Limelight (1952)

(Criterion Streaming, August 2019) On one hand, Limelight is a self-indulgent, overlong, with wild tonal shifts; on the other, it’s a capstone in Charlie Chaplin’s career, a clever late-career metafictional commentary on himself and a return to the kind of filmmaking that made him famous. It doesn’t start on the most comedic of notes, as an alcoholic has-been comedian (with a tramp persona!) returns home and saves a young dancer from a suicide attempt. But this opening sequence lays the groundwork for the film’s later acts, as he helps her back on her feet, and she helps him regain the confidence necessary for one last great performance. The ending is tragic, as can be seen well in advance. Plot-wise, there isn’t much here to require more than 90 minutes … alas, Limelight is only too happy to interrupt the action to flash back to the protagonist’s stage heydays, to interrupt the action by bon mots summarizing Chaplin’s life philosophy, or to take detours not strictly necessary for the film to keep its effectiveness. It’s very self-indulgent and yet it feels as if it should be: by featuring himself as a visibly older comedian past his prime, Chaplin struck close to his own place in early-1950s Hollywood, and the film does act both as homage (not least by pairing Chaplin with Buster Keaton for a comic number) and a conclusion. Chaplin wouldn’t contribute to many other movies later on, making Limelight his swan song. As such, it’s worth a look and some indulgence from viewers in indulging an old master for one last victory lap.