Shortly thereafter, there's a scene in which the Millionaire pours two bottles of champagne down the Tramp's pants. Then there's the boxing match, which transpires later in the film. It's a perfectly timed example of dodging, feinting, weaving, and dodging some more as the hopelessly overmatched Tramp tries to win a purse in the ring. There is a paradoxical aspect to City Lights . Instead, it springs to mind as an example of a spry narrative brought to life by wonderful performances and talented direction.
Dialogue can become a crutch.
Here, the characters must emote their feelings without voice, and it results in some astounding moments. Then, of course, there's the slapstick physical comedy. Rarely does a modern-day motion picture generate laughs using this approach. He's a loner who comes and goes almost like a dream figure or a drunken angel. Without family, friends, or a place to live, he stands outside of our reality, sometimes trying to fit in and sometimes not caring whether or not he does.