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Subtitle Chaplin !!HOT!!

To give you a sense of what a staggering accomplishment this was, the average number of subtitles in 1925 was, according to Keaton, 240. His parsimoniousness paid off. His 1926 Civil War masterpiece "The General" is still the greatest comedy ever made, and 1925's "Seven Chances," starring Keaton as a bachelor who will inherit $7 million if he gets hitched by 7 p.m. on his 27th birthday, which unfortunately happens to be the day of the will reading.

subtitle Chaplin

Apart from these two scenes (the first no doubt intended to make his feelings about sound unmistakable), the film is silent, except for the original Chaplin musical score. There is a bare minimum of subtitles, too; everything is made perfectly clear by the genius of Chaplin's pantomime.

In red: dubbing markets. Dark blue: subtitles, please. Yellow: voice-over translation. In green: markets using dubs from another language (i.e. Czech for Slovakia, Russian for Belarus). Light blue: Belgium, where the Dutch-speaking north prefers subbing, the French-speaking south subbing.Image: MapChart, reproduced with kind permission

Languages Available in: The download links above has Chaplinsubtitles in Arabic, Danish, Dutch, English, Farsi Persian, Finnish, French, Indonesian, Korean, Romanian, Swedish, Thai, Vietnamese Languages.

Modern Times is an emotional response, based always in comedy, to the circumstances of the times. In the [early] films, the Tramp was knocked around in a pre-war society of underprivileged among the other immigrants and vagabonds and petty miscreants. In Modern Times he is one of the millions coping with poverty, unemployment, strikes and strikebreakers, and the tyranny of the machine (Robinson 458-9). When we first see the Tramp in his last film, 1936's Modern Times, he is, so to speak, "one of the millions:" he is not wearing his Tramp clothes. Charlie is working at the Electro Steel Company, dressed in overalls. If he is still recognizable as the Tramp it is because of his movements. However, these, too, have acquired an uncharacteristic jerkiness. He is dressed in the clothes of the other Electro workers; he moves like the Electro machinery. The opening shot of Modern Times is of a herd of sheep, an image which fades into a stream of workers entering the factory gate. The subtitle, "A story of industry, of individual enterprise--humanity crusading in the pursuit of happiness," sets us up to believe that the Tramp will embody that individual enterprise; the opening scene conveys the enormity of his opponent in that undertaking.

So, what about this, Region FREE, Divisa? It is two dual-layered Blu-ray discs. You can see the image quality below - it, of course, varies but overall looks amazingly strong. I only fear too much digital work since the visuals can be so clean and smooth - losing texture. No - this is a legitimate restoration and looks outstanding in-motion (as good as it does in the below stills.) There is some expected contrast flickering and scratches, a few missed frames - but overall outstanding. We will try to compare to the upcoming Flicker Alley Blu-ray. This Divisa is 1080i at 25fps. Only The Rink andEasy Street look less stellar. You are given the option of either Spanish or Portuguese menus screens (and subtitle options for both.) The subtitle are totally removable. I can't tell you about the score - I thought it was Carl Davis, but I only know there is only one option (different from David Shepard statement) and it is in linear PCM - sounding quite good.

On Blu-ray disc one is an hour 109-minute documentary on Chaplin entitled, on the menu, "Como Chaplin De Convirto en Charlot" and made in 2013. It is, unfortunately only in the French language (with options Spanish or Portuguese subtitles). There is also a 15-minute 1918 silent entitled Su Renovacion ('His Regeneration') and has 'assistance from Charlie Chaplin'. It has, obviously, NOT been restored. There are 5 text screens (in Spanish) and the second Blu-ray Disc includes more shorts; Fatty's New Role (1915) (11:04), Fatty's Spooning Days (1915) (8:50), Mabel and Fatty Viewing the World's Fair (1915) (9:55), The Musical Marvel with Ben Turpin (1917) (11:17), Triple Trouble with Chaplin (1918) (22:59) and Charlie et Sa Belle (1916) (7:07). Like disc one these additional shorts are in desperate need of restoration.

The Opera Quarterly 19.2 (2003) 284-288 // --> [Access article in PDF] Cinema's Illusions, Opera's Allure: The Operatic Impulse on Film David Schroeder New York and London: Continuum, 2002. 384 pages, $35.00 In 1915, the film director and entrepreneur Cecil B. DeMille persuaded Geraldine Farrar to play the lead in his film version of Carmen. Not a single note from this fabled voice would be heard, of course, but the idea was that Farrar could offer a mass audience some sense of how she portrayed the gypsy temptress on the operatic stage. The film received a mixed critical response, apparently receiving more positive notices from critics interested in movies than from opera critics, some of whom commented on the absurdity of the attempt to present opera in a medium not yet capable of reproducing sound. The Farrar version seems to have inspired a prompt parodic response from Charlie Chaplin, and his film (known alternatively as Carmen or A Burlesque on Carmen) can be viewed as a satire either of DeMille's effort or the genre of opera itself. David Schroeder sees Chaplin's film as a satire that anarchically attacks "opera itself, and figures of authority" in general (p. 99). While this may be true, Chaplin's playful satire hardly warrants the vulgar subtitle given to the portion of the book in which it is discussed, "Cinema Gives Opera the Finger." (Such a vulgar gesture might more fairly be imputed to a later film parody of Carmen,Jean-Luc Godard's pretentious porno-trash Prénom: Carmen [First Name: Carmen], which Schroeder discusses later in the book.)

Charles Chaplin. USA, 1936. Original language, Spanish subtitles. 89'. The frantic rhythm of the assembly line causes one of the workers (Chaplin) to go a bit loopy. A series of unfortunate events lands him in jail, from which he soon escapes by chance. Once out, he struggles to survive in a modern industrial society with the help of a homeless girl he meets on the street.

"Dreams and Disaster in the Making of Heaven's Gate" is the subtitle of this funny, bright and twice-shy book, but that, as the citizens of Hollywood like to say, is just "powerful marquee." Steven Bach was head of worldwide production at United Artists, and Final Cut is really a frontline memoir of studio stewardship, a bemused but unbowed recollection of skirmishes on film sets, hand-to-hand combat in the screening room and trench warfare throughout the executive corridors. The book has a huge cast of characters, but no clear winners or losers, and no heroes, including the author himself. Film students take... To continue reading: responsiveAd(className: "subscribe-link",ads: [type: "desktop",size: "142x70",cm: position: "subscribebtn", type: "text",type: "tablet",size: "142x70",cm: position: "subscribebtn", type: "text",// Mobile 300type: "mobile",size: "142x70",config: zone: "219200",site: "28275",size_x: "142", size_y: "70",type: "-1"]); or Log-In

Philippe Lioret (France 2009) 110 min. 35MM. With Vincent Lindon, Firat Ayverdi. French, Kurdish & English with English subtitles.A compassionate immigration drama about the hope of new beginnings and the power of true love, Welcome centers on two couples contending with issues of separation and dislocation. A 17 year-old Kurdish refugee has struggled his way through Europe for 3 months, trying to reunite with his girlfriend, who recently emigrated to England. Stopped by authorities on the French side of the Channel, he meets a swimming instructor in turmoil over his imminent divorce. Their relationship is an extraordinary account of human bonding that won the Ecumenical Jury & Europa Prize at the Berlin International Film Festival.

Jonas Carpignano (Italy/France/US/Germany 2015) 107 min. DCP. With Koudous Seihon, Alassane Sy. Multiple languages with English subtitles.This remarkably timely, eye-opening look at an all-too-real issue charts the death-defying struggle of African migrants as they risk everything to start a new life in Europe. Ayiva (first time actor Koudous Seihon in a revelatory performance) and Abas (Sy) are close friends from Burkina Faso determined to make it to Italy in order to find work and provide for their families back home. But even after surviving the harrowing journey nothing can prepare the two men for the hostility and violence that awaits them.

Aki Kaurismäki (France/Finland 2011) 93 min. 35MM. With André Wilms, Kati Outinen, Blondin Miguel. French with English subtitles.In this warmhearted portrait of the French harbor city that gives the film its name, fate throws young African refugee Idrissa (Miguel) into the path of Marcel Marx (Wilms), a well-spoken bohemian who works as a shoeshiner. With innate optimism and the unwavering support of his community, Marcel stands up to officials doggedly pursuing the boy for deportation. A political fairy tale that exists somewhere between the reality of contemporary France and the classic cinema of Jean-Pierre Melville and Marcel Carné, Le Havre is a charming, deadpan delight.

In Europe, as in the United States, they have been lining up to see Woody Allen's new film ''Zelig.'' One might have feared that this essentially American production would travel poorly, and the thought of dubbed dialogue did indeed make me hesitate before recently buying tickets at a crowded Paris movie house. I need have had no apprehensions. The audience loved every moment of this fleeting masterpiece. The French language, sometimes dubbed, sometimes in the form of subtitles, often mixed with the original English, only made the film seem more wonderfully zany. It reminded the viewer that he was enjoying a work that transcends national boundaries as it does specific cultures. 041b061a72


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