Chaplin portrays
him; not an actor enacting a role. Here the clown
is all-important.
Herald-Tribune – In it Chaplin is so perfect and
his comedy inventions are so distinguished that
even those of us who are enthusiasts for the speechless
manner will realize that its success is due to its
star‘s perfection in the medium. ... City Lights is important
because it is a very brilliant film, a genuinely hilarious
comedy which shows the Great Man of the Cinema in his
happiest and most characteristic moods.
JOURNAL– City Lights is entertaining, and entertainment
is a quality that is not limited to any one medium.
Therefore the absence of dialogue in this production raises no
argument on the subject of speech versus silence. ...
The picture is a series of diverting gags, and Chaplin puts
them over with the consummate artistry that is his.
Post – From the simple story of a tramp who fell in love
with a blind flower girl Charlie Chaplin has woven
a dazzling pattern of comedy and pathos in his latest picture,
City Lights, which had its premiere last night at the
Cohan before an audience that tried hard to hang onto its
reverence even when spasms of laughter made it
choke and turned its collective face blue.
Sun – Old gags may be in it, old slapstick may be its
undercover aim, but Mr. Chaplin comes through it
as the artist, the one indisputable one that the screen has
produced in its brief history. ... what City Lights will
do will be to put Chaplin among the welcoming shades
of immortal comedians.
See for yourself!
Telegram – City Lights, then, is an hilariously funny
picture full of some of the most side-splitting antics
I have ever seen, and touched here and there with moments
of genuine pathos ... none of his pictures is more
typically Chaplinesque than City Lights. I had a grand and
glorious time at the opening last night, and if you can
show me anything on the screen funnier than the prize fight
sequences I should like to know where it can be seen.
Times – It is a film worked out with admirable artistry, and
while Chaplin stoops to conquer, as he has invariably done,
he achieves success. Although City Lights in some sequences
is more respectable than usual, owing to circumstances
in the story, he begins and ends with the same old clothes,
looking, in fact, a trifle more bedraggled in the last scene
than in most others of his comedies. He has the same antics,
the same flip of the heel, the same little cane, mustache,
derby hat and baggy trousers
World – For no other reason than that it is a familiar
Chaplin pattern, City Lights is superb. And for the same
reason, the fact that City Lights is told by pantomime rather
than by spoken dialogue goes practically unnoticed
in witnessing the picture.“
The world premiere of City Lights takes place in Los Angeles
January 30, 1931 at the Los Angeles Theatre.
Los Angeles Theatre, 615 South Broadway (between
6th and 7th Streets), Los Angeles.
City Lights opens in New York February 6, 1931
at the Cohan Theatre.
George M. Cohan Theatre, 1482 Broadway (between
42nd and 43rd Streets), New York.
City Lights closes at the Cohan Theatre in New York
April 30, 1931.
Redaktioneller Inhalt
City Lights 1930 1931 1932 next previous
