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.
Review By: Raja V. Deva
Genre: Political Action Thriller
Runtime: Approximately 165 minutes
Director: S. Shankar
Writer: Story by Karthik Subbaraj; Screenplay by S. Shankar, Vivek, and Venkatesan
Cast: Ram Charan, Kiara Advani, Anjali, S. J. Suryah, Srikanth, Sunil, Jayaram, Samuthirakani
Music Composer: Thaman S
“Game Changer” marks S. Shankar’s foray into Telugu cinema with a political action thriller designed to be grand in scale and ambition. The film features Ram Charan in dual roles: Appanna, a shrewd political leader, and his son, Ram Nandan, an upright IAS officer determined to clean up a corrupt system. However, despite the actor’s valiant efforts, the story doesn’t fully work with Ram Charan in the lead.
Originally conceptualized for another actor, the film’s narrative feels like it was tailored for someone with real-life political aspirations. While Ram Charan brings his star power and intensity to the roles, the weighty political undertones and the narrative’s structure don’t align well with his on-screen persona. His dual performance showcases his range, but the emotional depth and conviction required to anchor such a politically charged film seem misaligned with his strengths.
The supporting cast provides decent performances, with Kiara Advani and Anjali making their presence felt, though their characters lack depth. S. J. Suryah stands out as a formidable antagonist, adding gravitas to the film. Thaman S’s background score enhances the mood, though the songs occasionally disrupt the flow of the narrative.
Visually, the film boasts stunning production values and large-scale set pieces, typical of Shankar’s style. However, even the grandeur and intricate action sequences can’t mask the disjointed storytelling. The screenplay struggles to balance its political commentary with its action-oriented approach, leaving neither element fully realized.
Ultimately, “Game Changer” feels like a project that missed its mark. The story might resonate with audiences interested in political drama or those with a penchant for larger-than-life narratives, but it doesn’t do justice to Ram Charan’s abilities or his established image.
Rating: 6/10
For fans of Ram Charan or political thrillers, it might be worth a watch, but “Game Changer” feels like an opportunity lost to deliver a truly compelling cinematic experience.
No Spoilers
“Apathy is the solution. I mean, it’s easier to lose yourself in drugs than it is to cope with life. It’s easier to steal what you want than it is to earn it. It’s easier to beat a child than it is to raise it. Hell, love costs: it takes effort and work.”
It may come as a shock to many but director David Fincher’s seminal thriller: Seven turns 30 years old this year. Released in 1995 (the math is math-ing) it was the first film Fincher and 90’s heart throb Brad Pitt worked together. It was the film that proved Fincher’s directorial prowess as well as proving Pitt wasn’t just a pretty face but an actor to be lauded. Seven’s neo-noir style was fresh; wonderfully eerie, and befitting the gruesome tone.
I was way too young to see the debut of Seven and admittedly I knew most of the twists through cultural osmosis but I still wanted to see this juggernaut of a murder mystery on the big screen for its anniversary cinematic re-release.
Initially Denzel Washington was tapped to star. Fincher recently admitted that Washington did not like the script which had to be rewritten 10 or 11 times to suit the actor (Fincher, 2025). Despite these reviews Washington ultimately turned down the role but Washington’s loss was Morgan Freeman’s (and our!) gain.
Freeman plays Detective Lt William Somerset who is 7 days away from retirement. Unsurprisingly the number 7 also plays a big role in the film. For his last assignment Somerset is given the case of killer who is artfully killing their victims using the guise of the 7 (see!) Deadly Sins.
Beginning with the sin of ‘Gluttony’ the killer forced a morbidly obese man to literally eat himself to death at gunpoint. This is where we enter the movie and it only gets more disturbing from here!
Brad Pitt’s character; Detective David Mills is new to this unnamed gloomy city accompanied by his wife (Gwyneth Paltrow). The city seems to be its own biosphere where it rains constantly. Not only does this add a sense of foreboding but it could also be a nod to the biblical flood, punishing the characters for their supposed sins. Seven has many religious undertones.
Detective Mills is assigned to the case with Somerset whom he has to remind that despite his youthful appearance, Mills is no ‘rookie’ and has worked on many disturbing cases.
As the sins are counted off the killers methods become more and more sadistic. This leads to a climax that even today, thirty years later, is still shocking and widely quoted.
Seven is a classic due to its many components working together seamlessly. The artful direction, the moody set design, and the atmospheric score composed by Howard Shore, who also scored The Silence of the Lambs. It is amazing to experience the score with cinematic surround sound, particularly the groundbreaking opening credits punctuated by Nine Inch Nails song ‘Closer’.
The two leads are predictably fantastic but the relatively small cast all give memorable performance. R. Lee Ermey (Full Metal Jacket) brings his authoritative charm to the grizzled police captain. John C McGinley (Platoon) gives his usual energetic performance heading the movies SWAT team as ‘California’ (unclear whether this is a code name or his actual name). Interestingly Fincher sourced McGinley’s talent for adlibbing as most of his scenes are adlibbed.
In one of the most iconic scenes in the film and arguably one of the most famous jump scares in cinematic history. The actors (including Freeman, McGinley, and Pitt) were not told to expect this particular scare. So the reactions of the characters are the genuine reactions of the actors. See if you can spot which scene!
Some may be tempted to dismiss Seven as just another popcorn thriller but, for me, there are several lines that are so well written they stay with you. In one scene an unnamed doctor is speaking about the death of a character; “He’s experienced about as much pain and suffering as anyone I’ve encountered, give or take, and he still has hell to look forward to.” This line is powerful on many levels as it is said with the casualness and dark humour of a doctor who is numbed to treating the evils of this world. It perfectly encapsulates the dark inevitability of the film.
It is clear why Seven is considered a classic. For any millennials (such as myself) or Gen Z’s or indeed anyone who wants to relive the creeping tension, I highly recommend catching it on the big screen!
Directed by: Kishore Kumar Pardasani
Written by: Siva
Studio: North Star Entertainment
Runtime: 149 minutes
Genre: Action, Drama
Cast:
Pawan Kalyan as Katamarayudu
Shruti Haasan as Avanthika
Siva Balaji as Katamarayudu’s younger brother
Ajay, Kamal Kamaraju, Chaitanya Krishna in supporting roles
Katamarayudu is a Telugu-language remake of the Tamil film Veeram. This movie blends family drama with high-octane action sequences, delivering a narrative that is quintessentially rooted in southern Indian cinema’s flair for heroism and larger-than-life characters.
The story revolves around Katamarayudu, a righteous and fiercely protective elder brother who has dedicated his life to looking after his younger siblings. Known for his aversion to marriage, his life takes a turn when Avanthika, a poised and graceful woman, enters his life. The movie skillfully combines lighthearted romance, brotherly camaraderie, and intense action sequences, creating an engaging watch for the masses.
Kishore Kumar Pardasani delivers a visually grand spectacle while staying true to the essence of its Tamil original. While the screenplay lacks novelty, it compensates with fast-paced action and emotional beats. The dialogues, although simple, hit the right chords when it comes to showcasing family bonds and love.
Pawan Kalyan is the heart of the film. His screen presence and charismatic portrayal of Katamarayudu dominate every frame. Shruti Haasan offers a refreshing on-screen presence, and her chemistry with Pawan Kalyan adds charm to the narrative. The supporting cast, especially the actors playing the brothers, do justice to their roles, adding depth to the storyline.
The film boasts meticulously choreographed fight scenes, which are a visual treat for action lovers. Anup Rubens’ background score and songs elevate the emotional and action-packed moments. His mass appeal and command over action and emotion anchor the movie effectively.
The film adheres to a conventional template, leaving little room for surprises. At 149 minutes, the film feels stretched, especially in the second half.
Katamarayudu is a feast for fans of Pawan Kalyan and action-packed family dramas. It carries the essence of mass entertainment but doesn’t break new ground. While it caters to the sensibilities of Telugu cinema audiences, others might find its predictability a drawback.
Rating: 8/10 Fans of Pawan Kalyan and high-energy action films will undoubtedly enjoy this one, but those looking for a novel story might find it wanting.
Review: Game Changer
Seven Re-Review
Movie Review: Katamarayudu
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