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Of course, he's an unsuccessful cog, and his fellow workers bear the brunt of his inefficiency.

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These modest audio elements show that Chaplin, while sincerely detesting the talkies, was willing to embrace the possibilities of sound. City Lights is a wordless comedy which uses synchronized music (by Chaplin himself), a brief parody of the squawking voices of early Vitaphone recording, and the occasional sound-related gag as when Chaplin swallows a whistle and acquires a musical hiccup.While Chaplin was never an alcoholic, his father died from drink.The tramp character owes its origins to Chaplin's personal experience of hunger and poverty.As a child, Chaplin nearly choked to death on a penny while trying to copy his elder brother's magic trick.

The whistle-swallowing in City Lights is one echo of this, the force-feeding of metal nuts to the hero in Modern Times by a diabolical lunch-serving contraption is another, and in The Great Dictator Charlie is compelled to gulp down a whole pocketful of pennies.The old line that if you have a hammer, every problem begins to look like a nail is here transformed and incarnated. As Walter Kerr says in his great book The Silent Clowns, comparing Chaplin to Pan is generally too easy and somewhat misleading, but in this case it really does fit.He's a satyr, and the sexual component of the tramp's character, which had been subdued since the early roughhouse shorts, is let loose: two women appear wearing hexagonal buttons on their bodies and the nut-fixated nut has them in his sights.At any rate, after alcoholism and poverty, in Modern Times Chaplin, for the first time, really starts to face, and comically exploit, the third phantom haunting him: his mother's mental illness.Chaplin was high-strung, and his brother and business manager Sydney lived in daily expectation that Charlie would crack up for good (and enable Syd to convert the studio into a supermarket, as was his dream). In Modern Times, Chaplin begins the film as a cog in a machine, something his character had never been before.By the time he made The Great Dictator, Chaplin had yielded to the inevitable, but still sought to carve out pieces of the film which were purely wordless, like the dictator's dance with a globe of the world, or a breathtaking musical shaving routine.