Most ordinary people fall into a role and a persona in their lives, and tend to not veer very far from it if it provides for them. Perhaps, due to extreme situations, they may find it necessary to reinvent themselves once or twice and rise to the occasion or fall into dissolution.
An artist like Chaplain had to reinvent himself over and over again over four decades, particularly in a medium that was changing every few years. That's probably why he had so many failed marriages with younger woman; he had to feel like a "player" to keep the flow going and fight back the doubt and anxiety (and the terror of becoming irrelevant) that inevitably begins to haunt creative men in their twilight years. Don't underestimate the power of sex magic!
Limelight is a film about those demons, and the immense courage (and yes, the love of a much younger woman, too, doesn't hurt), that is required to triumph over them. Still, everyone knows there is one specter that no man can outrun -- Death. Chaplain masks this existential dimension in layers of sentimental melodrama which you will have to decide for yourself is effective, but I think he does this intentionally to smuggle in some deep and darker themes that filmmakers like Bergman would become famous for continually exploring masterfully.
I found myself going back and forth with Limelight; there are times when the melodrama overpowers the film, and the pedestrian cinematography doesn't help matters. A few times I felt like I was watching the old Abbot and Costello TV show, particularly the apartment scenes. However, Chaplain is such an immense presence you can't help be engaged and encouraged to keep watching because you want so much for his character Calvero to triumph. His co-star, Claire Bloom, is quite effective, too, and she has several "looks" in this film to contrast and mirror the ongoing struggle the old comedian in having internally.
Getting on in years myself, and feeling washed up and without hope and purpose, Calvero's plight and faltering desire to once again command the Limelight was quite cathartic. I was amazed by his final performance with Keaton; when Calvero starts rocking that violin like Eddie Van Halen in his prime, I was in a state of sublime fascination. Here was a true artist giving everything up for his audience, feeling the peak thrill of having the audience at his command once again for a few fleeting moments; a thrill that, tragically, he will pay dearly for.
We can only hope that we, too, can earn such an exalted death as Calvero's. Perhaps that is Chaplain's hidden message in this film; that life is, in the final analysis, about striving for a death that ennobles those you leave behind.
An artist like Chaplain had to reinvent himself over and over again over four decades, particularly in a medium that was changing every few years. That's probably why he had so many failed marriages with younger woman; he had to feel like a "player" to keep the flow going and fight back the doubt and anxiety (and the terror of becoming irrelevant) that inevitably begins to haunt creative men in their twilight years. Don't underestimate the power of sex magic!
Limelight is a film about those demons, and the immense courage (and yes, the love of a much younger woman, too, doesn't hurt), that is required to triumph over them. Still, everyone knows there is one specter that no man can outrun -- Death. Chaplain masks this existential dimension in layers of sentimental melodrama which you will have to decide for yourself is effective, but I think he does this intentionally to smuggle in some deep and darker themes that filmmakers like Bergman would become famous for continually exploring masterfully.
I found myself going back and forth with Limelight; there are times when the melodrama overpowers the film, and the pedestrian cinematography doesn't help matters. A few times I felt like I was watching the old Abbot and Costello TV show, particularly the apartment scenes. However, Chaplain is such an immense presence you can't help be engaged and encouraged to keep watching because you want so much for his character Calvero to triumph. His co-star, Claire Bloom, is quite effective, too, and she has several "looks" in this film to contrast and mirror the ongoing struggle the old comedian in having internally.
Getting on in years myself, and feeling washed up and without hope and purpose, Calvero's plight and faltering desire to once again command the Limelight was quite cathartic. I was amazed by his final performance with Keaton; when Calvero starts rocking that violin like Eddie Van Halen in his prime, I was in a state of sublime fascination. Here was a true artist giving everything up for his audience, feeling the peak thrill of having the audience at his command once again for a few fleeting moments; a thrill that, tragically, he will pay dearly for.
We can only hope that we, too, can earn such an exalted death as Calvero's. Perhaps that is Chaplain's hidden message in this film; that life is, in the final analysis, about striving for a death that ennobles those you leave behind.