Charlie Chaplin was one of the greatest actors, writers and directors that ever lived. His meticulous planning, directing and made his films ever lasting and something that withstands the tests of time. His lovable tramp character is one of the most iconic characters and have transcended films.
One of the finest films he made was actually released on this day, January 30, 1931 and that film was City Lights. This film is an underrated classic and highly regarded by most film historians and critics. After many years later and into the next generations and new millennium, does this film still hold up as one of the greatest? Well, in lieu of it’s anniversary, we’ll be going over the story, the acting and the feeling that the film has on the audience. Let’s sit back and get our bowler hat and walking stick and hobble over to our couches as we review City Lights.
The story revolves around the lovable Tramp walking around the town during daytime and evening under the city lights (get it?) and just having all these stories getting connected. Chaplin is walking around town when he meets a blind woman selling flowers. He is smitten by her and has a desire to want to be with her. After he leaves her, later on during the evening, he saves a rich millionaire from trying to kill himself by drowning. The man is drunk and decides to invite Chaplin to come with him to a party and to his house. The main problem is when the millionaire recovers from his drunken stupor, he doesn’t remember the tramp and usually kicks him out of his house.
The rest of the story revolves the Tramp trying to raise money for the blind woman so she can pay for her rent and also get some eye surgery so she can have the ability to see. The whole movie revolves around the Tramp trying to get money through many shenanigans like Chaplin’s famous boxing scene, working at a street cleaner, and getting money from the millionaire. The plot is simple and because it’s a silent movie, the acting has to be top notch just so we can get emotional and laugh and feel something as we gaze onto the big screen.
The acting, especially Chaplin, is right on point. There is a reason he is an acting legend and this is just one of his many examples of showcasing his ability to show much emotion and feeling and comedic chops without saying a single word and just use his body language and his facial abilities. When he is with the blind woman and receiving a flower, you feel how he feels based on the way he is looking at her and how he probably has never been treated so kind by a woman in a long time that you can see how much it means to him. When he saves the millionaire, he takes off the flower that he got from her because it means a lot to him and he doesn’t want to ruin it or lose it. With the silent movie limiting the dialogue to nonexistent, the acting is pantomime.
The blind woman did a great job with her acting ability showcasing her smile and her eyes are so piercing and so innocent that you want to help her and you want the Tramp to help her as well. The millionaire plays the drunken fool well. He is grandiose and over exaggerated. He is that kind of jerk who is nice while drinking but sober, is a crotchety droll, bitter man. All the main characters each have their strong suite and use it to their ability to showcase the story and make it a nice character driven expose on the Tramp and what he does in a movie that takes place over a couple of weeks in a then modern urban city.
Silent movies are different than many modern day movies. While the modern movie gets you amped up or make you happy or sad, they have a bigger production and a dialogue and a cinematography that helps you delve into your psyche to make you feel that way. Silent movies, it is all pantomime. The actors have to showcase their expressions in the face and gestures. They have to feel it all and over extend their ability to give us the chance to get any kind of emotional response. Watching this movie, I felt what the Tramp was feeling. He is so innocent and I wanted him to help the blind woman and I wanted him to succeed and win and get the girl.
With the millionaire, I wanted him to remember the Tramp and accept that he befriended a lonely poor man who walks the street. All of these emotions is what makes this movie special. They were able to touch me and make me root for them without opening their mouths and hearing them and with a camera that many of the times were stagnant and didn’t offer mood setting or any dynamic sets. It used a nice basic set and made something special with this movie because of the actors and what they were able to do with getting their emotions and acting across and reaching the audience.
Overall, this movie is fantastic. It has lasted this long and even though many of Chaplin’s works get more credit like The Great Dictator, Modern Times and The Kid, let’s not forget that this is a great movie that does show us some great comedy with the boxing scene, great emotional responses when the Tramp sees the blind woman at the end of the movie, and the frustration you feel when the millionaire runs into the Tramp at different times intoxicated. The movie hits every chord of your emotions and it is a nice movie to spend time watching alone or with a group of people who value classic movies. The movie was released in 1931, so, it is now 87 years old. Happy birthday City Lights and may you continue to be the beckon and starting point for people to admire classic silent movies.
On July 13, 2025, Indian cinema lost one of its most enduring lights—Kota Srinivasa Rao, a name that has been woven into the very fabric of Telugu cinema and Indian film history for nearly five decades. He was 77.
To speak of Kota garu is to speak of a man who embodied the soul of acting, not merely performance, but lived truth on screen. As a journalist who has spent years documenting the landscape of Indian entertainment, and more importantly, as a lifelong admirer of its emotional and artistic depth, I find it nearly impossible to separate the arc of my love for Telugu cinema from the face, voice, and commanding presence of Kota Srinivasa Rao.
Born on July 10, 1948, in Kankipadu, Andhra Pradesh, Kota Srinivasa Rao was the son of freedom fighter and dramatist Kota Seetha Rama Anjaneyulu. The stage called to him early, long before the silver screen embraced him. His transition from theater to cinema in the late 1970s was seamless, natural, and even. His debut in K. Viswanath’s Pranam Khareedu (1978) may have seemed modest at the time, but in hindsight, it was the quiet ignition of a force that would later dominate the craft of acting across genres and generations.
Kota Garu was never a man of one shade. He could play a corrupt politician one moment and a hapless, loving father the next—with equal gravitas and complete immersion. Who could forget his roles in Gaayam, Shiva, Aha Naa Pellanta, Pratighatana, Money, Anaganaga Oka Roju, Leader, and Tagore? These weren’t just performances; they were living case studies in human contradiction and nuance.
In Aa Naluguru, his portrayal of a morally grey newspaper editor offered a sobering mirror to society. In comedies like Hello Brother, his deadpan wit was so precise that it could make audiences erupt with laughter on a single line delivery. Every filmmaker—from K. Viswanath to Ram Gopal Varma, Krishna Vamsi to Sekhar Kammula—sought him out, not just for his craft, but for his wisdom. Watching him act was never passive; it was an education.
Kota Srinivasa Rao did not rely on grand gestures. He mastered silence, pauses, and subtle shifts of the eye or lip. His voice—a deep, gravelly cadence seasoned with satire and command—could either be a thunderclap or a whisper that echoed.
To those of us in the audience, especially those who grew up in Andhra Pradesh and Telangana, his voice became part of our lives. We knew it like we knew the changing winds before the monsoon. Even when he wasn’t on screen, you could feel his influence in the rhythm of dialogue and the texture of storytelling.
Despite his towering fame, Kota garu remained rooted. His brief but meaningful stint in politics—elected as MLA from Vijayawada East in 1999—reflected his desire to contribute beyond the screen. But he soon returned to his first love: the cinema.
His accolades are many, including the Padma Shri (2015) and multiple Nandi Awards, but what truly set him apart was how loved and respected he was by peers and audiences alike. For young actors and directors, working with Kota garu was a rite of passage.
Jr NTR once said in an interview, “You don’t act with Kota garu. You surrender. And in doing so, you become better without even realizing it.”
As the film industry and fans across India mourn his passing, one thing becomes clear: Kota Srinivasa Rao was not just part of Indian cinema—he was one of its pillars. He leaves behind a legacy that transcends language and time. He proved, over and over again, that you don’t need to be the lead to lead a scene. That character is not just something you play—it’s something you embody.
For those of us who grew up seeing him on VHS tapes, in dusty cinema halls, on cable TV reruns, and later streaming platforms, Kota garu’s presence was a constant. He was a reminder of what cinema was, and what it could be—pure, affecting, transformative.
As I write this not just as a journalist, but as someone whose very identity has been shaped by Indian films, I say: thank you, Kota garu. For the laughter. For the fear. For the wisdom. For the truth. Your performances were never just “roles.” They were lessons in being human.
In Gaayam, you once delivered the haunting line:
“Nijam cheppadam easy kaadu… adhi cheppataniki guts kavali.”
(“Telling the truth is not easy… It takes courage to speak it.”)
You spoke the truth through every role, and we heard you—loud and clear.
Your absence leaves a void, but your art remains. And in that, you are eternal.
Rest in peace, Kota Srinivasa Rao garu. Your voice may have fallen silent, but your cinema will echo forever.
Events
FX’s Alien: Earth Makes Impact at San Diego Comic-Con 2025 With World Premiere, Epic Hall H Panel, and Immersive Activation
Get ready to scream, San Diego.
FX is going full-throttle at San Diego Comic-Con 2025, transporting fans into the spine-chilling world of Alien: Earth — the brand-new television series from visionary creator Noah Hawley (Fargo, Legion), inspired by the legendary sci-fi horror film franchise. Between a can’t-miss world premiere in Hall H and an atmospheric, interactive activation titled “The Wreckage,” this year’s FX slate will leave fans trembling in anticipation ahead of the show’s official premiere on Tuesday, August 12 on FX and Hulu.
👽 Enter the Wreckage: FX’s Alien: Earth Immersive Experience
Located on the Hilton Bayfront Lawn, “The Wreckage” lets fans step foot inside the ominous remains of the USCSS Maginot, a ship torn from deep space and crash-landed on Earth. This thrilling, two-part activation features daytime exploration and an after-dark survival horror mission dubbed Code Red — a terrifying twist perfect for the brave.
🔥 Highlights Include:
Alien: Earth: Code Red – A nighttime horror maze experience you won’t forget
Interactive Prodigy Corp Drop Site – Sign up as an FX Insider and unlock VR exclusives and giveaways
Exclusive Merch & Collabs – Enjoy in-world beverages from Chain, the cult-favorite pop-cuisine creators
Podcast Studio – Live interviews with talent, influencers, and creatives all weekend long
🗓️ Activation Dates & Times:
Date Daytime Hours Code Red Hours
Thu, July 24 11am–4pm 4:30pm–8pm
Fri, July 25 10am–4pm 4:30pm–10pm
Sat, July 26 10am–4pm 4:30pm–10pm
Sun, July 27 11am–3pm —
📍 Location: Hilton Bayfront Lawn, 1 Park Blvd, San Diego, CA 92101
🎟️ Admission is free. Ages 18+. Press can skip the line by RSVPing to madison.welsh@civic-us.com
🎬 Hall H World Premiere: Alien Lands at Comic-Con
The hype doesn’t end on the lawn. On Friday, July 25 from 1:25pm–2:50pm, FX takes over Hall H for the world premiere of Alien: Earth, screening the pilot episode before its global release.
Fans in Hall H will be the first on Earth to witness the terrifying new story, starring Sydney Chandler as a young woman who must lead a squad of soldiers through a world where extraterrestrial nightmares have arrived — and they’re not alone.
Following the screening, creator Noah Hawley, executive producer David W. Zucker, and the cast will participate in a Q&A, diving deep into the making of this bold, horrifying new chapter in the Alien universe.
🧬 About Alien: Earth
When a derelict alien spacecraft crash-lands on Earth, a dark and deadly mystery begins to unravel. As humanity faces the planet’s greatest threat yet, survival may rest in the hands of those least expected. Packed with dread, awe, and action, Alien: Earth builds on decades of cinematic legacy while exploring timely themes and fresh characters.
The series premieres August 12 on FX, and will stream on Hulu (and Hulu on Disney+ for bundle subscribers). Internationally, it will stream on Disney+.
🌌 Stay Connected:
🌐 Visit FXSDCC.com for updates and schedules
📱 Sign up to become an FX Insider: fx.tv/alien-earth-insider
📸 Follow @FXNetworks on socials for behind-the-scenes exclusives
Viral SEO Tags:
Hulu, the go-to streaming destination for adult animation, is back at San Diego Comic-Con 2025! This year, they are bringing Arlen, Texas, from the iconic King of the Hill franchise to life right outside the Convention Center. Guests will step inside Hank Hill’s Backyard for a big ole cookout, complete with BBQ bites served up throughout the day, classic lawn games, themed photo ops, and a cold can of Alamo (water) to beat the heat.
Located next to the Convention Center on the Bayfront’s Parking Lot (Fifth Ave Landing – Lot A1) – 600 Convention Way, San Diego, CA 92101 – Hank Hill’s Backyard will allow fans to experience what life is like in Arlen, Texas. Starting July 24 at 11:30 am – 7 pm, July 25-26 from 9:30 am-7 pm daily, and July 27 from 9:30 am–5 pm, Hank Hill’s Backyard will transport fans into the world of Arlen, where they can interact with legendary moments from the show.
The Life and Times of Kota Srinivasa Rao: A Pillar of Indian Cinema Bids Farewell
FX’s Alien: Earth Makes Impact at San Diego Comic-Con 2025 With World Premiere, Epic Hall H Panel, and Immersive Activation
Hank Hill’s Backyard Takes Over SDCC 2025 – Propane and All
Comic-Con® International Welcomes George Lucas,Guillermo del Toro, and Doug Chiang for a Conversation Moderated by Queen Latifah
Dan Aykroyd + Blues Brothers Graphic Novel Creative Team Appearing At San Diego Comic Con For Panel On Thursday, July 24
Why Reboots (Sometimes) Don’t Work
Anime Review: The Beginning After the End
Top 5 Romantic Movie Couples Who Are Not So Rommantic
Rana Naidu (Netflix) – Complete Series Review
Crunchyroll Launches First-Ever Two-Day Anime Music Festival at San Diego Comic-Con 2025
WonderCon 2025: A Faith Full Dickens Tale & The King of Kings Animated Movie
WonderCon 2025: Fade to Black Interviews
Comic-Con 2024: Arthur C Clarke’s Venus Prime TV series
Comic-Con 2024: Max Collins’s TRUE NOIR
Comic-Con 2024: Will Wight’s Cradle
