Limelight

Charles Chaplin - 1952
Chaplin here follows the same technique as in 'Monsieur Verdoux'; those moves or tracks in, most reminiscient, or rather the greatest similarity, perhaps being with Franju of all people.
The upstairs is created simply with some depth, but the keywords really are the montage that shows us a sign, a street, perfectly into the location. These fast dissolves are really only comparable with similar sequences with Welles, and both are high points of the cinema.
Is this self-indulgent? Chaplin is at once self-justifying, trying to return to his old tramp skills, and reflecting on his inability to do so anymore, both physically and in the use of him doing so. The odd relationship at the centre is indeed gratifying to Chaplin, but false self-abasement would be silly. These late Chaplin films are, ultimately, what happens to the Tramp when that part of the life is over. The sequences with Keaton are stil wonderful, but also very outdated. This isn't one of Chaplin's best, i.e. it isn't one of the greatest films ever, but still quite something.