Charles Chaplin Movies
The first great screen comedian, Charles Chaplin was also one of the most gifted directors in history, in addition to being a formidable talent as a writer and composer. The son of music hall performers from England, he began working on the stage at age five. He was a popular child dancer and got work on the London stage, eventually moving up to acting roles. It was while touring America in 1912 that Chaplin was spotted by Mack Sennett, the head of Keystone Studios, and he was signed to them a year later. After a disappointing, relatively non-descript debut, Chaplin began evolving the persona that would emerge as his most famous screen portrayal, The Little Tramp, and after his first 11 movies, Chaplin began to manifest a desire to direct. By his 13th film, he had shifted into the director's chair, and also emerged as a writer.Chaplin's 35 movies at Keystone established him as a major film comedian and afforded him the chance to adapt his stage routines to the screen. He next moved on to Essanay Studios, where he had virtually complete creative freedom, and The Little Tramp became an established big-screen star. In 1916, Chaplin went to Mutual, earning an astronomical 10,000 dollars per week under a contract that gave him absolute control of his films -- the Mutual titles, most notably The Immigrant and Easy Street, are still counted among the greatest comedies ever made. These modestly proportioned two-reelers were followed by Chaplin's move to First National Studios, where he made lengthier, more ambitious, but fewer films, including the comedy The Kid, which was the second highest grossing silent film after D.W. Griffith's The Birth of a Nation, and made an overnight sensation of his co-star, Jackie Coogan. By this time, Chaplin had become an international celebrity of a status that modern audiences can only imagine because he achieved his success through comedy. With three other screen giants, Mary Pickford, Douglas Fairbanks Sr., and D.W. Griffith, he founded United Artists, the first modern production and distribution company, and achieved further renown as a director with A Woman of Paris two years later. In 1925, he made what is generally considered his magnum opus, The Gold Rush.
Chaplin's success continued into the sound era, although he resisted using sound until Modern Times in 1936. He had his first failure in 1940 with the anti-Hitler political satire The Great Dictator at about the same time that his personal life -- he had been involved in several awkward problems with various women, including a paternity suit filed against him by aspiring actress Joan Barry -- began to catch up with him. Chaplin's career during the immediate post-World War II period was marred by continuing problems, as his pacifism and alleged anti-American views led to investigations. He also made the black comedy Monsieur Verdoux, which failed at the box office. It was followed, however, by the best of his sound comedies, Limelight, which, because of his legal difficulties, didn't open in Los Angeles until two decades later -- when its score, written by Chaplin, received an Oscar. A King in New York, in 1957, and The Countess From Hong Kong, made nine years later, closed out his career on a lackluster note.
After D.W. Griffith, Chaplin was the most important filmmaker of the silent film era. Through his clear understanding of film and its capabilities, and his constant experimentation -- he frequently ran though hundreds of takes to get just the right shot and effect he wanted -- he set most of the rules for screen comedy that are still being followed, and his onscreen image remains one of the most familiar. ~ Bruce Eder, All Movie Guide
- 1918
In this comedy documentary begun during the construction of his new studios in 1917, and continued after its completion, Charlie Chaplin gives us a look, however staged, inside the Chaplin workplace. Although never completed by Chaplin, who wanted to use it to help fulfill his First National contract, it was reconstructed in 1982 by scholars Kevin Brownlow and David Gill from material they found at the Chaplin estate. They got the editing continuity from a page of titles they found in the Chaplin archive. Some of the footage was used in 1959 by Chaplin as a prologue to his compilation, The Chaplin Revue, and used again for the documentary on Chaplin, The Gentleman Tramp. The film begins with a stop-action sequence of the studio being built. Then it shows a dapper, 29-year-old Chaplin arriving at work, greeting his staff, reading his fan mail. His butler is instructed to bring his famous costume, which he retrieves from the studio vault. Chaplin is seen rehearsing his cast and coaching a starlet through a screen test. Viewers are taken into the Chaplin Studio laboratory where they're shown how film is developed and processed and see Chaplin at work in the editing room. Then Chaplin is seen dressing in his Tramp costume and applying the famous mustache. A few scenes from an unreleased Mutual follow, showing Chaplin,Eric Campbell and Albert Austin on the golf links. Ideas from these sequences were later used for Chaplin's The Idle Class. This would be Chaplin's final pairing with Campbell who died in an auto accident soon after filming. At the end of the work day Chaplin bids viewers 'Au Revoir." How To Make Movies offers a rare glimpse inside Chaplin's studio, and although he was always guarded about revealing his working methods, it gives viewers the feeling of those exciting, creative days. ~ Phil Posner, All Movie Guide
- 1918
During the 1910s, comic actor and filmmaker Charles Chaplin was without peer. He was so popular that pirated versions of his pictures were frequently pieced together and sold to exhibitors. This five-reel mish-mosh of Chaplin, however, wasn't pirated -- it was made up of several of his Essanay shorts, including His New Job, The Tramp, In the Park, Shanghaied, The Champion, and others, and Essanay itself released it. Chaplin had gone over to Mutual almost two years before the release of this compilation, but Essanay was still clearly making money from his days with them. These bits and pieces are strung together by a British editor to make a rather loose story -- pretty simple task, since Chaplin consistently used the same group of players. Edna Purviance, as always, is the girl. Charlie saves her from a hobo and her father hires him to work on his farm. When he finds out Edna has a sweetheart, Charlie goes away and becomes an actor. He can't forget Edna, however, and his persistence finally wins her. Her father, however, disapproves. Charlie becomes the janitor of a bank, meets up with his girl once again, and saves her from thieves. Finally, her father gives his consent. ~ Janiss Garza, All Movie Guide
- 1918
Triple Trouble, although commonly acknowledged in Chaplin filmographies, was not really a Charlie Chaplin film in that it was released without his permission, and much to his annoyance by Essanay three years after he left them. Its jumbled story is cobbled together out of pieces of Police, Work and the unfinished feature, Life, which Essanay insisted Chaplin abandon in favor of making more quickly produced two-reelers. It also contains new footage shot in 1918 by Leo White in order to provide the weak plot on which to hang the Chaplin footage. Chaplin is a janitor in the home of Colonel Nutt, the inventor of a new secret weapon, the wireless bomb. Edna Purviance is the cleaning woman in the same household and Charlie incurs her anger by spilling garbage on her clean floor and getting her into trouble with their boss, the cook Billy Armstrong. A group of foreign diplomats led by White plan to get the formula from the Professor by either bribe or theft. When he is ejected from the house by the butler at the Colonel's request, Leo hires a thief to do the dirty work, but is overheard by a cop.
Meanwhile, in a scene excised from Life and Police, Charlie goes to a flop house for the night where he encounters some rather odd characters, including a drunk who won't stop singing until Charlie smashes him with a bottle, but not before preparing his bed and pillow and tucking him in afterward. A riot starts at the flophouse when Charlie robs a pickpocket who has been robbing the sleepers. Chaplin uses a gag he was to repeat in The Gold Rush, that of laying covered in bed, wrong way round, with hands in shoes. The thief, having co-opted Charlie, arrives at the Nutt house and tries to steal the formula, but the cops are there and a melee ensues in which the thief fires his gun into the Colonel's invention and the house, the diplomats and everyone else explodes. Charlie is seen emerging from the oven door -- just as he had at the end of Work. ~ Phil Posner, All Movie Guide
Meanwhile, in a scene excised from Life and Police, Charlie goes to a flop house for the night where he encounters some rather odd characters, including a drunk who won't stop singing until Charlie smashes him with a bottle, but not before preparing his bed and pillow and tucking him in afterward. A riot starts at the flophouse when Charlie robs a pickpocket who has been robbing the sleepers. Chaplin uses a gag he was to repeat in The Gold Rush, that of laying covered in bed, wrong way round, with hands in shoes. The thief, having co-opted Charlie, arrives at the Nutt house and tries to steal the formula, but the cops are there and a melee ensues in which the thief fires his gun into the Colonel's invention and the house, the diplomats and everyone else explodes. Charlie is seen emerging from the oven door -- just as he had at the end of Work. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1917
Charles Chaplin's next-to-last Mutual Studios 2-reeler is as funny as his other 11 Mutual entries, though there's a stronger inner lining of poignancy. En route by boat from an unnamed country, immigrant Chaplin tries to make the best of the nausea-inducing rough seas. He then befriends fellow emigree Edna Purviance and her ailing mother. Months pass: Chaplin meets Purviance in a restaurant. Quickly ascertaining that her mother has died, Chaplin appoints himself Purviance's protector. He even promises to pay for the meal; after all, he's just found a silver dollar on the street. But when the dollar lands on the ground with a leadlike thud, Chaplin realizes he's as broke as ever--and now he's at the mercy of blood-in-his-eye headwaiter Eric Campbell. But fortune smiles on Chaplin and Purviance when a famous artist decides to hire the girl as his model. Chaplin negotiates an excellent contract for his bride-to-be, and everything comes up roses. ~ Hal Erickson, All Movie Guide
- Starring:
- Charles Chaplin, Eric Campbell, (more)
- 1917
Arguably the best of Charlie Chaplin's 12 Lone Star/Mutual comedies, Easy Street gives us a look at the environment in which Chaplin grew up, the slums of South London. Indeed the title of the film is likely a reference to the street where Chaplin was born, East Street in Walworth. Charlie begins this film as he seldom does, as a truly down-and-out derelict, huddled sleeping at the steps of the Hope Mission. The sounds of a service in progress draws him wearily inside. After the sermon, he is entranced by the beautiful mission worker and organist, Edna Purviance and stays after the service. Inspired by their ministrations he vows to reform, returning the collection box he has slipped into his capacious pants. Out on Easy Street a gang is pummeling members of the police department, removing their uniforms for the coins in their pockets. Toughest of all is the Bully, Eric Campbell, who menaces the other toughs, taking the spoils for himself. Charlie, passing the Police Station sees the recruitment sign outside and eventually builds up his resolve sufficiently to apply. His beat is Easy Street. He encounters the Bully who threatens him and is impervious to the blows that Charlie delivers with his nightstick. In a display of his great strength, the bully bends a gas streetlamp in two, whereupon Charlie leaps on the Bully's back, covering his head with the lamp and turns on the gas. (Chaplin was injured during the filming of this scene; the lamp hit him across the bridge of the nose, holding up production for several days).
As the Bully slumps to the ground, Charlie takes his pulse and decides to give him one more shot of gas for good measure. The squad is called to retrieve the unconscious Bully and Charlie is, for the moment, cock-of-the-walk, frightening away the other street toughs by simply spinning around to face them. His work also entails charity, as he helps a woman, (who turns out to be the Bully's wife) who has stolen food from a street vendor by stealing more food for her. Edna happens by and helps Charlie get her upstairs to her tenement flat. He's rewarded for his efforts by her ingratitude, nearly dropping a flower pot on his head. Edna takes Charlie across the way to another apartment where a couple have a large brood of children whom Charlie helps to feed by scattering bread crumbs among them as if he were feeding chickens. Meanwhile, the Bully awakens at the Police Station and despite multiple blows from the collective nightsticks of the cops, he escapes and returns to Easy Street. His fight with his wife draws Charlie from across the street and a chase begins, the Bully seeking revenge for his earlier capture. Charlie drops a stove on the Bully from a second-story window, knocking him out, but the street toughs capture Edna and toss her down some steps into a subterranean speakeasy. She is threatened there by a dope addict who injects himself with cocaine. Exiting the Bully's flat Charlie is mugged by the gang and himself tossed down into the cellar. Landing accidentally on the addict's upturned needle, Charlie becomes supercharged, defeating the junkie and all the denizens of the cellar, rescuing Edna. Peace is restored to Easy Street and a new mission is in evidence. The Bully and his wife, dressed in their finest, make their way to the services, under Charlie's approving eye. Edna approaches and Charlie greets her joyously and the pair stroll arm in arm towards the welcoming minister and missionary of The New Mission. ~ Phil Posner, All Movie Guide
As the Bully slumps to the ground, Charlie takes his pulse and decides to give him one more shot of gas for good measure. The squad is called to retrieve the unconscious Bully and Charlie is, for the moment, cock-of-the-walk, frightening away the other street toughs by simply spinning around to face them. His work also entails charity, as he helps a woman, (who turns out to be the Bully's wife) who has stolen food from a street vendor by stealing more food for her. Edna happens by and helps Charlie get her upstairs to her tenement flat. He's rewarded for his efforts by her ingratitude, nearly dropping a flower pot on his head. Edna takes Charlie across the way to another apartment where a couple have a large brood of children whom Charlie helps to feed by scattering bread crumbs among them as if he were feeding chickens. Meanwhile, the Bully awakens at the Police Station and despite multiple blows from the collective nightsticks of the cops, he escapes and returns to Easy Street. His fight with his wife draws Charlie from across the street and a chase begins, the Bully seeking revenge for his earlier capture. Charlie drops a stove on the Bully from a second-story window, knocking him out, but the street toughs capture Edna and toss her down some steps into a subterranean speakeasy. She is threatened there by a dope addict who injects himself with cocaine. Exiting the Bully's flat Charlie is mugged by the gang and himself tossed down into the cellar. Landing accidentally on the addict's upturned needle, Charlie becomes supercharged, defeating the junkie and all the denizens of the cellar, rescuing Edna. Peace is restored to Easy Street and a new mission is in evidence. The Bully and his wife, dressed in their finest, make their way to the services, under Charlie's approving eye. Edna approaches and Charlie greets her joyously and the pair stroll arm in arm towards the welcoming minister and missionary of The New Mission. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1917
Shoulder Arms was Charlie Chaplin's final contribution to the World War I effort, along with his personal appearances selling Liberty Bonds and his film The Bond. It was released shortly before the end of the war, and Chaplin made prints available to soldiers fighting overseas, for which he was lauded for cheering the severely tested troops. Charlie is a member of the "Awkward Squad" and we first see him being put through his paces in training camp. He has problems with making a proper about-face and with marching, his out-turned feet, constantly annoying his drill sergeant. Exhausted after a hard drill, he collapses on his cot.
"Over there," somewhere in France, the troops are engaged in trench warfare, and Chaplin gives the audience a hilarious view on the difficulties experienced by the troops -- flooded quarters (which he shares with a sergeant played by brother Sydney Chaplin), constant shelling, sniping and homesickness. In a touching scene, a mail-less Charlie reads a letter from home over the shoulder of another soldier and on his face we can see his emotional reactions to the good and bad news that the soldier reads. Charlie is sent over the top and ends up capturing a squad of German soldiers single-handedly. His next foray, in the guise of a tree, provides a wonderful look at Chaplin's pantomime talents as he "becomes" a tree each time the enemy soldiers approach. Escaping the enemy squad he hides in a bombed-out house where a French girl, Edna Purviance, lives. She discovers him in her bed and tends to his wounds. Soon they're beset by the enemy squad, searching for Charlie. In the chase, they collapse the rickety house and Charlie escapes, but Edna is arrested for aiding the enemy.
Meanwhile Charlie's sergeant buddy is captured while attempting to telegraph information on the enemy to the allied camp. Edna and Sydney are both brought to the enemy headquarters and Edna is threatened by the evil commandant. Charlie, sneaking down the chimney of the commandant's house, rescues Edna from his advances and locks him in a closet. At that moment the Kaiser, Crown Prince and their General arrive at the camp. Charlie, rushing to the closet, takes the commandant's uniform and impersonates him. Taking charge of Edna and escorting her outside, he is recognized by his captive buddy, and the three of them overcome and restrain the Kaiser's driver and guards and replace them. When the Kaiser and the others enter the limousine, the allies drive them off to the American camp, where Charlie is hailed as a hero and is hoisted on the shoulders of his comrades. But it was all a dream - in classic Chaplinesque-style Charlie is shaken awake by his drill sergeant -- still in boot camp! ~ Phil Posner, All Movie Guide
"Over there," somewhere in France, the troops are engaged in trench warfare, and Chaplin gives the audience a hilarious view on the difficulties experienced by the troops -- flooded quarters (which he shares with a sergeant played by brother Sydney Chaplin), constant shelling, sniping and homesickness. In a touching scene, a mail-less Charlie reads a letter from home over the shoulder of another soldier and on his face we can see his emotional reactions to the good and bad news that the soldier reads. Charlie is sent over the top and ends up capturing a squad of German soldiers single-handedly. His next foray, in the guise of a tree, provides a wonderful look at Chaplin's pantomime talents as he "becomes" a tree each time the enemy soldiers approach. Escaping the enemy squad he hides in a bombed-out house where a French girl, Edna Purviance, lives. She discovers him in her bed and tends to his wounds. Soon they're beset by the enemy squad, searching for Charlie. In the chase, they collapse the rickety house and Charlie escapes, but Edna is arrested for aiding the enemy.
Meanwhile Charlie's sergeant buddy is captured while attempting to telegraph information on the enemy to the allied camp. Edna and Sydney are both brought to the enemy headquarters and Edna is threatened by the evil commandant. Charlie, sneaking down the chimney of the commandant's house, rescues Edna from his advances and locks him in a closet. At that moment the Kaiser, Crown Prince and their General arrive at the camp. Charlie, rushing to the closet, takes the commandant's uniform and impersonates him. Taking charge of Edna and escorting her outside, he is recognized by his captive buddy, and the three of them overcome and restrain the Kaiser's driver and guards and replace them. When the Kaiser and the others enter the limousine, the allies drive them off to the American camp, where Charlie is hailed as a hero and is hoisted on the shoulders of his comrades. But it was all a dream - in classic Chaplinesque-style Charlie is shaken awake by his drill sergeant -- still in boot camp! ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1917
Compiled by the National Association of the Motion Picture Industry and distributed to theaters across the United States, National Association's All-Star Picture, features selected scenes from various popular films, offering glimpses of many of the biggest stars of the day. Included are clips of Charlie Chaplin, Francis X. Bushman, Douglas Fairbanks, and many others. ~ All Movie Guide
- 1917
The Adventurer was Charlie Chaplin's last film in his contract for Lone Star/Mutual, and it is the fastest paced, with its opening and closing chases which are the apotheosis of the Keystone-style rally. It begins with a manhunt filmed on the coast near Santa Monica, California. (During the filming Chaplin rescued a seven-year-old girl from drowning after she had been swept into the waters from a rock as she watched). The police are after an escaped convict (Chaplin) who appears out of the sand beside a resting prison guard (Frank J. Coleman). Soon five guards are chasing Charlie over and through the hills and crags of the rough seacoast. The chase ends with Charlie taking to the ocean where he steals a swimsuit from a boater.
Meanwhile Edna Purviance and her suitor Eric Campbell are lunching at a seaside cafe and hear the cries of Edna's mother who has fallen off the pier into the ocean. Edna begs Eric to jump in and rescue her, but he refuses to risk his life and instead can only stand on the pier and cry for help. Edna bravely jumps in, but is no better a swimmer and is soon also yelling for rescue. As Eric yells from the pier, a swarthy seaman standing next to him yells along, and in the process breaks the railing, plunging them both in the drink. Charlie has meanwhile swum to shore but hearing the cries for help, he swims to the pier where mother, daughter and Eric are all treading water. The Little Fellow swims agilely between the three, deciding who to save first. He rescues Edna, who sends him down again for her mother and then for Eric, whom Charlie tows along to the pier by his beard. The ladies' chauffeur (played by Chaplin's own chauffeur, secretary and valet Toraichi Kono) aids in helping the ladies to their limousine, where Charlie explains that he heard their cries "from my yacht." When Eric is accidentally dumped back into the sea by Charlie, he foils Charlie's second rescue by kicking him off the ladder to the pier. At Edna's orders, Kono discovers the unconscious Charlie and carries him to the car.
Waking in a strange bed with bars on the headboard and dressed in someone else's striped pajamas, Charlie thinks he's back in prison until the butler enters with clothes for him. A party is under way in the household. The hero of the day introduces himself as Commodore Slick and meets Edna's father, Judge Brown, who eyes him suspiciously. Charlie is very interested in Edna, but also in all the free drinks. His rivalry with Eric soon escalates into covert kicking and seltzer squirting, until Eric finds Charlie's picture in a newspaper article about his escape. Before Eric can bring the article to Judge Brown's attention, Charlie cleverly draws Campbell's beard on the photo, allaying the judge's suspicions. Not to be denied, Campbell calls the authorities. Meanwhile Charlie samples the pleasures of the house, dancing with Edna and eating ice cream on a veranda. In a classic bit of pantomime, when Charlie accidentally drops his lump of ice cream down his pants front, we can trace the exact position of the freezing lump just by watching Chaplin's face. When the guards arrive, a marvellous chase sequence begins, upstairs and down, during which Charlie eludes capture. Jumping down from the balcony, one of the guards grabs Charlie who has paused to apologize to Edna for his deception. When the guard loosens his hold to shake hands with Edna, Charlie takes to his heels again as the picture ends.
This last of Chaplin's 12 short masterpieces marked the end of Chaplin's most intensively creative period. "Fulfilling the Mutual Contract, I suppose, was the happiest period of my career, he wrote. "I was light and unencumbered, 27-years old, with fabulous prospects and a friendly, glamorous world before me. Within a short time I would be a millionaire. It all seemed slightly mad." Eric Campbell, who holds a special place in the Chaplin lexicon, appeared in only 11 Chaplin films. He was tragically killed in an auto accident in December, 1917 at age 37. Chaplin tried and failed to replace Campbell. He instead changed his approach to the villain in his films, later to be supplanted by aspects of society at large. Chaplin's David was never the same without his true Goliath. ~ Phil Posner, All Movie Guide
Meanwhile Edna Purviance and her suitor Eric Campbell are lunching at a seaside cafe and hear the cries of Edna's mother who has fallen off the pier into the ocean. Edna begs Eric to jump in and rescue her, but he refuses to risk his life and instead can only stand on the pier and cry for help. Edna bravely jumps in, but is no better a swimmer and is soon also yelling for rescue. As Eric yells from the pier, a swarthy seaman standing next to him yells along, and in the process breaks the railing, plunging them both in the drink. Charlie has meanwhile swum to shore but hearing the cries for help, he swims to the pier where mother, daughter and Eric are all treading water. The Little Fellow swims agilely between the three, deciding who to save first. He rescues Edna, who sends him down again for her mother and then for Eric, whom Charlie tows along to the pier by his beard. The ladies' chauffeur (played by Chaplin's own chauffeur, secretary and valet Toraichi Kono) aids in helping the ladies to their limousine, where Charlie explains that he heard their cries "from my yacht." When Eric is accidentally dumped back into the sea by Charlie, he foils Charlie's second rescue by kicking him off the ladder to the pier. At Edna's orders, Kono discovers the unconscious Charlie and carries him to the car.
Waking in a strange bed with bars on the headboard and dressed in someone else's striped pajamas, Charlie thinks he's back in prison until the butler enters with clothes for him. A party is under way in the household. The hero of the day introduces himself as Commodore Slick and meets Edna's father, Judge Brown, who eyes him suspiciously. Charlie is very interested in Edna, but also in all the free drinks. His rivalry with Eric soon escalates into covert kicking and seltzer squirting, until Eric finds Charlie's picture in a newspaper article about his escape. Before Eric can bring the article to Judge Brown's attention, Charlie cleverly draws Campbell's beard on the photo, allaying the judge's suspicions. Not to be denied, Campbell calls the authorities. Meanwhile Charlie samples the pleasures of the house, dancing with Edna and eating ice cream on a veranda. In a classic bit of pantomime, when Charlie accidentally drops his lump of ice cream down his pants front, we can trace the exact position of the freezing lump just by watching Chaplin's face. When the guards arrive, a marvellous chase sequence begins, upstairs and down, during which Charlie eludes capture. Jumping down from the balcony, one of the guards grabs Charlie who has paused to apologize to Edna for his deception. When the guard loosens his hold to shake hands with Edna, Charlie takes to his heels again as the picture ends.
This last of Chaplin's 12 short masterpieces marked the end of Chaplin's most intensively creative period. "Fulfilling the Mutual Contract, I suppose, was the happiest period of my career, he wrote. "I was light and unencumbered, 27-years old, with fabulous prospects and a friendly, glamorous world before me. Within a short time I would be a millionaire. It all seemed slightly mad." Eric Campbell, who holds a special place in the Chaplin lexicon, appeared in only 11 Chaplin films. He was tragically killed in an auto accident in December, 1917 at age 37. Chaplin tried and failed to replace Campbell. He instead changed his approach to the villain in his films, later to be supplanted by aspects of society at large. Chaplin's David was never the same without his true Goliath. ~ Phil Posner, All Movie Guide
- 1917
In Charlie Chaplin's 10th film in his series for Lone Star/Mutual, and one of the funniest, he plays a gentleman of means who is at a health spa to take the cure, presumably for his alcoholism. His costume is somewhat different from that of his classic Tramp's: he wears a light-colored jacket and a straw boater. The baggy pants and oversize shoes are there and his derby is in evidence in his trunk. The main feature of the sanatorium is the health-spring well, around which the rich guests sit and take the waters. Charlie is pushed onto the scene in a wheelchair and soon gets caught up in a revolving door, where he traps and incurs the anger of a large, gouty patient, Eric Campbell. Shown to his room by an attendant, he is present when his trunk is delivered and he checks the contents for damage -- bottle upon bottle of liquor, which astonishes the elderly bellhop who delivers it.
Taken down to the well again he's cajoled by another attendant (Albert Austin) and a pretty nurse to try the waters, resulting in his immediate departure to his room for a drink. The bellhop has obviously been into the trunk, and Charlie ejects the old fellow. He makes his way downstairs where he encounters a beautiful fellow visitor (Edna Purviance), rescuing her from the advances of the amorous Campbell, almost getting himself thrown off the premises. Edna steps in to rescue him, refuting Campbell's protestations to the manager. Charlie is brought to the steam room/gymnasium, where a huge masseur, Henry Bergman, terrifies him as he works on a rubbery fellow-patient (actually a contortionist Chaplin hired for the part). He escapes damage himself as he mock-wrestles with the burly masseur and his assistant and pushes everyone, including Campbell, into the pool.
Meanwhile the manager searches Charlie's room, and, finding the trunk full of liquor and the drunk bellhop in the bed, orders all the liquor thrown away. This is done by the now equally drunk Austin who has obviously been partaking of Charlie's stash. He throws the bottles out the window and into the health spa well. Now sober, Charlie departs the gym, but in the lobby there's a party going on -- the waters have had "a strange effect" and everyone but Charlie and Edna are drunk. Charlie rescues Edna again from the clutches of two aggressive drunks, and the two repair to the well to escape the festivities. Edna urges Charlie to drink from the spring to keep sober for her sake. Eagerly downing jug after glass of the spiked waters transforms Charlie, and he begins to chase Edna too, but he gets caught up in the revolving door and ends up revolving his way all the way to the gym and into the pool. The next morning the hangover reigns supreme over all the guests. Edna apologizes to Charlie for making him drink the water that was full of liquor, and at her entreaty, Charlie promises not to sample the waters again. The two walk off confidently, arm in arm, until Charlie steps into the well, bobbing up and down as the film fades out. ~ Phil Posner, All Movie Guide
Taken down to the well again he's cajoled by another attendant (Albert Austin) and a pretty nurse to try the waters, resulting in his immediate departure to his room for a drink. The bellhop has obviously been into the trunk, and Charlie ejects the old fellow. He makes his way downstairs where he encounters a beautiful fellow visitor (Edna Purviance), rescuing her from the advances of the amorous Campbell, almost getting himself thrown off the premises. Edna steps in to rescue him, refuting Campbell's protestations to the manager. Charlie is brought to the steam room/gymnasium, where a huge masseur, Henry Bergman, terrifies him as he works on a rubbery fellow-patient (actually a contortionist Chaplin hired for the part). He escapes damage himself as he mock-wrestles with the burly masseur and his assistant and pushes everyone, including Campbell, into the pool.
Meanwhile the manager searches Charlie's room, and, finding the trunk full of liquor and the drunk bellhop in the bed, orders all the liquor thrown away. This is done by the now equally drunk Austin who has obviously been partaking of Charlie's stash. He throws the bottles out the window and into the health spa well. Now sober, Charlie departs the gym, but in the lobby there's a party going on -- the waters have had "a strange effect" and everyone but Charlie and Edna are drunk. Charlie rescues Edna again from the clutches of two aggressive drunks, and the two repair to the well to escape the festivities. Edna urges Charlie to drink from the spring to keep sober for her sake. Eagerly downing jug after glass of the spiked waters transforms Charlie, and he begins to chase Edna too, but he gets caught up in the revolving door and ends up revolving his way all the way to the gym and into the pool. The next morning the hangover reigns supreme over all the guests. Edna apologizes to Charlie for making him drink the water that was full of liquor, and at her entreaty, Charlie promises not to sample the waters again. The two walk off confidently, arm in arm, until Charlie steps into the well, bobbing up and down as the film fades out. ~ Phil Posner, All Movie Guide
- 1916
Charlie Chaplin's sixth film for the Mutual Film Corporation is a marvel of sight gags, comic transformations and brilliant pantomime. Charlie plays an assistant in a pawnshop, where he arrives late for work and is scolded by the portly Pawnbroker, played by Henry Bergman in his first role in a Chaplin film. Bergman was to go on to play in most of the Chaplin films through Modern Times, also filling the roles of Assistant Director, gagman and confidant. Charlie annoys his rival employee (John Rand) with his dusting and a series of conflicts between them arise. They must go outside and clean the store front, and Charlie, trapping Rand between the rungs of a ladder, performs a ballet-like boxing scene, striking his helpless opponent until a cop arrives on the scene, whereupon Charlie's movements become the most graceful of dances. Back inside the shop, their fight escalates until the Pawnbroker enters and angrily discharges Charlie. The little fellow's heart-breaking pleas for forgiveness, during which he mimes that he has many children ranging in height from about two to seven feet, cause the boss to relent. Alone again, Charlie renews his attack on Rand with vigor, but just as he's about to deliver the coup de grace, Edna Purviance, the boss' daughter, enters from the back room curious as to the commotion. Charlie swiftly lays down on the floor and Edna scolds the near-unconscious Rand for striking "a mere child," patting Charlie's cheek as he admires her figure. She takes him into the kitchen and gives him a doughnut, which Chaplin's wonderful pantomime ability makes us believe weighs 20 pounds, as he exercises with it as if it were a dumbbell. When Rand enters, the fight resumes, but hearing the racket the boss comes in and Charlie quickly resumes his role as baker then goes to the safe to retrieve his lunch. Manning the shop Charlie encounters three customers, the first an old actor wanting to pawn his late wife's ring for five dollars. His histrionics touch Charlie deeply. He gives the bereaved man 10 dollars from the till and the ring back as well. When the man offers to gives Charlie change and pulls out huge wad of bills, Charlie knows he's been had. Meanwhile, another customer arrives wishing to pawn an alarm clock. In a long, brilliant scene of comic transformations, better seen than described, Charlie becomes surgeon, jeweller, ribbon clerk and mechanic as he dismantles and destroys the clock to the total amazement of the customer, Albert Austin. Gathering the detritus of the ruined timepiece and sweeping them into Austin's derby, Charlie rejects the item, sending the protesting customer packing with a blow from a rubber hammer. His next customer is a lady with a bowl of goldfish, which Charlie tests for authenticity by pouring muriatic acid (the famous "acid test") into the bowl. The boss emerges and he sends the lady away. Meanwhile Charlie and Rand are at it again, and a flying wad of dough catches both boss and crook in the face. The boss chases Charlie from the kitchen, whereupon Charlie hides in a trunk to avoid punishment. Just then the crook emerges from the safe, gun drawn, stolen diamonds under his arm and holds the others at bay. Charlie heroically emerges from the trunk, and in balletic movements, smashes the crook over the head, embraces Edna, receives a pat on the back from the boss and delivers one final back kick to his rival. ~ Phil Posner, All Movie Guide
- 1916
Charlie Chaplin's fourth film for Mutual is a tour de force solo performance, with Chaplin playing his classic drunk, returning home in the wee hours. The only other character in the film is the taxi driver who is oblivious to Charlie's difficulties getting out of the cab. Charlie has equal problems getting into his house. He can't find his key and enters via a window, but he soon finds his key in his vest pocket and exits via the window, reentering in the proper way, through the door. His house is filled with inanimate objects, which to his mind, are ganging up against him. The stuffed animals seem to attack him as he slides on throw rugs along the slippery floor and tries to reach a liquor bottle on a revolving table that keeps eluding him. When he attempts to climb the stairs, he is repeatedly struck by the oversized pendulum of a wall clock and sent tumbling down the staircase. Finally reaching his bedroom, his automatic Murphy bed seems to have a mind of its own, trapping him as it revolves round and round inside its wall compartment, bucking him like a bronco when he sits on it and falling on top of him when he lays on the floor. Finally abandoning the bedroom, Charlie goes to the bathroom, soaking himself as he tries to get a drink from the shower stall and then settling down for the night in the bathtub. Although essentially plotless, One A.M. is a brilliant clinic in physical comedy and the psychology of alcoholic delusions. ~ Phil Posner, All Movie Guide
- 1916
Charlie Chaplin launched his 670,000-dollar contract with the Mutual Film Corporation with the hilarious The Floorwalker. The film's chief comedic device, the store escalator, was inspired by Chaplin's visit to New York, where, at an elevated train station, he saw a minor accident involving one. The manager of the store receives a letter -- his superiors are coming to investigate him. He's been skimming money from the store, in cahoots with the bossy and mean floorwalker who bears a striking resemblance to Charlie. The pair decide they're going to take off with the cash and begin emptying the safe in the office upstairs. Meanwhile, Charlie comes wandering into the store, trying out everything but buying nothing. The store seems to be infested with shoplifters and store detectives. Charlie gets caught by one of the latter when he tries to buy a display rack. He escapes upstairs where he encounters his doppelganger who has just knocked out the manager and is escaping with a suitcase full of money. The lookalikes do the classic mirror routine, copied later by the Marx Brothers in Duck Soup. They agree to exchange clothes and identities, but the real floorwalker is arrested as the Tramp, leaving behind the satchel full of loot. Charlie takes over the floorwalker's duties, getting involved with various customers, especially the ladies in the shoe department. When Charlie finds the case, he's ecstatic, until Eric Campbell awakens and, mistaking him for his crooked partner, begins a merry chase up and down the escalator and all around the store, hampered only by the ever-vigilant store detectives. The real floorwalker returns in custody and comes clean, implicating the manager. The chase continues until Charlie is caught in the elevator by a detective as it descends upon the head of Campbell who is also apprehended. ~ Phil Posner, All Movie Guide
- 1916
Charlie Chaplin's 2-reel laugh parade The Rink was based on "Skating," a sketch Chaplin had previously performed while a member of the Fred Karno stage troupe. Chaplin plays a waiter who determines what his customers have had for dinner by checking the food spots on their clothes. After quitting time, Chaplin repairs to the ice skating rink, where his skill and grace catches the eye of pretty socialite Edna Purviance. She invites him to a soiree, where he runs afoul of massive Eric Campbell for the third time that day. A melee results, whereupon Chaplin hooks a passing auto with his cane and makes his escape. The Rink was the eighth of Chaplin's "golden dozen" short subjects filmed during his stay at Mutual Studios. ~ Hal Erickson, All Movie Guide
- 1916
In Behind the Screen, the seventh of his 12 Mutual Studios two-reelers, Charlie Chaplin pokes some less than gentle fun at his former employer Mack Sennett. Chaplin and Eric Campbell play a couple of bumbling stagehands at Gigantic Picture Studios. They knock each other about, break for lunch, and knock each about again. Pretty Edna Purviance sneaks into the studio disguised as a boy. Chaplin finds out her secret and steals a kiss -- drawing a very suspicious glance from Campbell. The film ends with a combination union strike and slapstick pie fight. Best bit: a temperamental movie comedian refuses to throw a pie without proper "motivation." Chaplin spent so much time achieving perfection in Behind the Screen that Mutual was obliged to apologize to its exhibitors for missing the scheduled release date by two weeks. ~ Hal Erickson, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1916
The second of Charles Chaplin's Mutual two-reelers, The Fireman is virtually wall-to-wall slapstick. Chaplin is an earnest but inept member of a ramshackle small town fire department. His boss, Eric Campbell, has entered into an unhanded deal with the wealthy father of heroine Edna Purviance; the father plans to burn down his house for the insurance and split the settlement with Campbell, provided that the latter does not attempt to extinguish the blaze. Chaplin, of course, knows nothing about this set-up, and when the house catches fire, he rushes to the rescue. And a darn good thing too: Purviance, also unaware of her dad's machinations, is in the house at the time it is torched. ~ Hal Erickson, All Movie Guide
- 1916
Charlie Chaplin's third film in his Mutual period is his first minor masterpiece. It combines comedy and drama in the style that Chaplin had developed in his earlier Essanay film The Tramp and anticipates later dramatic comedies such as The Kid and City Lights. Charlie plays an itinerant violinist whose famous feet we first see emerging from the swinging doors of a saloon. He takes up his position outside the back door and begins his concert, but at this moment a street band begins playing outside the front door. When Charlie enters the saloon to pass the hat, the patrons, believing he's part of the band, contribute generously. When the real band leader enters to pass his hat, a fight and chase begin from which Charlie eventually escapes. The audience is now introduced to "The Mother," an obviously upper-class woman who interrupts her embroidering and looks longingly at a photograph of her long-lost child. Charlie, having forsaken the city, wanders down a country road where he comes upon a gypsy encampment where a beautiful drudge (Edna Purviance), under the control of the brutal Gypsy Chief (Eric Campbell) is washing clothes. Charlie plays a concert for his audience of one, the fast tempo causing the girl to scrub her laundry at a lightning pace and his soulful playing evoking her strong emotions. The concert is interrupted by the Chief, who pushes Charlie into a water basin and beats the girl severely for shirking her duties. Seeing this brutality, Charlie puts aside his cane and violin in favor of a stout club and rescues the girl in an exciting scene in which they dramatically escape in one of the wagons.
Later, encamped by the side of a road, Charlie prepares breakfast while the girl goes for water. She meets a handsome artist (Lloyd Bacon), who, noticing a shamrock shaped birthmark on her arm, asks her to pose for him. After he finishes his sketch, she invites him to breakfast. During the meal, it's obvious from her face that she's infatuated with him, and Charlie is aware that he's losing her. When the artist leaves, the girl gazes longingly after him as Charlie watches her apprehensively. Some time later, the painting is exhibited in a posh gallery and the Mother, in attendance, almost collapses as she recognizes her daughter by her birthmark. Meanwhile Charlie tries to cheer up the despondent girl by promising that he'll learn to draw too. Suddenly a limousine pulls up and mother and daughter are reunited. Charlie gallantly refuses a cash reward and wishes the artist luck just before they drive off. Alone, Charlie tries to cheer himself but succumbs to his emotions. In the limousine the girl realizes her true feelings and makes the driver return to Charlie, whom she excitedly hauls off to the limousine and to a presumed life of luxury. This was not the ending originally planned for the film, in which Chaplin was going to have the Tramp attempt a drowning suicide, only to be rescued by a homely farm girl, and seeing her, jumping back in again. Fortunately, he opted for the happier, more optimistic ending. ~ Phil Posner, All Movie Guide
Later, encamped by the side of a road, Charlie prepares breakfast while the girl goes for water. She meets a handsome artist (Lloyd Bacon), who, noticing a shamrock shaped birthmark on her arm, asks her to pose for him. After he finishes his sketch, she invites him to breakfast. During the meal, it's obvious from her face that she's infatuated with him, and Charlie is aware that he's losing her. When the artist leaves, the girl gazes longingly after him as Charlie watches her apprehensively. Some time later, the painting is exhibited in a posh gallery and the Mother, in attendance, almost collapses as she recognizes her daughter by her birthmark. Meanwhile Charlie tries to cheer up the despondent girl by promising that he'll learn to draw too. Suddenly a limousine pulls up and mother and daughter are reunited. Charlie gallantly refuses a cash reward and wishes the artist luck just before they drive off. Alone, Charlie tries to cheer himself but succumbs to his emotions. In the limousine the girl realizes her true feelings and makes the driver return to Charlie, whom she excitedly hauls off to the limousine and to a presumed life of luxury. This was not the ending originally planned for the film, in which Chaplin was going to have the Tramp attempt a drowning suicide, only to be rescued by a homely farm girl, and seeing her, jumping back in again. Fortunately, he opted for the happier, more optimistic ending. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin
- 1916
Charlie Chaplin's last film for Essanay (not counting the compilation, Triple Trouble) was released after he had moved on to the Mutual Film Corporation. Charlie is released from prison with the customary few dollars in his pocket. He's approached on the street by a fake preacher who asks Charlie to "Let me help you go straight," making him sob with his touching sermon, while picking his pocket. Charlie encounters a drunk with his pocketwatch hanging from his vest, but resists the temptation of stealing it. A few moments later, after realizing he has been robbed, Charlie sees the preacher with the drunk and notes, after the preacher departs, that the watch is gone. Approached by a real preacher this time, Charlie chases him down the street. As evening approaches Charlie goes to a seedy flophouse, but is ejected because he cannot pay. He encounters an old cellmate on the street and is recruited to participate in the robbery of Edna's house. Charlie proves an inept burglar, making so much noise that Edna is roused, and she calls the police before confronting them. She begs them not to go upstairs because her mother is very ill and the shock might kill her. She even provides food and beer for the burglars, asking Charlie to let her help him to go straight. But Charlie's partner is heartless and heads upstairs despite Edna's pleas. When Edna tries to stop him, he threatens to strike her and that is too much for Charlie, who fights with the thief until the police arrive. Firing his pistol, the thief escapes through a back window, but the cops catch Charlie before he can escape. Edna, grateful to Charlie for his protection, lies to the police telling them Charlie is her husband. After the cops leave, Edna gives Charlie a coin and sends him off. ~ Phil Posner, All Movie Guide
- 1916
The Count, filmed during Charlie Chaplin's 1916-17 Mutual period, is a rowdy throwback to his Keystone days. Chaplin plays the assistant to bombastic clothes-presser Eric Campbell. While dallying with the cook at the Moneybags Mansion, Charlie spots Eric, posing as Count Broko. Eric tries to hide his subterfuge by introducing Charlie as his secretary. In this guise, Charlie is invited to a formal dinner dance presided over by lovely socialite Edna Purviance. When the real Count Broko (Leo White) shows up, chaos reigns supreme. The Count was the fifth of Chaplin's "golden dozen" Mutual two-reelers. ~ Hal Erickson, All Movie Guide
- 1916
Burlesque on Carmen was intended by Charlie Chaplin to be a two-reel film, but to his annoyance additional material, shot by Leo White and featuring Ben Turpin, was added for its release after Chaplin left Essanay. It is a parody of two contemporary films based on Bizet's opera, by Cecil B. De Mille (starring opera star Geraldine Farrar) and Raoul Walsh (starring vamp Theda Bara). Chaplin plays Darn Hosiery (Don Jose) the Corporal of the Guard who is seduced by Carmen (engagingly played by Edna Purviance) so that Gypsy smugglers can get their swag through the city gates. His chief rivals for Carmen's affections are Escamillo, the Toreador and a fellow soldier of the guard, Leo White.
The interjection of the Turpin sections and the use of outtakes of the Chaplin material makes the plot rather murky. Don Jose is charmed by Carmen and ignores his military duties. He allows the smugglers to enter the city gates but other guards, alerted by his rival White, give chase. Later, as the guards and gypsies struggle at a village gate, Don Jose gets into a duel for Carmen's attentions with White, during which Don Jose engages in some Chaplinesque fencing and wrestling, but aided by Carmen he kills White. Realizing the depth of his deed he pursues Carmen who has taken off out a window. He catches up with her, but the Toreador interrupts his accusations and takes Carmen away. Sometime later they are seen arriving at the bull ring. Don Jose catches up with Carmen and, playing it perfectly straight, he chillingly accuses her of infidelity and when she mocks his love, he stabs her and then himself. They are discovered by the Toreador, but Don Jose revives, mule kicks Escamillo back into the arena and picks up Carmen who also comes back to life. Looking into the camera, they smilingly show the audience the collapsible knife as the camera irises in. ~ Phil Posner, All Movie Guide
The interjection of the Turpin sections and the use of outtakes of the Chaplin material makes the plot rather murky. Don Jose is charmed by Carmen and ignores his military duties. He allows the smugglers to enter the city gates but other guards, alerted by his rival White, give chase. Later, as the guards and gypsies struggle at a village gate, Don Jose gets into a duel for Carmen's attentions with White, during which Don Jose engages in some Chaplinesque fencing and wrestling, but aided by Carmen he kills White. Realizing the depth of his deed he pursues Carmen who has taken off out a window. He catches up with her, but the Toreador interrupts his accusations and takes Carmen away. Sometime later they are seen arriving at the bull ring. Don Jose catches up with Carmen and, playing it perfectly straight, he chillingly accuses her of infidelity and when she mocks his love, he stabs her and then himself. They are discovered by the Toreador, but Don Jose revives, mule kicks Escamillo back into the arena and picks up Carmen who also comes back to life. Looking into the camera, they smilingly show the audience the collapsible knife as the camera irises in. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1915
Charlie Chaplin's last one-reeler (with the exception of The Bond), is an impromptu film shot on the beach at Crystal Pier in Los Angeles, his first film shot there since leaving Keystone. It is superior to similarly made Keystone's in that the timing and gag ideas are much better realized. The film opens with couple Billy Armstrong and Margie Reiger at the beach on a windy day. Margie goes off, telling Billy to stay put. Charlie comes walking down a seaside street eating a banana and, after tossing the peel away, he slips on it. He encounters Billy when both men's hats, attached to them by elastic, get blown off and entangled. This causes a fight between them in which Charlie gets Billy in a headlock and knocks him unconscious, but fleas from Billy's head jump onto Charlie's arms, at which point Charlie performs a precursor of the flea circus routine that is featured in Limelight and the never released The Professor.
Just then Edna Purviance passes by and Charlie flirts with her. She is amused by his antics despite herself. She goes off and sits down by her boyfriend, Bud Jamison, who has been waiting for her on a nearby bench. Charlie and Billy make up, and Billy offers to buy them refreshments at a nearby ice cream stand operated by Snub Pollard. They again begin to fight as Billy refuses to pay. During the fight Bud gets hit by flying ice cream and joins the fray. The fight is broken up by a cop, who drags Billy off. Escaping, Charlie sits down next to Edna, bouncing her up and down by sitting down heavily. He's chased off by the returning Bud and joins Margie (who has been looking for Billy) on another bench until all the others arrive, whereupon Charlie tips over the bench and makes his getaway. ~ Phil Posner, All Movie Guide
Just then Edna Purviance passes by and Charlie flirts with her. She is amused by his antics despite herself. She goes off and sits down by her boyfriend, Bud Jamison, who has been waiting for her on a nearby bench. Charlie and Billy make up, and Billy offers to buy them refreshments at a nearby ice cream stand operated by Snub Pollard. They again begin to fight as Billy refuses to pay. During the fight Bud gets hit by flying ice cream and joins the fray. The fight is broken up by a cop, who drags Billy off. Escaping, Charlie sits down next to Edna, bouncing her up and down by sitting down heavily. He's chased off by the returning Bud and joins Margie (who has been looking for Billy) on another bench until all the others arrive, whereupon Charlie tips over the bench and makes his getaway. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Billy Armstrong, (more)
- 1915
Charlie Chaplin's fourth release for Essanay is very similar to his Keystone Twenty Minutes of Love. He had taken longer than planned to complete his previous film, The Champion, and he felt obliged to give Essanay a new film quickly, so he shot and edited this park farce in the course of a week. It opens with Leo White in his French Count costume and Margie Reiger spooning on a park bench, observed by an amused Edna Purviance seated on a nearby bench, wearing a nursemaid's outfit and minding a baby carriage. Chaplin, strolling through the park, encounters an inept pickpocket, from whose pocket Chaplin picks a cigarette and a match. Chaplin comes upon the couple, and mocking their emotions, he gets chased away. Purviance is joined by her boyfriend Bud Jamison who goes off to buy a hot dog from a vendor.
Finding Purviance alone, Chaplin makes eyes at her and gets a few smiles in return, but when he tries to mash her she spurns him. Meanwhile the pickpocket steals Reiger's purse while the couple are necking. Returning to Purviance, Jamison chases Chaplin away. Chaplin encounters the same hot dog vendor and steals a string of hot dogs which he hangs from his breast pocket and eats by swinging them up to his mouth. The pickpocket steals Chaplin's hot dogs, but Chaplin steals the purse from his pocket. While Chaplin sells the purse to Jamison for $2, the pickpocket starts a brick fight during which everyone except Chaplin is knocked out. Chaplin gives the purse to Purviance, who rewards him with a hug, but Jamison awakens and returns to claim the purse and Purviance. By this time Reiger has discovered her purse is gone and sends White over to Jamison to retrieve it. He is beaten back by Jamison and when Reiger spurns him for his ineptitude he contemplates suicide. Chaplin comes along and obliges him by booting him into the lake. Meanwhile Reiger has summoned a cop who gets the purse back from Jamison and confronts Chaplin, but ends up in the lake along with Jamison, as Chaplin strolls away. ~ Phil Posner, All Movie Guide
Finding Purviance alone, Chaplin makes eyes at her and gets a few smiles in return, but when he tries to mash her she spurns him. Meanwhile the pickpocket steals Reiger's purse while the couple are necking. Returning to Purviance, Jamison chases Chaplin away. Chaplin encounters the same hot dog vendor and steals a string of hot dogs which he hangs from his breast pocket and eats by swinging them up to his mouth. The pickpocket steals Chaplin's hot dogs, but Chaplin steals the purse from his pocket. While Chaplin sells the purse to Jamison for $2, the pickpocket starts a brick fight during which everyone except Chaplin is knocked out. Chaplin gives the purse to Purviance, who rewards him with a hug, but Jamison awakens and returns to claim the purse and Purviance. By this time Reiger has discovered her purse is gone and sends White over to Jamison to retrieve it. He is beaten back by Jamison and when Reiger spurns him for his ineptitude he contemplates suicide. Chaplin comes along and obliges him by booting him into the lake. Meanwhile Reiger has summoned a cop who gets the purse back from Jamison and confronts Chaplin, but ends up in the lake along with Jamison, as Chaplin strolls away. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1915
In his 35th and last Keystone comedy, Charlie Chaplin parodied the recent hit, D.W. Griffith's stone-age drama, Man's Genesis. Charlie is caveman Weakchin, dressed in derby, cane and bearskin. He plucks some fur from his bearskin and fills his pipe with it, lighting the pipe by picking up a stone and striking it against his thigh. He is an outsider, invading the territory and harem of King Lowbrow (Mack Swain). At first welcomed by the King, Weakchin persists in wooing Sum Babee (Gene Marsh), one of Lowbrow's favorite wives. Eventually the men clash and Weakchin kicks Lowbrow over a cliff. Taking over the leadership of the tribe, Weakchin repairs to the King's cave with Sum Babee. Rescued by his sycophantic court jester, the King sneaks into the cave and clobbers Weakchin from behind with a rock, whereupon Charlie the Tramp awakes on a park bench with a cop looming over him -- it has all been a dream -- the first of many dream sequences in Chaplin's films. ~ Phil Posner, All Movie Guide
- 1915
Charlie Chaplin's 10th Essanay film marks a further development for him in story construction, gag development and the use of pathos along with physical comedy. Chaplin enters the bank importantly, strolls down a staircase and opens a large safe. He emerges carrying a mop and bucket and dons his janitor's uniform. He wanders into the lobby/reception area and accidentally puts his soaking mop into the top hat of a bond salesman, (Lawrence A. Bowes) who's waiting for the arrival of the Bank President. Hitting the salesman and a bank worker (Leo White) with the wet mop, he's chased away to the back office where he finds fellow janitor Billy Armstrong with whom a series of minor battles occur.
Edna Purviance, a stenographer, arrives at work with a birthday present, a tie, for a cashier whose name is also Charles, Carl Stockdale. She types a note: "To Charles with love from Edna." Chaplin finds the note and tie and assumes they're for him, and it's clear he loves Purviance. He brings her a bouquet of flowers and leaves a note "To Edna with love, Charlie." The bank president arrives and rejects the bond salesman's pitch and the angry salesman vows revenge. As the salesman stands dazed, Chaplin, told to mail a letter, indicates that he doesn't look well, takes his pulse and tells him to stick out his tongue, on which Chaplin moistens the postage stamp. The Cashier comes in to thank Purviance for the tie and tells her that it wasn't he who left the flowers, but Charlie the Janitor. Angry, Purviance calls Chaplin a fool and, unaware that he's watching through the door, throws the flowers into a trash basket. Crushed, Chaplin retrieves the flowers, goes back downstairs to the vault and sits down to rest.
Shortly afterward, the bond salesman along with four seedy crooks enter the bank. Two of them go upstairs and see the president, Purviance and the Cashier counting money. When Purviance and Charles head downstairs to the vault, they hold up the president. The other three intercept Charles and Purviance downstairs. At the first opportunity, Charles pushes Purviance over and runs away, but he's held at gunpoint by one of the crooks as the other tussles with the president. Meanwhile her screams have awakened Chaplin and he rescues her, kicking three of the crooks into the safe and locking it as Purviance collapses. Carrying her over one shoulder, he climbs the stairs and rescues the cashier by disarming the crook. He then takes care of the other thief, rescuing the president. When the police have the robbers in custody, Chaplin is congratulated by the president. He wanders into the office and takes the flowers out of his coat. Purviance enters and picks up the flowers, smiling, and the look of love and hope on Chaplin's face is truly angelic. They embrace, but just then the camera crossfades -- it was all a dream, and Chaplin awakens in the vault kissing a mop. As the picture fades, he wanders off screen holding the flowers. ~ Phil Posner, All Movie Guide
Edna Purviance, a stenographer, arrives at work with a birthday present, a tie, for a cashier whose name is also Charles, Carl Stockdale. She types a note: "To Charles with love from Edna." Chaplin finds the note and tie and assumes they're for him, and it's clear he loves Purviance. He brings her a bouquet of flowers and leaves a note "To Edna with love, Charlie." The bank president arrives and rejects the bond salesman's pitch and the angry salesman vows revenge. As the salesman stands dazed, Chaplin, told to mail a letter, indicates that he doesn't look well, takes his pulse and tells him to stick out his tongue, on which Chaplin moistens the postage stamp. The Cashier comes in to thank Purviance for the tie and tells her that it wasn't he who left the flowers, but Charlie the Janitor. Angry, Purviance calls Chaplin a fool and, unaware that he's watching through the door, throws the flowers into a trash basket. Crushed, Chaplin retrieves the flowers, goes back downstairs to the vault and sits down to rest.
Shortly afterward, the bond salesman along with four seedy crooks enter the bank. Two of them go upstairs and see the president, Purviance and the Cashier counting money. When Purviance and Charles head downstairs to the vault, they hold up the president. The other three intercept Charles and Purviance downstairs. At the first opportunity, Charles pushes Purviance over and runs away, but he's held at gunpoint by one of the crooks as the other tussles with the president. Meanwhile her screams have awakened Chaplin and he rescues her, kicking three of the crooks into the safe and locking it as Purviance collapses. Carrying her over one shoulder, he climbs the stairs and rescues the cashier by disarming the crook. He then takes care of the other thief, rescuing the president. When the police have the robbers in custody, Chaplin is congratulated by the president. He wanders into the office and takes the flowers out of his coat. Purviance enters and picks up the flowers, smiling, and the look of love and hope on Chaplin's face is truly angelic. They embrace, but just then the camera crossfades -- it was all a dream, and Chaplin awakens in the vault kissing a mop. As the picture fades, he wanders off screen holding the flowers. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
- 1915
Shanghaied, Charlie Chaplin's 11th film for Essanay was shot largely on board the SS Vaquero, which Chaplin had rented for the film. Chaplin's cameraman, Harry Ensign, devised a pivot for the camera which simulated the violent rocking of the ship as well as rockers for the stage, anticipating the shipboard shots in The Immigrant. In the story, Charlie is in love with Edna Purviance, whose father owns a ship which he plans to have blown up for the insurance money. Forbidden to see Charlie, Edna runs away, leaving a note: "Father -- I have stowed away on your boat. Goodbye. Your unhappy daughter, Edna." Coincidentally, Charlie is hired to hit prospective crew members over the head with a mallet, whereupon they are shanghaied. He is himself shanghaied by the first mate in the same fashion. Charlie is a willing but inept seaman, knocking the whole crew overboard by misdirecting a loading crane and washing dishes in the soup that the cook is preparing. As the ship's rolling increases, Charlie has difficulty serving dinner and becomes seasick. He discovers Edna hiding in the hold just before the Captain and First Mate light the fuse on a keg of TNT and escape in a launch. Meanwhile, Edna's father has found her note and is chasing after them in a speeding boat, trying to stop the explosion. Charlie throws the TNT keg overboard and into the skiff of the escaping Captain, saving the Vaquero. When Edna's father arrives, Edna and Charlie join him in his launch, but when he will still not approve of Charlie, even after saving his daughter and his boat, Charlie kicks the man overboard, much to Edna's delight. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Fred Goodwins, (more)
- 1915
Work, Charlie Chaplin's eighth film for Essanay casts Charlie as a wallpaper-hanger's assistant who must pull the wagon containing the boss (Charles Insley) and all his gear through the city streets and up some imposing hills (created by using tilted camera angles). Charlie is little more than a beast of burden and must do all the work when they arrive at a wealthy couple's (Billy Armstrong and Marta Golden) home. The woman of the house suspects the workers of being dishonest when she catches Charlie admiring a small statue, and she locks up her valuables in a safe. This prompts Charlie to "lock up" his and his boss's watches and cash by pinning them into his pants pocket. Charlie proves to be an inept decorator, making a huge mess and causing his boss to get a bucket of wallpaper paste over his head. He befriends Edna Purviance, the maid, and in a rather intimate scene, tells her his story and his hopes for the future. The wife's lover, Leo White arrives, but when he sees that the husband is still home, he pretends to be a workman. The husband is wise to the dodge and attacks his wife's lover, eventually pulling out a revolver and chasing him around the house. A stray bullet hits the gas stove which explodes, partially burying everyone. In the famous last scene, Charlie emerges from the inverted oven door, exhales some smoke, and, sizing up the situation, smiles into the camera. ~ Phil Posner, All Movie Guide
- Starring:
- Charles Chaplin, Edna Purviance, (more)
