Plot
The officials of a city are dedicating a new statue, but when it is unveiled, Chaplin's Tramp is discovered sleeping on it. He is chased off by the crowd. Destitute and homeless he wanders the streets, getting tormented by two newsboys. He happens upon a blind Flower Girl (Virginia Cherrill), and buys a flower. Just when she is about to give him his change, a man gets into a nearby car and drives away, making her think the Tramp has driven off. The Tramp doesn't correct her and slinks away. The Flower Girl returns home to her simple life with her grandmother (Florence Lee).
That evening, the Tramp runs into a drunken millionaire (Harry Myers) who is trying to commit suicide. The Tramp convinces him to live, whereupon the millionaire showers him with gifts. They return to the millionaire's mansion, where the Tramp gets a change of clothes, and then go out on the town, where the Tramp inadvertently causes much havoc. The next morning, they return to the mansion. The Flower Girl walks by, so the Tramp asks the millionaire for money and then buys all her flowers and drives her home in the millionaire's Rolls-Royce. She tells her grandmother about her wealthy suitor. When the Tramp returns to the mansion, the millionaire has sobered up and rudely dismisses him. But later that day, he meets the Tramp again while intoxicated, and invites him back for a wild party. The next morning, having sobered up again and planning to leave for a cruise, the millionaire once more tosses out the Tramp.
Returning to the Flower Girl's apartment, the Tramp spies her being attended by a doctor. He decides to take a job to earn money for her, and becomes a street-sweeper, managing to annoy his new coworker. Meanwhile, the grandmother receives a notice that she and the Flower Girl will be evicted if they cannot pay their back rent, but hides it and goes out to beg. The Tramp visits the Flower Girl on his lunch break, and sees an ad for an operation that cures blindness. He then finds the notice and promises the Girl he will pay it. But he returns to work late and is fired. Dejected, he passes a boxing venue, where a fighter convinces him to spar with him, throw the fight, and they'll split the prize money. But the fighter turns out to be a fugitive from justice and flees, leaving the Tramp to fight a no-nonsense replacement. Despite a valiant effort, the Tramp is thrashed. He meets the drunken millionaire again, who takes him to the mansion and gives him $1000 for the Girl. But two burglars sneak in and clobber the millionaire, and when he comes to, he accuses the Tramp of stealing. The Tramp narrowly escapes the police, delivers the money to the Girl, and promises to return, but he is picked up by the police and thrown in jail.
Several months later, the Little Tramp wanders the streets again, far more ragged than we have seen him before. Searching for the girl, he returns to her original street corner, but she is not there. With her sight restored, the girl has opened up a flower shop with her grandmother. When a rich man comes into the shop, the girl wonders if he is her mysterious benefactor. The Tramp, in ragged clothes and tormented by the same newsboys, suddenly finds himself staring at her through the window. She jokes to her colleague that she has "made a conquest". Seeing a flower that he has retrieved from the gutter falling apart in his hand, the girl kindly offers him a fresh flower from her shop, and a coin. The Tramp begins to leave, then reaches for the flower. The girl takes hold of his hand to place the coin in it and, recognizing the touch of his hand, she realizes who he is. "You?" she says, and he nods, asking, "You can see now?" She replies, "Yes, I can see now," and holds his hand to her heart. The Little Tramp smiles shyly at the girl, clutching the flower to his face, his eyes full of love and hope, as the film ends.
Read more about this topic: City Lights
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)