Chaplin’s last silent has the high refinement and simplicity of a final statement—a sense of farewell that marked many American films in the watershed year of 1928. Though it seems less ambitious than The Gold Rush, it’s ultimately more satisfying, with its perfectly pointed pathos, its sustained bits fully integrated into the dramatic development, and its poetic imagery. When the wagons finally pull away, the tramp is left to contemplate the circular imprint the ring has left in the sand—an image of transitional eternity as moving as the last shot of Limelight. With Allan Garcia and Merna Kennedy.