The Last Films of Charlie Chaplin

One thing I haven't gotten into in these articles is the controversy in Charlie Chaplin's life. I didn't talk about this for many reasons. It's not my aim to write a biography about Charlie. These articles are more about his work and technique than his life story. Another reason is, just like how it was in real life, Charlie's controversies distracted his fans from his actual work.

I bet that you're probably surprised and at the same time, not surprised that Charlie had a lot of controversies in his life. Almost every major Hollywood superstar has faced the same trouble. it's practically a requirement for them. And seeing as Charlie was the first superstar, it's only natural that he fit the same model. Just like the best of them, he's had demons and skeletons that has plagued him his entire professional career. I don't want to get into every little detail but let's just say that Charlie was a very complicated and complex man. He was criticized for his many messy marriages and divorces with very young women. Most of his wives were only 15-16 when he first met them, even when the 52-year-old married his last wife. But before you start screaming "dirty old man!" and "pedophile!" at your computer screen, remember that these were different times. It was not uncommon at all for women at that age to get married and have children. And if you remember that the average lifespan was at least thirty years shorter at that time, it totally makes sense.

But perhaps Charlie's most controversial...controversy was his accusations of communism and anti-American activity. Unfortunately, Charlie was one of the tragic victims of McCarthyism. I won't pretend to be an expert on the subject, but basically, McCarthyism was when accusations of communism were just all over the place. Everybody were erratically accusing everybody a communist mostly out of panic and paranoia. Many of Charlie's actions and scenes in his films would also be unreasonably used against him. Mainly, because the then director of the F.B.I., J. Edgar Hoover, had some weird fixation on Charlie (probably had a crush on him or something) and was inexplicably determined to take him down. He took every opportunity and exaggerated every little thing in Charlie's films. For example, in The Immigrant, The Tramp kicks an immigration officer in the backside, which Hoover and his critics cited as an example of his "anti-American activity." The satire of Modern Times against labor and economic policies was also used as evidence of Charlie's communist views. Also, in the film, Charlie (hysterically) gets mistaken for a communist leader. His critics weren't too happy about that. But of course, it was The Great Dictator that was the camel that broke the straw's back. Wait. What? Anyway, to Hoover's eyes, the film was entitled "I'm a Dirty Filthy Communist, Please Exile Me From America!" And that's what Hoover did. He just needed an opportunity. It was when Charlie left America for the London premiere of his film Limelight, that Hoover leaped at the chance. When Charlie tried to return to the States, he was not allowed back in.

Charlie was devastated. The U.S.A. had become his home. He never did file for citizenship, but he loved the country and it's people as his own. But he was not deterred. He still wanted to make movies, but was forced to do so in England. His last two films would be produced in his homeland. But Charlie was still angry. And he vented his frustrations by making a statement the only way he knew how: he made a movie about it.

A King In New York (1957)

Producer/Writer/Director/Composer: Charlie Chaplin
Cast: Charlie Chaplin, Dawn Addams, Maxine Audley, Jerry Desmonde
RATING: 70/100

Charlie plays the king that's in New York, King Shahdov, who is the king of a fictional country, that goes to America to discuss his plans regarding atomic power. But when he loses all his money, and suddenly becomes a nation-wide celebrity, the King is appalled when he finds himself doing commercials and TV work to get some cash. Things don't work out that well, when he begins to get mixed up in political quarrels and gets accused of communism.

A King In New York is largely disappointing due to the caliber and magnitude of his previous back-to-back masterpieces. It's not a bad film, but it's fairly bland for the first two-thirds of the film with there being barely any good jokes or gags. The story is fairly interesting and clever in how it parallels Charlie's own life, but it doesn't really go anywhere.

Many of us have our ways to take out our frustrations on certain things. Charlie took out his frustrations in his films. And you can't help but respect the man for it. When Charlie was exiled from America because of accusations of communism, Charlie thought it would only be fitting to make a film that satirized and parodied American culture and political and economic policies. It was very risky, but it was also very clever. But it could also be the reason why A King in New York isn't very inspired. Perhaps Charlie was so devastated (he actually was) that it affected his work. It must difficult to get your groove back when it's been utterly shaken.

Charlie's first film from exile unfortunately isn't very funny. There are barely any moments of hysterical brilliance as you might expect from him and there aren't that many jokes at all. There are some pretty funny moments here and there, and there are lots of great satirical humor, but most of it isn't laugh-out-loud funny. It's fairly clever, enough for you to appreciate, but that's pretty much it. If the overall plot was more interesting, that also would've been helpful. The overall story is pretty great on paper, but it's not executed very well, because the film drags a bit.

But as I said, it's not a bad film. The entire experience is pretty enjoyable. The story is intriguing, and Charlie's performance is wondrous as always. Oh, and one little gem in the movie is seeing Charlie's young son, Michael Chaplin, in his role. It's obvious that talent runs in the family! It may not be a laugh riot, or a brilliant story but it's a decent experience and is worth a watch for any Chaplin fan. Just don't come in expecting another hilarious touching Chaplin masterpiece and you'll be fine. This is actually the reason why I consider Limelight to be Charlie's real last film.

A Countess from Hong Kong (1967)

Producer/Writer/Director/Composer: Charlie Chaplin
Cast: Marlon Brando, Sophia Loren, Sydney Earle Chaplin, Tippi Hedren
RATING: 55/100

 It had been over fifty years since Charlie Chaplin had released his first film, but the aging superstar wasn't done yet. His final film, as well as his first color film, was A Countess from Hong Kong. Starring Marlon Brando and Sophia Loren, it would also be the second film that Charlie would direct but not star in. Brando plays Ogden Meyers, an ambassador for Saudi Arabia who meets a Russian countess in Hong Kong who is played by Loren. When Ogden sails back to America, he finds the countess stowed away in his cabin, trying to escape some trafficking issues. Reluctant to help her, but also fearful for any bad press, Ogden agrees to let her stay.

It pains me to say so, but A Countess from Hong Kong is not a good film. It's boring, unfunny, bland, and predictable. It doesn't feel like a Chaplin film at all, not in the least bit. But, as is the case with almost any film, it could just be that this film isn't my cup of tea. Even though it was critically lauded and did poorly at the box office, there are many critics who deem this film as one of Charlie's best. Even Charlie himself had said that it was the greatest film of his entire life. I don't understand that at all.

There's just almost no redeeming qualities about the film. Well, there's one. Charlie actually has a small cameo in the film as the ship's steward, and it's a magnificent delight to see the black and white silent film star in color. It's also Charlie's very last screen appearance. One other thing that may interest some is that Charlie's son, Sydney Earle Chaplin, plays one of the lead roles and three of his daughters have small cameo roles as well. Other than that, there's really no other way to redeem this film. It's not a technically bad film persay, it's just very mediocre. Like I mentioned before, there may be some people who will be able to appreciate the film better, but I simply couldn't. But, it's worth a shot, if you haven't seen it. With me, It's almost depressing because I wished that Charlie went out with a bang. But as I've said time and time again, Limelight will always be Charlie's last film in my mind. So, in my mind, he did go out with a bang.


Not much is known about Charlie's life, but even less is known about the less years of his life. A very intriguing documntary, Charlie Chaplin: The Forgotten Years, is worth a look. There are also many other documentaries detailing his life, that you can check out on Amazon.

Despite Charlie's last films being greatly underwhelming considering the relentless masterpieces he released before them, it's not difficult to look back at Charlie's career, and know that he truly was a master, a genius, and a great although complex and troubled man.


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The Films of Charlie Chaplin at First National Pictures

The most tender scene in The Kid (1921) with Charlie's co-star Jackie Coogan.

The time: 1917. Charlie's contract with Mutual had ended and he was growing immensely as an artist and filmmaker. He decided to sign a contract with First National Pictures wherein they would finance Charlie's films, but he would have complete creative control. Finally, Charlie was able to work in the way he wanted, and it would show in his work. One change that Charlie would make is his pace. He was severely uncomfortable with the unrelenting pace of his previous films (especially at Keystone) where he would have no room to breathe. When he would have more control at Essanay and Mutual, he allowed a slower pace to his liking. But when he would sign with First National, he would take it down to his preferred pace. He made 36 films with Keystone, 15 with Essanay, and 12 with Mutual, but he would only go on to make 9 pictures with First National. He was ordered to make shorts, but Charlie would take a risky move and extend most of his shorts into longer near-feature length films. He would also go on to make his first actual feature-length film: The Kid, which is undoubtedly his most memorable and successful film at First National, as well one of his best and most heart-wrenching films of his career.

Charlie at last could work however he wanted and it allowed him to stretch his artistic prowess to it's maximum, and it would show in his work. His films at First National were certainly his most effective and masterful up to that point, and would become some of his best work overall.

A Dog's Life (1918)
Producer/Writer/Director/Composer: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Sydney Chaplin
RATING: 95/100

One of Charlie's most lovable qualities is his ability to interact with everything from inanimate objects to animals to people in such a uniquely charming way. He showcases that ability (the middle part mostly) in A Dog's Life when the Tramp acquires a new canine pal that brings his life into perspective, and even helps him land a girl.

A Dog's Life is an extremely cute and amusing short with Charlie in his best comedy shape. His chemistry with the dog is adorable and the story is fun and entertaining. It's not really a hilarious film, but it has so many brilliant moments that gives you a glimpse into Chaplin's genius as a physical comedian. There's one scene where he has a conversation with a man only using his hands. Only Charles Chaplin could pull that off. And he does. Brilliantly so. Then there's that scene with his brother Sydney which is also the first time they would appear together on screen. And it's magical. There are lots of other great and brilliant funny moments, and the entire experience is good fun and simply happy-tear-jerking . And of course, another heart-melting ending, just as everything you'd expect from the master of heart-melting endings.




The Bond (1918)
Producer/Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Sydney Chaplin
RATING: 80/100

The Bond is perhaps Charlie's most different film. That's because it's a propaganda film. During the time this film was released, Charlie and along with a couple of his close celebrity friends, Douglas Fairbanks (Yup) and Mary Pickford (Yup yup), toured America and even internationally, trying to help sell US Liberty Bonds and promoting their cause during World War I. The Bond is a film Charlie made to assist in his tour. A little trivia, Charlie was often criticized for not enlisting in the British Army, despite Charlie telling people that he tried to enlist, but was rejected because he was too small, being only 5'5'' and underweight. Also the Army felt he would be more effective touring and making films. They were right. Charlie's next film, Shoulder Arms, would be evidence of this. (see below) Anyway, back to The Bond.

I feel a bit strange reviewing a propaganda flick, but for your benefit, I will.

Anyway, The Bond is perhaps Charlie's most artistic and unique effort. The film entirely consists of expressionistic skits, shot on a set of props with a black backdrop. It's a truly intriguing experience, and it's wonderfully strange to see a film like this, being it is so different than his other films. I'm not the most politically savvy person in the world (in fact, I'm probably the least), so I'm a little indifferent when it comes to the film's message. I didn't really "get" what the film was about, but it was an interesting experience to see Charlie in such a different environment. It wasn't very funny, but I don't think it was really meant to be a laugh riot. All in all, I feel it's a must-see for any hardcore Chaplin fan, if you can manage to forget the propaganda, you'll find the experience very interesting.




Shoulder Arms (1918)
Producer/Writer/Director/Composer: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Sydney Chaplin
RATING: 85/100

Allow me to refer to my previously used formula gag: Shoulder Arms = The Tramp + Army Battle = Merriment. Therefore, by the transitive property, Shoulder Arms = Merriment. This First National short places The Tramp behind enemy lines, fighting the good fight, and other war-themed expression. It's a rather daring satire that delves into the silliness and absurdity of war, a setting and story somewhat similar to what Charlie would revisit in The Great Dictator.

At first glance, the film just feels like a mindless 35 minutes of slapstick and silliness. But it's political satire (though not my cup of tea) and it's brilliance becomes apparent upon reflection. Once I realized how daring it must have been to criticize and poke fun at the war effort at the time, the previously insurmountable respect that I had for Charlie became surmounted. But it's more than just satire, this film was one of the reasons why Charlie became such a global phenomenon. At the time this film came out, the entire globe was ravaged by war, poverty and violence. The only light at the end of their tunnel was Charlie Chaplin. He brought people's spirits to a height that allowed them to trudge on, literally saving lives with his playful silliness in the midst of tragedy and horror. Shoulder Arms is a testament to that. American soldiers even saw and adored this film.

The jokes are brilliant and hilarious, and the entire experience is a great time. It's not a masterpiece, as it lacks some of Charlie's trademark marriage of comedy and pathos, but it's still a really fun experience, with some rather clever writing and a handful of hilarity. And if you're a big fan of Chaplin such as I, then you will get a big kick out of seeing the Tramp strut around in his military uniform. Just as always, he's cute and amusing and displays his status as one of the greatest entertainers of the century.




Sunnyside (1919)
Producer/Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Henry Bergman
RATING: 93/100

Sunnyside has this incarnation of the Tramp being a farmhand at a quiet little town in the country. His work is a bit tough, but it's worth it to be near his beloved. But that all comes into jeopardy when a rich upper-class gentleman waltzes into town and attempts to destroy the Tramp's chances with the woman.

Wow! What a charming adorable little short this is! Sunnyside is in the upper echelon of Charlie's better shorts, much like his other work at First National. There are some great moments of hilarity and the romance is heart-warming. Although there are a few moments of downtime, but even the downtime is enjoyable. The overall experience is fun, cute, and amusing, just as you'd expect from Charlie Chaplin in top form. Although, it's not him in erm.. "most top form" as he is in his masterpieces, but this is pretty close to it.




The Kid (1921)
Producer/Writer/Director/Composer: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Jackie Coogan
RATING: 100/100

Charlie's first feature-length film and his first masterpeice. As well as being his second film to be included in the National Film Registry, The Kid tells the story of the Tramp finding an abandoned baby and raising him as his own. They have a rough life, but they find bliss in their bond, sadly, it all changes when an orphan asylum tries to take Charlie's boy away.

The Kid is one of the most achingly beautiful stories and produces some of the greatest moments in not only Charlie's career, but in movie history. It's perfect blend of heart-rending drama and hilarious slapstick is legendary. The Kid is the very first feature film of it's kind to blend the genres in that way.. It's also what made Charlie Chaplin legendary as well. The Kid is just a masterfully crafted story, with such a painfully beautiful score, stupendous performances, and one of the most emotionally captivating films of all time. Making these sort of declarations seems exaggerated, but in my opinion, they ring true.

The film is just one of Charlie's best. In a way, it paved the road for Charlie to create some of his other absolute masterpieces. And in that same way, it's not perfect. But it's a wholly enthralling experience, one that feels like perfection. It's not one of Charlie's funniest, but it's actually more of a film that focuses on the story. Don't get me wrong, there are loads of incredibly hilarious moments, but it's when the film gets down to the grit of the story that it really shines. There's an astounding blend of drama and comedy, but it actually doesn't feel as balanced as Charlie's absolute best. But that's no reason to knock down this film. It's definitely up there with his best.

Not only is the story absolutely captivating, but so are the performances. Charlie shows us his tender side, and it's probably the reason why there have been so many modern-day comedians that go on to do dramatic roles. Because Charlie showed them how. And he is astronomical in his delivery and commitment to the role. Little Jackie Coogan was one of the first child stars ever, and his role here justifies that greatly. He is an absolute joy and the way Charlie interacts with him is simply magical.

The Kid is also one of the first films that he composed the score for. And what a way to introduce your composing talent. The score for The Kid is indescribably beautiful and only exemplifies the most incredible moments. Charlie rips open your chest with his story, clutches at your heart with his performance, and then viciously rips it out with his music. Charlie Chaplin was a grandmaster of film.

The Kid is Charlie's first real masterpiece. It's his first film that is so unbelievably beautiful and funny at the same time, that you can almost feel the genius of Charlie Chaplin exuding from this film. It's simply a triumph of cinematic beauty.




Pay Day (1922)
Producer/Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Mack Swain
RATING: 90/100

Here, The Tramp is translated into a hard-working-man with a nagging wife and then celebrates his paycheck with drinks with his friends, much to the disdain of the Mrs.

Pay Day is one of the funniest (perhaps, THE funniest) Charlie Chaplin short I've seen. It even rivals the features (which are his masterpieces) in side-splitting hilarity. The story is mostly ordinary but the film isn't boring at all. Charlie manages to create ingenious hilarity from simple situations, and displays his amazing ability to mix his charismatic talent, his comedic timing, and his skillful construction of jokes. There are a handful of magnificent scenes that make you want to cry because they're so funny.



The Pilgrim (1923)
Producer/Writer/Director/Composer: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Mack Swain, Sydney Chaplin
RATING: 95/100

The Pilgrim takes Charlie's Tramp as an escaped convict who gets mistaken for a reverend at a small western town. And of course, trouble (and hilarity) arises when he tries to fulfill his duties as the reverend and then is discovered for who is.

This is another one of Charlie's more daring films. I'm not sure how normal it was for comedians to poke fun at religion back then, but I imagine it's about as risky as it is today, maybe even more. The film doesn't really outwardly criticize religion so much so that it just places some of Charlie's trademark gags in a religious setting, with uproariously funny results. The humor isn't as steady as you might hope, but there are numerous moments that make this film worth watching, such as Charlie displaying his pantomime skills by telling the story of David and Goliath without any words, or the whole "hat-cake incident" among others. Oh, and let's not forget the "awwwwwww" ending, that just melts you heart away. A Chaplin film isn't a Chaplin film without it.

It's a charming, entertaining, and thoroughly enjoyable film, with a fairly amusing story, some brilliant funny moments, and Charlie Chaplin in all his slapstick glory. In other words, it's got nearly everything that his masterpieces do, but just needed a bit more of a stretch to get there. Some of the jokes are a bit flat compared to the great ones, but it's a good time nonetheless and never gets boring. Oh, and the music is phenomenal. Being another one of the films he composed, Charlie again showcases his multitude talents, including his music-writing abilities.

First National is a fanatstic moment in Charlie's career, one that any fan should not pass up. The Chaplin Revue among many other DVD collections are a must-buy for any true fan. You can buy them at Amazon.

Finally, the genius of Charlie Chaplin had arrived. At First National, Charlie had climbed to that peak. He hadn't exactly reached it, but he was a stone's throw away. Or maybe a feather's throw away. You know, because it's really hard to throw a feather, and when you do, it often doesn't go very far. I wonder why. It probably has to do with the resistance of the individual feathers against the-wait. What was I talking about? Oh yeah. Charlie had made the climb. He just needed to take that final step. And he would at United Artists, where we would create his absolute best work, and some of the best films in the history of the industry. Haha. That rhymes.


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The Films of Charlie Chaplin at the Mutual Film Corporation

With Essanay Studios, Charlie would find a new sense of artistic freedom and a more refined skill as a filmmaker. He would then take it to the next level at Mutual Films, as well as becoming the highest paid actor of the time.

Unfortunately, he wouldn't achieve that optimal level until a few more contracts, but he was even closer at this point. Charlie was now producing his films and would experience near-complete artistic freedom. But didn't have sole ownership of his films, he shared the producing credit with Henry P. Caulfield who unfortunately had a say in production as well. Charlie also had several uncredited co-directors and co-writers, so Charlie's films still weren't completely his. And thus, like Essanay, Chariie would still struggle a bit. However, it's at Mutual where he would create some of his best shorts up to that time as well some of his most iconic images and memorable gags of his career. Charlie made 12 films for Mutual, but I'll only be including eight reviews in this section.

The Floorwalker (Shop) (1916)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin, Vincent Bryan (co-writer)
Cast: Charlie Chaplin, Edna Purviance, Eric Campbell, Lloyd Campbell
RATING: 70/100 

Although Charlie was given his own studio at his time at Essanay, it would be at Mutual when he would be able to build his own sets. His first film at Mutual, The Floorwalker, would be one of his first films in which Charlie built his own set. One of the more interesting things about the set, is when Charlie asked his team to build an elevator, which would allow Charlie to create one of his most inspired gags: the elevator chase scene. Another iconic image in this film, is one that has been recreated and parodied in several films since then.

Charlie's Tramp encounters the owner of a department store who looks exactly identical to him, and as soon as they see each other, create a rather amusing mirror effect. This gag has been most famously done (and thus popularized the gag) in the Marx Brothers film Duck Soup. The gag would be parodied in several other mediums in the future, such as in the animated series Family Guy. The mistaken identity gag would also be one that Charlie would revisit in several of his other films. This film would also be one of the first times Charlie would feature his good friend Eric Campbell in his trademark role of the angry hothead, a role he would play in a multitude of Chaplin's films as well as starring in some of Charlie's best work.

As mentioned earlier, The Tramp encounters a man that looks completely identical to him. But when he gets mistaken for the man, and the crime he had committed, the Tramp finds himself in deep waters.

A pretty funny and enjoyable short. It's not exactly mesmerizingly good, but it's still pretty fun. The story is pretty clever, but doesn't really go anywhere. There are lots of brilliant gags (seeing the moments mentioned earlier alone makes the film worth seeing) but the humor isn't very consistent. All in all, it's a pretty funny and entertaining film.

The Vagabond (Gypsy Life) (1916)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin, Vincent Bryan (co-writer)
Cast: Charlie Chaplin, Edna Purviance, Eric Campbell, Lloyd Campbell
RATING: 80/100

The Tramp meets a woman who is being abused by her employers, and he takes it upon himself to rescue her and whisk her away. Their life together is pleasant but things become complicated when The Tramp falls in love with the woman, but the woman falls for another.

With The Tramp (1915), the short from Essanay, Charlie had taken his first step towards his unique genius, and with The Vagabond, he would take another step. But only just a step, it's not exactly a leap, like The Kid. The Tramp and The Vagabond (Man, Charlie like to use "The" in the titles of his films) were two of the very first films ever to display a mixture of comedy and pathos, which would become Charlie's trademark and which he would later perfect in The Kid. The Vagabond comes close, but not as close as The Tramp or nearly as close as The Kid.

But on it's own, The Vagabond is an extremely endearing and adorable film with some beautiful touching moments and a few laughs. But only a few. It's a smidge disappointing because the film isn't very funny. There are a couple or so pretty good moments, but overall it's a letdown. That being so, the film is still very cute and amusing and it isn't really boring, it just works better as a drama with some funny moments, rather than the level of his masterpieces which are a perfect combination of laughs and tears. 

One A.M. (Solo) (1916)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin
Starring: Charlie Chaplin
RATING: 95/100 

One of Charlie's most impressive films is One A.M. It's simply a drunk Charlie coming home from a night out on the town, trying to get inside his house, upstairs into his bedroom, and into bed. That's it! Really! And it's wonderful.

One A.M. is just great. Only Charlie Chaplin can take 15 minutes trying to get inside his house, getting upstairs, and getting to sleep and entertain you every second of it. It just shows the sort of charisma, talent, and mastery that Charlie exuded in his films and made him one of the best who ever lived. One A.M feels like an exercise or lecture in physical comedy (but not a boring lecture, not at all). There may not be anything mind-blowing about this short, but it's just a perfect example of what made Charlie Chaplin the master comedian that he is now known as.






The Pawnshop (At The Sign of the Dollar) (High and Low Finance)(1916)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin
Starring: Charlie Chaplin, Edna Purviance, Henry Bergman
RATING: 75/100 

One of Charlie's most famous and successful Mutual shorts, The Pawnshop puts The Tramp working at, as you might expect, a pawnshop. It's a great formula actually. The Tramp + Pawned Trinkets = Awesometown.

Well, it's not really awesometown. It's more like prettygoodtown. There are some great moments here, and the entire film is pretty funny, but it's not very consistent as a slight majority of the jokes grow tired pretty fast and are basically slapstick cliches. There's not much to the story as well. It's still a great enjoyable film overall, and most likely worth your time





The Rink (Rolling Around)(Waiter) (1916)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin
Starring: Charlie Chaplin, Edna Purviance, Henry Bergman, Eric Campbell
RATING: 80/100 

This Mutual short is another one of Chaplin's "formula shorts." The formula in this film being: The Tramp + A Roller Rink = Laughter. Much laughter.

Charlie plays a waiter who loves to roller skate, and (big surprise here, just warning you so you don't get too startled) manages to get into some mischief with his boss and some skaters at the rink.

The Rink is one damn funny film. The first third of the film isn't as funny, but as soon as Charlie steps onto the roller rink, laughter and joy ensues. The story is also actually quite amusing and concludes in a rather hilarious explosion of silliness. It's pretty close to getting up there with one of Charlie's funniest, but not quite there. However, witnessing his largely impressive and humorous skating skills is well well worth worth it it.





Easy Street (1917)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin
Starring: Charlie Chaplin, Edna Purviance, Eric Campbell
RATING: 80/100 

Here we have a Chaplin silent short that may rival The Immigrant as Charlie's most important and famous work at Mutual Studios. It also may as well be Charlie's most autobiographical with a subject matter very near and dear to Mr. Chaplin's heart. The Tramp, looking for work, joins up with the police force and gets assigned to the toughest neighborhood in the county, Easy Street. He does his best to clean up the area, but struggles when he runs into the bully and his gang that run the whole joint.

As I've mentioned, Charlie grew up in the slums of Walworth, London, which was a very rough and tumble neighborhood. Charlie wanted to recreate his hardship by building a little London town in the middle of Los Angeles, California, and he did so (if I may say so) brilliantly. A little trivia, the name of the street and film is a reference to the actual street Charlie grew up on, which was called East Street. See, it's like Easy Street but with a "T" instead of a "Y" at the end. Clever!

The film may not be very funny (even though it does have a few pretty good moments) but it's definitely one of Charlie's most endearing films as you can almost feel how much of himself he put into this film. The ending is very touching, and you almost feel the sort of difficulties Charlie had to go through to get where he is today. It's a very moving film, but don't expect a lot of funny moments.




The Cure (The Water Cure)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Eric Campbell
RATING: 70/100 

This short is actually one of Charlie's more popular Mutual films. Charlie plays a drunkard looking to rehabilitate himself at a health spa, and doesn't exactly get the R&R he's searching for when he can't help but cause some trouble with the management.

The Cure is another one of Charlie's less impressive but still largely enjoyable shorts. There are a few pretty great moments as well as some of Charlie's more memorable and iconic images. The overall film is fun and silly, but it does feel a bit lacking and disappointing as you know that it pales in comparison with some of Charlie's better work. But on it's own, it's a fairly amusing albeit inconsistent short with some great moments.

The Immigrant (A Modern Columbus)(Broke)(Hello U.S.A.)(The New World) (1917)
Producer: Charlie Chaplin, Henry P. Caulfield
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Eric Campbell
RATING: 90/100

The Immigrant is undoubtedly Charlie's most successful, important, and iconic film up to that point. It's his first of many films to be added into the National Film Registry, which if you don't know, is a pretty big deal. A film is added to the Registry (which is part of the American Library of Congress) when it is deemed "culturally, aesthetically, or technologically significant." And The Immigrant definitely is all of those. This film would also be one of the first courageous satires of his career, being a film criticizing and parodying the search for the American Dream.

Charlie plays an immigrant (do I even have to say it?) who finds love on the boat to America. They travel to America in hopes to find wealth and a better life, but they don't exactly get what they want.

It's amazing how much Charlie can give you from so little. The plot is simple and light, and the entire experience is hugely amusing but may not be very hysterical as you might hope. There are some pretty great scenes, but the film just isn't that funny. It's not boring or anything like that, the story is actually quite moving and endearing. It may not be a laugh riot, but The Immigrant is definitely one of Charlie's most magical films. The tenderness and the delicacy of the characters and the way they interact is beautiful.

The Mutual shorts are filled with great gems of Charlie's career that any fan or aspiring fan will enjoy. You can buy DVD collections of them at Amazon.

Charlie's work at Mutual is very similar to his time at Essanay, but it is a step further. He had more creative control, but not as much as he would've wanted. Despite this, Charlie produced some of his best and most memorable shorts at Mutual. Charlie had definitely found his way as a comedian (seeing as some of this funniest films are from Essanay and Mutual) and he had begun to find himself an artist, creating very touching and emotionally gripping films at this point. But you ain't seen nothing yet. His next career move would take him to First National, where his work would be almost leaps and bounds over his previous work.


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The Films of Charlie Chaplin at Essanay Studios

The Tramp (1915) the first film to include Charlie's most iconic image: The Tramp walking off into the horizon.

It was 1915. Charlie Chaplin had just found success and fame with over thirty films at Keystone Studios. Although he got the opportunity to write and direct almost half of them, Charlie still didn't have the type of creative control he wanted. That would soon change. Well, for the most part.

While his contract with Keystone was going along, Charlie's phone rang off the hook. He was getting countless offers left and right. And when Essanay Studios offered him a much larger salary, as well his own studio, Charlie jumped at the opportunity.

Charlie's work at Essanay marks the point in his journey when he began to find his mark. His work at Keystone was far too crude and rough, and despite being very popular and successful at the time, most modern viewers may find them inaccessible. But Essanay is when Charlie's genius would begin to surface. But only just begin.

Charlie ran his own studio, but he still wasn't producing his films. So, it was more like he was finding his way but not quite there yet. If you would permit me to use an analogy, think of Charlie's creative process and his overall career like a boxing match. Keystone was the first round, a round where most fighters "feel out" their opponent, trying to find their range, trying to get a feel for their opponent. Essanay is like the second round. Where the fighters have become more comfortable each other, and now possess the proper tools to fight. They'll usually land a great deal of punches at this point, but it's usually not anything damaging. The same can be said for Charlie's work at Essanay. Its where Charlie's began to really hone his skills, showcase his talent as a comedian/writer/director but it wasn't where he made any real timeless masterpieces. DId you get it? Oh, not a boxing fan? Then I guess that was just a waste of time. I'm sorry.

Essanay would also be where Charlie would meet his star leading lady, Edna Purviance. Trying to find a new actress to play opposite him, Charlie was introduced to the girl, who actually was just a secretary and never even acted before. But that's what Charlie wanted. He has been quoted saying, (and forgive me, I'm paraphrasing a bit) "It's good that you don't know anything about acting. Because I would've made you unlearn everything." This sort of risky move would be something Charlie would later repeat with his leading ladies. But Edna was his shining star. She would go on to star in over thirty films opposite Charlie. Which has got to be some kinda record. Charlie loved everything about her, he found something in her face and facial expression that was unique. It wasn't just beauty, there was something delicate and innocent about her that drew Charlie to her. That affection would later manifest itself in reality when they did become romantically involved. But nothing serious became of it.

Charlie did 15 films for Essanay and wrote, directed, and starred in all of them. Again, I don't want to get into every single film, so I'll include seven reviews of Charlie's most notable work. Enjoy.

His New Job (Charlie's New Job) (1915)
Producer: Jess Robins
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Ben Turpin, Leo White
RATING: 70/100

The aptly titled His New Job (get it? It's because it's Charlie's new job at Essanay too, after leaving Keystone! Clever!) has Charlie playing a bumbling clumsy stagehand working on a film set. When one of the actors becomes indisposed, Charlie is hired to replace him. And as you might expect, he doesn't exactly do an ideal job.

His New Job is fairly mediocre for Chaplin, especially considering how great most of his other Essanay shorts would be. There are some great moments, and the entire film is pretty funny overall, but it's not exactly spectacular. And there's not as many funny jokes as usual and the story isn't that interesting and there's not much going on.

Despite all this, there's still some great moments of physical comedy and the overall experience is pretty fun. A tad disappointing but it's all forgivable, because Charlie is just, well, he's just great.

A Night Out (Champagne Charlie)(Charlie's Drunken Daze)(His Night Out) (1915)
Producer: Jess Robins
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Ben Turpin
RATING: 90/100

In this Essanay short, the Tramp meets up with an old friend and they decide to have a night out. Oh, so that's where they got the title. Clever! Anyway, they get wasted, have crazy adventures with a cute girl from a hotel, and act a fool. Thanks Ludacris for learning us nice grammar!

A Night Out is absolutely hilarious. It's like a physical comedy masterclass, in both good ways and bad. It's good because the film is just 34 minutes of jokes and gags with laughter and silliness. It's bad because that's all it is. Not much story to it, but it shouldn't bother you at all. Charlie displays his unfaltering talent and showcases his famous drunk character (incarnated into The Tramp) from his heydays with Fred Karno with perfect precision. He is just on point here, at the top of his game. His co-stars are brilliant as well. Ben Turpin plays off Chaplin's character fantastically, and Edna Purviance's film debut is delightful. It's not as captivating or gripping as Charlie's masterpieces, but it's just wholly entertaining and fun. So much so, that I wouldn't feel right about giving it a score lower than 90.




The Champion (Charlie The Champion)(Battling Charlie)(Champion Charlie) (1915)
Producer: Jess Robins
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Leo White
RATING: 85/100

The Tramp is down on his luck, like usual, and tries his hand at boxing to make some money. This gag would be later revisited in City Lights, and it's just as great there as it is here.

It's Charlie in top comedic form. Charlie has such an amusing and unique physical presence, that adding boxing to the equation is a formula for hilarity. Man, that was lame. I'm sorry. But it's true. The story isn't the most riveting but it's pretty damn fun and enjoyable. After a series of lackluster efforts in Keystone, it's a relief to see Charlie let loose and really entertain you every millisecond he appears on screen. The Champion is a hilarious and fun good time. Don't miss out on this one.

The Tramp (1915)
Producer: Jess RobinsWriter/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance
RATING: 95/100

The Tramp is most likely Charlie's most famous and important film up to that point. It marks Charlie's first dip into the pool that is his true genius. It was daring and revolutionary in every sense. It would be the first time anyone tried to mingle comedy with drama and pathos, or in other words, a mixture of comedy and emotions. It's what made him famous, and it's what he would be remembered for, a trademark that would appear in Charlie's later masterpieces which would become some of the greatest comedy films (and general greatest films) of all time.

In this silent short, Charlie's Tramp plays his usual vagabond self, traveling the countryside looking for a place to stay. When he gets caught up in a situation with a group of thieves, he gets shot. He's rescued by a beautiful farmer girl, whom Charlie falls for.

In The Tramp we get a glimpse (and a rather perfect glimpse at that) at the brilliance, perfection, and mastery that Chaplin would exude in his future masterpieces. It's a thoroughly joyous experience with some great funny moments, and the Chaplin-esque heart-wrenching ending. It's not one of his funniest films, but it's funny moments are just great. and it's almost impossible not to enjoy yourself. It's a wonderful film, but it doesn't quite reach that level of perfection and precision that his best films have. It's got the same sort of formula, but it's not executed perfectly as his masterpieces. Oh, and this film is where Charlie unleashed one of his most famous trademark images: The Tramp walking his goofy little walk into the horizon. Which you can see in the photo above.

A Woman (Charlie's Perfect Lady) (1915)
Producer: Jess Robins
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Edna Purviance, Charles Inslee
RATING: 85/100

In this Chaplin short, the Tramp interferes with a family's day out, and gets into some trouble with the father when he goes after his wife and daughter.

A Woman is another short where Charlie is in top form and it's glorious. There are handfuls and handfuls of great gags and jokes here, but the pièce de résistance is what happens towards the end. Bit of a SPOILER but, all you need to know is three words: Charlie.In.Drag. Oh, and one more word: Hilarity. Charlie is so funny in drag, even though it's something that all comedians of the time (and of all time) had done. But don't doubt that Charlie brought his own special brand of brilliance to it. He's a pretty good looking girl too!This film would actually be the third and last time Charlie would do drag (he had done so in two Keystone films). The story is a bit hard to follow, and isn't anything to write home about, but it's pretty amusing. It's not as consistent with the jokes either but the entire experience is a blast.

A Woman is just plain funny. There's nothing revolutionary about it, and it still doesn't hold a candle to Charlie's best, but it's definitely one of his funniest and is a wonderful wonderful time.

On a side note, that last sentence I wrote got me thinking about the idiom "doesn't hold a candle to." Which, if you didn't know, means that something is incomparable to something else. I was curious about what the origins of it was, so I googled it. I found out that it's a reference to the pre-electricity days when assistants to the wealthy would hold candles for them whenever they did anything. And so, somebody who isn't even fit to hold a candle, isn't worth much. But I don't mean to say that this film isn't worth much. In that case, I suppose I should change the idiom I used. But then, you would never have learned this fascinating fun fact. What the hell, I'll leave it in. Well, there you go. Hope you enjoyed all that.

A Burlesque on Carmen (1916)
Producer: Jess Robins
Writer/Director: Charlie Chaplin, Prosper Mérimée (novel)
Cast: Charlie Chaplin, Edna Purviance, Jack Henderson
RATING: 75/100

When a film adaptation of the famous opera Carmen was released 1915, it inspired Chaplin to create a comedy version. And what resulted is this very strange parody/spoof of the opera. If you're not familiar with the opera, it's the story of Don Jose (played by Charlie) and Carmen (played by Edna Purviance) falling in love. But Don Jose is heartbroken when she abandons him for another.

This Chaplin short is a rather peculiarly intriguing film. What's so simultaneously peculiar and intriguing about it is that it may very well be the first parody film ever made. And I don't think anybody even realized or appreciated it at the time, but this film could be the first parody. But seeing as that may be the case, it's very rough which is something to be expected. When the film first started, I felt like Chaplin was somewhat out of his element. The comic stylings set to Carmen felt strange and although there were some pretty funny moments, it actually felt a tad uncomfortable. But it all sort of culminated into a staggering ending.

SPOILERS, WILL ROBINSON, SPOILERS. Charlie creates a joke that is quite possibly his most different joke of his career. If you don't know the ending of the original,it ends with Don Jose killing his beloved Carmen out of rage but then, quickly realizing his mistake, takes his own life out of grief. The same thing happens in Charlie's version, but in an incredible almost post-modern twist (for it's time at least) Charlie and Edna break the fourth wall, standing up and revealing that they're not hurt and that the knife used to take their lives is fake. They just joke and laugh to one another as if none of it every happened, even laughing and pointing at the camera. Nearly 100 years later, the joke isn't that shocking, but it must have blown people's minds back then. Because it seems to me that this is the absolute first time anything like this was ever done. Considering that, it's hard not have great respect for Charlie, even if the film isn't all that great. END OF SPOILERS.

It gets a bit boring at times, and as I mentioned, the humor isn't that solid, but the ending practically ties the film together and allows you to better appreciate the rest of the film (an attribute that all of Charlie's best films have). And just like that, all of the uncomfortable oddities you felt while watching are nearly gone.

Charlie's Essanay shorts are great that any fan should enjoy. There are many DVD collections that are worth a buy, you can find most of them at Amazon.

Essanay was one of the most pivotal points in Charlie's life and career. It's where he learned to stretch his creative wings, and really began to find his way as an artist. He wasn't quite there yet, but he was undoubtedly well on his way. He would take that next step that would take him to the next level of his game. That next step would be at Mutual Films.

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An Introduction To Charlie Chaplin And His Films At Keystone Studios

Like a majority of Americans and pretty much everybody else, I used to equate a good film with explosions, sex scenes, beautiful women, swords, guns, and Al Pacino. It wasn't until I decided to take my film-viewing experience seriously, that I decided to watch some quality film, namely, the most influential and important films of all time, like Borat.... No. Anyway, I've journeyed across countless genres, directors, and actors, and have had a blast of a time. Now, my journey has taken me to classic comedy. And as a result, I met the (not gay) love of my life: Sir Charles Chaplin.... Ok, maybe a little gay... No...

 

The Man

It's only fitting that before you learn about the films of the great Charles Chaplin, that you know a little bit about him.

Before I ventured into the Classic Comedy realm, I had little tidbits of knowledge about Charlie Chaplin. I somewhat knew who he was but as I would learn later, I actually had no idea. I saw Charlie as one of those crazy slapstick comedians who used to throw pies at people and run around in a silly costume, which is what I thought of all silent slapstick comedians. Well, I was somewhat right (the pie-throwing deal is more of a Laurel and Hardy gag.) Soon, I would discover that Charlie Chaplin was one of the greatest filmmakers of all time, and at one point, was the most popular man on Earth.

Charlie Chaplin was one of the first, if not THE first, superstar of Hollywood. Within a year of his first appearance, crowds would form wherever he went. Within two years, he would be the most recognizable face on the planet. And he would go on to make more money than any star before him. Now, Charlie wasn't just an actor. He was a writer, director, producer, and composer as well. Not many people have been able to pull that off, and those that did, are some of the greatest filmmakers we've ever known. The silent film star would forever change the way people looked at comedies, being one of the first filmmakers to blend comedy with drama. He would create some of the most iconic images of classic comedy and he would pave the way for what a comic can do, say, and create. He would go on to become a legend.

Charles Spencer Chaplin Jr. was born on, well, actually the details of his birth aren't exactly definite. Records of his birth were never discovered. But Charlie gives his place and date of birth as April 16, 1889 in Walworth, London, England. (Yeah he's British, which is something that totally surprised me). Charlie may grow up to be the highest paid actor in Hollywood, but his life was anything but charmed. He would go through harrowing trials and hardships, living in poverty and struggling with the world around him.

He was raised in the cockney slums by his music hall parents, who brought him into the family business. Actually, saying that he was raised by both his parents is inaccurate. Charlie's father, Charles Chaplin Sr, was a drunk with very violent and destructive tendencies. He would be in and out of Charlie's life (but mostly out) until he would die of liver failure, when Charlie was only twelve. Struggling from the strain of raising two boys on her own, Charlie's mother, Hannah Chaplin, suffered from mental health issues, and was in and out of insane asylums for the next thirty-odd years. As a result, Charlie and his brother Sydney were in and out of different workhouses, homes, and schools just as much. Despite this, she was always a shining light in the lives of the two brothers.

It's been said that Charlie's first performance was when he did a song and dance act to fill in for his mother, who was being booed off the stage. Determined to save his mother's act, he jumped on stage and started doing the act himself. This would later be depicted in the biopic "Chaplin" released in 1992 and starring Robert Downey Jr. as Charlie. Eventually, Charlie would find work in a clog dancing troupe where he achieved much local praise and attention for his talent. As a result, he performed in a play about Sherlock Holmes, where he would work with his brother Sydney. Sydney would then go on to work in a comedy act for Fred Karno, who owned one of the biggest comedy shows in London. Sydney recommended his brother to Karno and after auditioning for him, Karno was glad to have him on, doing a "drunk act" wherein Charlie would act like a stumbling bumbling drunk on stage. Ironically, it's been said that he learned to do so from studying his father and local drunks in his area. This wouldn't be the first time Charlie would take painful memories from his childhood and turn them into humorous jokes and gags. It's one of the shining examples of his genius.

Karno took his act and his actors on a tour to America, where Mack Sennet would discover him and sign him up for a deal at Keystone Studios.Little did Charlie know that his work at Keystone would be where his fame would skyrocket in a manner unseen before. And also, it would be the birth of a legend, and his legendary character: The Little Tramp.

The Tramp

A small bowler derby hat, a toothbrush mustache, a tight coat, very baggy pants, over-sized shoes on the opposite foot, and a bamboo cane. This is the image of The Little Tramp, or just The Tramp as he is also known, who is Charlie Chaplin's most famous and recognizable character. They say that the measure of a really great character is using "the silhouette test." That is, the more recognizable a character is from their silhouette alone, the more iconic the character would become. And The Tramp's silhouette may very well be one of the most instantly recognizable images in American culture.

The Tramp has been Charlie's way into our hearts. He represents everything Charlie stands for, and he embodies the very essence of his films. He has been Charlie's vehicle and vessel for laughter, tears, and joy for nearly every single one of his 82 (yes, 82) films of his lifetime. The Tramp is a poor, destitute vagabond, with a heart of platinum and a strong will. He's also a clumsy silly fool, that is often the victim of circumstances and coincidences that lead him into wild adventures and strange and hilarious situations. But at his core, he's just an innocent hopeless romantic, looking for love and acceptance, just like any one of us. But also just like all of us, he's not a perfect saint, but he has a good heart, and he tries his best to be a good person. He is the character that America and the world fell in love with. And who could blame them when Charlie's impeccable charm and charisma would erupt out of the character every second he appeared on screen? Although the Tramp is usually portrayed as a homeless vagrant, he sometimes has certain "incarnations" wherein he has the same spirit and spunk of the Tramp but isn't exactly the same character. Like when he has a wife and children in A Day's Pleasure or in the numerous films where he has a job and a house like in Pay Day. Some people still consider these films as "Tramp films" and I agree with them. But Charlie doesn't play the Tramp in every film, even though his character may resemble him.

The Tramp is known the world over for his trademark behavior and mannerisms, like the polite tipping of the hat, the cutesy smile, the twirl of the cane, the iconic splay-footed walk, the limb-flailing run, the "skidding" turn, the panicked look, and the "leaning gag" among many many others. It's all what made Charlie such a physical comic genius. But it's so much more than that. The Tramp is much more than just a clown that acts funny. There is something about him, an untouchable unnameable quality that just exudes whimsy and charm. He has a sense of playful innocence about himself, something that's wholly unique to him. Sure, there were many silent comedians that portrayed several similar characters. The Tramp character was actually a staple of vaudeville (a form of music hall theater.) But it's Charlie's Little Tramp that we remember, because it was Charlie that was the best. It's a truly unique experience to watch him perform.

Later on in his career, Charlie would show us that The Tramp is more than just a silly clown. He's an honest, whole-hearted human being that you can't help but cheer for. He's the ultimate hero. A hero that triumphs over adversity, and fights the powers that be. A hero that's a commoner that represents every man's own struggle against the world around him, and the forces that are out of his control. A hero that makes us laugh, smile, and rejoice. A hero that would get kicked in the butt many times. A hero that Charlie would create in his time at Keystone Studios, where he worked for Mack Sennet. And it's where the world would first meet the darling Little Tramp, a legend and hero..... and recipient of kicks to the butt.

The Films: Keystone Studios

Kid Auto Races at Venice (1914) Charlie's first appearance as The Little Tramp

Being a theatre and music hall performer, Charlie was unsure about his transition to the moving pictures. It was a foreign world to him and he wasn't very confident he would be successful. But thank heavens that he took a chance and went for it, otherwise the world may have never learned of his legendary ability and talent.

Charlie's very first film was Making A Living. It didn't turn out as good as anybody was hoping. Both Charlie and Mack Sennet (the founder of Keystone) were disappointed with the results. And both of them were considering the fact that this was a mistake. But they decided to hold out, and we're glad they did. During the production of Keystone's next picture, Mabel's Strange Predicament, Charlie was asked to create his own costume and makeup, mostly because he (and everyone else) were dissatisfied with his performance in Making A Living. Unfortunately, on the day of the shoot, Charlie arrived to the studio far too late and was forced to create his costume on the fly. In an instant, Charlie had formed an idea in his mind. He wanted everything to be a contradiction, the small hat and the tight coat, in contrast to the baggy pants and huge shoes. He was actually forced to wear the shoes on opposite feet, in order for them to fit. Sennet had told him that he was to portray an older man, so when looking for facial hair, Charlie decided on the toothbrush mustache because he felt it was small enough to still show his face and allow the audience to read his facial expressions. On his way to the set, he established who the character was, how he walked, how he moved, taking influence from the drunks in his neighborhood. And thus, The Tramp was born.

Although it was Mabel's Strange Predicament where The Tramp would be born, it would be the film Kid Auto Races At Venice where he would be first seen. Kid Auto Races was scheduled to be made first, but it was delayed due to weather conditions. As a result, Mabel's Strange Predicament was produced first. But then production focus went back to Kid Auto Races when the weather cleared, and was thus released before. The world was a abuzz. Charlie Chaplin was a star almost overnight.

Keystone found great success with their new star. Although, a good first half of Charlie's Keystone films were not written or directed by him. Charlie quickly learned that he did not like being directed and it showed in his performance. Production continued to falter as Charlie was having more and more difficulty taking orders from others. Things only got worse when he was directed by Mabel Normand, who was romantically involved with Sennet. Charlie especially disliked being directed by a woman and the two did not get along at first. Don't think of it as Charlie being a prima donna or anything like that. You have to understand that Charlie was raised in the kill-or-be-killed cockney slums. If you were a pushover, you were dead. Growing up around other hot-headed gangsters and footballers, their behavior rubbed off on him. Anyway, demand for more Chaplin films were skyrocketing and Sennet needed a solution to make production go smoother. Charlie then offered to write and direct himself, even offering up his own savings. Sennet obliged and the journey to magic began. But Charlie wasn't exactly a prodigy. Charlie's first attempts weren't masterpieces. But Charlie wasn't completely to blame here. He had often stated that he didn't enjoy his early work as much because he didn't have as much artistic freedom as you might expect. Mack Sennet produced all his films at Keystone, and therefore had last say on what made the chopping block. Charlie was, to say the least, not satisfied. His first written and directed film, Twenty Minutes of Love (which will be reviewed later) is a testament to this. It's not a bad film, but it's miles away from what he will accomplish later on.

Before I start reviewing his films, allow me to make a few points. Keep in mind, that these films are almost ONE-HUNDRED YEARS OLD. Now, really think about that for a second. That's amazing. Most of Chariie's early work shows its age, because films were drastically different back then. It may be difficult to appreciate, but if you have the patience and watch with an open-mind, many of these films are actually pretty good. But they certainly lack the timelessness that made Charlie's best work so immortal. A majority of his early films pale in comparison to his masterpieces. Actually, "pale" isn't the right word. They "albino" in comparison. No, I'm sorry that was inappropriate. They "bucket" in comparison. That one's good. Anyway, just because they are so different from his best work doesn't mean they're not worth watching. Something you will probably learn when you see the first twelve seconds of any of his films, is that Charlie is a cinematic magician, or as I like to call him, a cinemagician. See what I did there? Pretty great huh? Anyway, I could watch Charlie eat a bowl of soup for an hour and be entertained. That's how magical he is. But for any newcomers to Charlie's loving family, I actually don't recommend you watch his early films first. I recommend you see his features first, which I'll get into in the United Artists article. But to any hardcore Chaplin fan, his films at Keystone are a testament to his humble beginnings and essential for any Chaplin film completist.

Charlie made 36 films with Keystone (Yeah. 36. In a span of 10 months. Yeah.) and I don't want to eat up your time with posting my review for every single one. So, I've chosen nine reviews of Charlie's most notable Keystone films. Here you go.

Making A Living (A Busted Johnny)( Doing His Best) (Take My Picture)(Troubles) (1914)
Producer: Mack Sennet
Writer/Director: Henry Lehrman
Cast: Charlie Chaplin, Chester Conklin, Minta Durfee
RATING: 50/100

In Making A Living, Charlie plays a role that will be much different than the role that he becomes famous for. He plays a snide con artist looking to make a quick buck. And he does so the only way he knows how, trying to double cross and trick a local news reporter. 

Making A Living is hard to follow, not very funny, and just overall feels dated. But it's worth watching to see Charlie in his first movie which is essential for any hardcore fan. He plays a significantly different character than the Tramp, and it should be rather interesting for any fan to see Charlie in such a different role. There are a couple of pretty funny moments but everything about the film is fairly mediocre.









Kid Auto Races at Venice (The Pest) (1914)
Producer: Mack Sennet
Writer/Director: Henry Lehrman
Cast: Charlie Chaplin, Henry Lehrman
RATING: 70/100

In the Tramp's debut, he stars in a film that's alternately referred to as "The Pest" which is probably a more appropriate title, seeing as that's the role he plays. At an auto kart race for kids at Venice (in case you didn't figure that out from the title), a group of cameramen are having trouble covering the event when the camera-hungry attention-grabbing Tramp won't stop interfering with the shoot. Hilarity follows.

It's amazing what Charlie can do with so little. There's no tangible plot, or anything else that goes on aside from The Tramp getting in the way of filming a race, but what's amazing is how funny it can get. The joke runs dry fairly fast, but Charlie's charm explodes off the screen and you get the incredibly humbling feeling that every one there at the races must have felt: a legend is being born.









Mabel's Strange Predicament (Hotel Mixup) (1914)
Producer: Mack Sennet
Writer/Director: Henry Lehrman
Cast: Charlie Chaplin, Mabel Normand, Chester Conklin
RATING: 50/100

Charlie plays a more secondary character than his other films here, as Mable Normand plays the titular character. Charlie is a drunk going after a sweet young thang in a hotel, while she deals with other men trouble at the same time.

A very crude and messy short, but hard to disrespect, as this is the Tramp's first actual film (Kid Auto Races was more like a home movie than a film). You can almost see the full potential of the little fellow erupting out of his character and it's an honor to behold. Too bad it's vehicle is so boring, unfunny, and confusing.









Twenty Minutes of Love (1914)
Producer: Mack Sennet
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Minta Durfee, Edgar Kennedy
RATING: 60/100

The film Twenty Minutes of Love has a very apt title, because that's mostly what the film is. Laughter emanates as Charlie gets mixed up in a couple's affairs while strolling through the park... one day... in the merry month of ....may.

Twenty Minutes of Love was Chaplin's first written and directed movie and in a way, it shows. It shows early traces of his trademark ingenuity, but it's still in it's primitive and crude stages, i.e. not fully realized.

Twenty Minutes of Love is another one of Charlie's less impressive shorts, but still manages to be thoroughly enjoyable and amusing due to Charlie's impeccably brilliant charm and unique comedic stylings.









The Face on the Barroom Floor (The Ham Actor) (The Ham Artist) (1914)
Producer: Mack Sennet
Director: Charlie Chaplin
Writer: Charlie Chaplin, Hugh Antoine d'Arcy (poem)
Cast: Charlie Chaplin, Cecile Arnold
RATING: 50/100

This Keystone short is actually an adaptation of a poem written by Hugh Anto- well, the guy that's listed up there. Too lazy to write it. Or copy and paste it. But then again, typing this out is even more effort. Hell, I'll just put his name down. The poem is written by Hugh Antoine d'Arcy, a French poet from the early 1900's. The poem has been actually used in several other films and mediums since this film. The poem is the story of a drunkard, but a drunkard who wasn't always a drunkard, and actually used to be a successful man. He tells his story to the local patrons at the bar. And then keeps on falling over when he tries to draw her picture on the floor.

On the one hand, The Face on the Bar Room Floor is a rather different Chaplin film than you might expect with a different style than his other films, but on the other hand, it's far too technically messy to appreciate. I had trouble understanding the story and what was going on.There are a couple or so pretty funny gags, but the entire film isn't all that funny and is rather disappointing. The story is actually fairly good, but I had to read it from a synopsis to understand it.









Tango Tangles (Charlie's Recreation) (Music Hall) (1914)
Producer: Mack Sennet
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin
RATING: 65/100

There's not much going on here, it's basically just Charlie and some guy fighting over a girl on the dance floor. But knowing Charlie, he can make magic out of anything, just like a.... um... magician. Yeah.

Recreation has it's moments, and the story is pretty fun but it's only just a mildly enjoyable slapstick comedy. It's a pretty amusing experience.











Those Love Pangs (Busted Girls) (Oh, You Girls) (1914)
Producer: Mack Sennet
Writer/Director: Charlie Chaplin
Cast: Charlie Chaplin, Chester Conklin
RATING: 60/100

In this film, Mr. Chaplin and his rival vie for their landlady's romantic attention. As you might guess, things don't work out too well.

There's one or two funny moments but nothing that hilarious, and the story is fairly uninteresting. Non-fans of Charlie may not enjoy this as much, the entire experience feels too crude to enjoy. But as always, Charlie's a class act.











Dough and Dynamite (The Cook) (The Doughnut) (1914)
Producer: Mack Sennet
Writer/Director: Charlie Chaplin, Mack Sennet (co-writer)
Cast: Charlie Chaplin, Chester Conklin
RATING: 65/100

In this film alternatively titled The Doughnut, Charlie and Chester Conklin play a couple of dough nuts (haha see that? I made a play on words! Yay!). But seriously, they play waiters at a bakery/restaurant that are forced to work as bakers when the bakers go on strike. But what a second. They're not bakers! They're waiters! They don't know how to bake! That's hilarious! But seriously, it actually is pretty funny.

Although, Dough and Dynamite is regrettably another one of Chaplin's rough shorts. It's got a couple or so pretty great moments, but overall, it's another one of Chaplin's not-quite-there-but-on-it's-way-but-still-pretty-funny-and-enjoyable type shorts. This is before Charlie perfected his method, and before he had full creative control, so the result isn't very impressive, but it's not too bad.













Tillie's Punctured Romance (1914)
Producer/Director: Mack Sennet
Writer: Mack Sennet, Hampton Del Ruth, Edgar Smith
Cast: Charlie Chaplin, Marie Dressler, Mabel Normand, Mack Swain
RATING: 67/100

Charlie Chaplin's first time starring in a full-length feature and also the last time that he would be directed by someone other than himself. It's based on Marie Dressler's play ,Tillie's Nightmare, wherein she plays the same role. It tells the story of a harmless innocent girl becoming victim to a thieving fiendish swindler that's played surprisingly by Chaplin. It's a drastically different role than what people may be used to, just keep in mind that he's NOT the Tramp here.

Tillie's Punctured Romance is quite the interesting film, with a somewhat original and amusing story, and a deliciously different role for Charlie. Too bad it's not very funny.

What's great about Tillie's Punctured Romance is that the story is surprisingly interesting and fresh, it's much more intelligent and clever than a majority of the Keystone films and as a result, the film feels more accessible. But sadly, that's where the accessibility ends. The acting from the supporting cast and a majority of the humor, all feel dated. If not for Charlie, this film would've crumbled completely. But he saves the day with his spotless charm and charisma, despite playing a rather despicable character that's a great deviation from his Tramp character. Charlie plays a conniving scoundrel thief, and even though you want to hate him, you can't help but love him. That's the magic of Charlie Chaplin. But he can only do so much. The film drags on a bit, and that's saying something when it's only about 70 minutes long. There are a couple or so pretty good funny moments, but the rest of the gags feel tired and run their course far too quickly.

The film should be thankful for the amusing story and Charlie's presence, as it saves the film from mediocrity and lame jokes. It's not that bad a film, you'll have a pretty good time and feel somewhat satisfied by the end. But if you're looking for a laugh-riot, look elsewhere.

There you have it, some of Charlie's most famous films of Keystone. But please don't let my ratings deter you. I can't stress enough how early this is in his career and how a little leniency is practically required. None of his Keystone films are really bad, they're just a bit crude for many reasons. One, it took Charlie nearly ten years to perfect his craft, after all, we can't all start at the top. Two, the age of these films show. Even though some of Charlie's best work would only be made five-ten years later, these films lack the timelessness and immortality that his masterpieces posses. Three, Charlie barely had any creative control. He's been quoted saying that he struggled greatly under the strain of a brutal work schedule and had difficulty in dealing with producers. Anybody would struggle under such conditions.

The Keystone shorts are still a must-see for any Chaplin enthusiast. You can find many DVD collections of his work on Amazon or other sites. Check out the link below.

These films are still a wonder to watch for any Chaplin fan but as I said earlier, I don't recommend viewers who've never seen a Chaplin film to start here. What I recommend you do is start from his features, start with the first feature he made and go along in order. Once you've finished those, go backwards in time with his shorts. But in any case, don't skimp on these films. Charlie had just begun here, but he would begin to find his way at the next company he would work at: Essanay Studios. But the films of Keystone are still worth a look. Give them a chance (and any other Keystone film), they may not have been up my alley, but they be up yours. Haha. I said "up yours."

Chaplin At Keystone International Collaboration

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