The Idle Class(1921)

Charlie Chaplin's The Idle Class(1921) found Chaplin experimenting with his recurring tramp character. This time, he actually plays two different roles, the tramp and the wealthy alcoholic husband to Edna Purviance's character. 

The film follows Chaplin's two characters, two distinct personalities bearing extreme facial resemblances. The carefree tramp sneaks into an upper class golf resort, where the troubled couple happens to be staying. The wife mistakes the tramp for her husband and chaos ensues amidst the confusion of identity. 

The 30 minute silent film, released under United Artists, cashed in on the extreme popularity Chaplin's "little tramp" was receiving from audiences, with the character's clumsy child-like ignorance and whimsical nature. Featuring Chaplin staples of physical humor and satirical treatment of society, the plot's treatment of mistaken identities results in a true upper versus lower class story. Following two story arcs that converge comedically, we follow the little tramp through this work that produces empathy for those of the lower class. Throughout, the tramp is always on the outside looking in. From an opening scene at a train station to the elaborate parties at the resort, the tramp playfully takes advantage of circumstances that are usually not available to him. All the while, the husband makes a mockery of his lucky circumstances. 

Through clips from the film, we can see Chaplin's employment of over exaggerated physicality and slap stick humor. 

The Cure (1917)

 Released in 1917, The Cure features Charlie Chaplin as a drinker who goes to a health spa. The health spa is set in a hotel that features a well filled with spa water in the front. Chaplin’s character arrives at the spa with a suitcase full of alcoholic beverages, and pretty soon the employees get a hold of the beverages. After a failed attempt to get rid of the drinks, the beverages land in the well. They are then consumed by those attending the spa. In short, it gets pretty chaotic really quickly.

The Cure is the tenth film released as part of the Chaplin Mutuals, a series of Chaplin’s shorts released from 1916-1917. It is important to note that this film was created before the prohibition era in the United States, and this is when people were beginning to have more conversations about the effects of alcohol. Keeping this in mind while watching the film made it a little more interesting.

This film is a classic form of slapstick comedy and features exaggerated actions and scenes created with the sole purpose of creating a reaction of laughter. In a way, it’s almost cartoonish, but it provides a great escape from the real world. While watching, I wasn’t sure what to expect as I watched the chaos unravel in front of me. I could not predict what would happen next as the plot continued, and by throwing me off guard, it gave me a good laugh.

Charlie Chaplin - The Lion Cage

 

Charlie Chaplin – The Lion Cage

https://www.youtube.com/watch?v=_0a998z_G4g

	Charlie Chaplin - The Lion Cage - Full Scene (The Circus, 1928) b www.youtube.com

This short film follows Charlie Chaplin at what seems to be a carnival.  He accidently gets stuck in the lion’s cage, and he has to try to escape without waking it up.  The short is actually very funny.  He tries to let himself out, only to lock the door.  He tries a different exit, that leads to a lioness cage.  He also tries to stop a nearby dog from barking and waking the lion.  Eventually the lion wakes up and sniffs him, only to go back and lay down.  After that he feels confident about his position, and even when he has someone open the door for him, he chooses to walk over to the lion and try to pet it.  The lion then roars and Charlie runs into the distance and climbs a pole to safety. 

Chaplin’s use of exaggerating motions was so important in his films.  He had to over-exaggerate to fill in for the dialogue, much like the acting in The Last Laugh.  His facial expressions were also just as important as his physical actions.  Being a film, the camera often showed close shots of his face, so his authentic emotions were visible to the audience.  That being said, with the lack of technology and precautions in this time, I wonder how dangerous it actually was for him to be acting in that proximity with a lion.  Also, interestingly, even though the film was under 4 minutes long, after escaping the cage, he sits next to the lady who released him for a happy ending.  

Vasilios

Charlie Chaplin's Employment Office Scene in "A Dog's Life"

 This scene, arguably an example of dark comedy, comes from Charlie Chaplin's 1918 short filmy "A Dog's Life" staring Chaplin as The Tramp, Edna Purviance as the Bar Singer and object of Chaplin's affection, and Scrap the Dog as the Mutt and Chaplin's best friend. The short film is centered around the journey of a poor, out of work Tramp who fosters a friendship with a stray dog after saving it from being ravaged by other dogs. Throughout the film the Tramp struggles to find a job, find resources, however by some miracle Scrap digs up a stolen wallet, and the money the Tramp finds allows him to convince the Bar Singer to be his bride and come away with him to the country side. The film, with the fantastical plot line, reminds one of the ending in "The Last Laugh" as it feels as thought this finding of a wallet with enough money to escape poverty is unlikely. The other interesting thing about this film is that it makes serious social issues like homelessness and poverty humorous, allowing it to be brought to a wider audience almost unsuspectedly to bother entertain and perhaps educate.

The scene of the movie that is both dark and comical see's Chaplins character in an employment office in search of a job. The men in the office, notable too that all those seeking a job are men, including Chaplin's Tramp are dressed in tattered and soiled clothing, indicating their dire predicament even more so. The men are orderly sat in a line with the Tramp in the front, however when an office worker comes out to present them with opportunities the Tramp is comically pushed, shoved, and bumped into so that despite being the first in line he is the only one not to receive a position. While this scene is still slapstick in nature with all of the physical comedy, it is also slightly tragic. One could argue that this is a commentary on American society or capitalism at the time, that just because one is a little ahead of another that does not mean he will be successful. And that people are willing to push you around for their own benefit. This scene is interesting to watch because it deals with issues of poverty and unemployment in the big city while still existing as a comedy short film. 

Charlie Chaplin: The Adventurer (1917)

In this comedy written, directed, and starring Charlie Chaplin, he portrays an escaped convict. After he escapes the police, he saves a beautiful girl (Edna Purviance), her mother and her suitor (Eric Campbell) from drowning. Afterward he is invited into their home and treated as an honorable guest at their swanky party. At this party, the suitor finds that Chaplin is an escaped convict from reading the newspaper, and calls the police to come arrest him. This short film concludes with the implication that Chaplin escapes yet again from the police. 

The Adventurer is Chaplin's last film produced by Mutual Film in 1917. It is a very fun short film with an emphasis on Chaplin's physical comedy. When he escapes the police, he uses seemingly silly methods and lots of running which ultimately prove his wit and freedom. As he saves the girl, her mother, and her suitor from drowning, a comical rivalry between him and the suitor arises. My favorite moment is when he lifts the suitor's gurney and unknowingly tosses him back into the water. The party is full of this same comedy, featuring discreet butt-kicking between the convict and the suitor. The convict's last escape from the police is another good laugh. By the end of the film, I was satisfied that he escaped and will likely have more of these adventures. (Below is a link to the short film on YouTube.)

Laughing Gas (1914)

Laughing Gas is a 1914 film starring Charlie Chaplin. The film has also been known as Busy Little Dentist, Down and Out, Laffing Gas, The Dentist, and Tuning His Ivories. Here he stars as a dental assistant who causes chaos not only at the dental office he works at but throughout the city as well. 

In this short film, it is evident that Chaplin excels at slapstick humor. Throughout the film characters are seen falling, punching, slapping, running into doors, kicking, and stepping on one another. Although physical humor isn't necessarily my cup of tea, it is clear why Chaplin was so popular during the silent era. He brings an aura of lightheartedness. One thing I definitely noted was that Chaplin along with his cast mates are always moving hastily. The characters in the film are very animated, similar to what we saw in The Last Laugh. Unlike in that film, the dramatic facial expressions and movements are much more comedic and clearly done to bring about laughter. 

The Pudding Scene: Charlie Chaplin in The Great Dictator

     The Great Dictator marked one of Charlie Chaplin's boldest and most unpopular political stances. In the midst of World War II he created a film that criticized fascism and warmongering. At the end of the film he pleaded with the audience in a monologue to avoid conflict and be wary of fascism. In 1940 at the point of the release there was still sympathy for the fascist powers and a tactic acceptance of conflict as the best solution regardless if someone allied with the Axis or the Allies. Chaplin's reputation suffered greatly because of the film even if it was widely financially successful in the United States. He put his own financial security and future popularity on the line to speak truth to power.

    In the Pudding Scene. Chaplin and several other men are each given a cake by their resistance leader. One of the cakes has a coin in it and the person who gets it will be the one to have to murder Hitler. However each person discovers they have a coin, and pass it off to Chaplin who swallows them whole. Even though he doesn't say a word in the scene the energy centers around him. His overly emphasized facial reactions draw attention to each coin he finds on his plate. His bushy eyebrows convey his fear of being chose for this dreaded task. Frankly there couldn't be someone better suited to silent film than Chaplin.

Charlie Chaplin "His New Job"

 For our assignment, I decided to watch the short film "His New Job" featuring Charlie Chaplin. This film was produced in February 1, 1915. This film was produced and directed by Charlie Chaplin himself. This short film includes several other actors including Ben Turpin, Charlotte Mineau, Leo White, Agnes Ayres, Gloria Swanson and Jesse Robins.

In this short film, Chaplin becomes a stage hand or assistant at a film production agency. Chaplin is extremely exaggerated with his movements in order to enhance the storyline. Throughout the short film, Chaplin is quite clumsy,  causing chaos throughout his work.  Chaplin goes from stage hand to a carpenter assistant in the background. Then he became one of the actors in the film they are producing, but do to his chaotic behavior, the director is less than enthused. 

Charlie Chaplin’s Boxing Scene in City Lights (1931)

The following boxing scene is the championship fight from Charlie Chaplin’s City Lights (1931), which was directed by and starring Chaplin with Virginia Cherrill, Florence Lee, Harry Myers, and Al Ernest Garcia costarring. City Lights is the third of three movies that Chaplin would produce about boxing, with it being preceded by The Knockout (1914) and The Champion (1915). Even though sound existed, it was a silent production because Chaplin began working on the script many years before. It was wildly successful and many consider it to be the best of his career, and is considered one of the best films ever made. In it, Chaplin’s character, a resilient tramp, falls in love with a blind flower girl and tries to make money for her and her family in any way possible to avoid eviction. The following scenes is him trying his hand at making money in boxing.

At the start of the fight, the film makes it clearly known that Chaplin’s character is out of place in the ring by having him enter shirtless with his hat still on. He then comically adds to this awkwardness by walking over the opponents, shaking all of their hands, and tipping his hat to them. Both sides exaggerate their facial expressions to demonstrate the comedy of the situation, with Charlie showing his naivety with his kind smile and the opponents expressing their confusion with raised eyebrows. Then, once the fighting actually starts, Chaplin continues to drive home the point that he is out of place by working it into the choreography, relying heavily on dodging, stealing punches, grappling, and even hiding behind the referee for most of the match. The latter part was very entertaining to watch because all three actors perfectly mimicked each other's movements, which must have taken a lot of practice. The referee is continuously worked into the fight for comedic purposes, often trying to break up Charlie’s antics, only to end up a recipient of them, like when he tries to stop Chaplin from tackling the opponent only to be hit himself. After a few minutes of chaos, at the end of the scene, Chaplin ends up losing the fight and the world champ remains victorious, but not without Chaplin giving his best effort to steal it in his patented comic fashion.

Charlie Chaplin's "The Kid"

    The following is a clip from Charlie Chaplin's 1921 silent movie "The Kid", which was his first full-length film. In this scene we get to see Chaplin's character interact with a kid who he rescued from the street, and ironically it seems as if the kid is playing more of a father-figure to Chaplin than Chaplin to the kid. Chaplin's acting lets us know that his character is meant to be the funny, albeit irresponsible, parental figure. While the kid cooks breakfast, Chaplin lounges in bed smoking. Though there are no words it is clear from Chaplin's acting that the kid has gone to tell him to get out of bed and come eat, and that Chaplin begrudgingly does so while taking the blanket with him as a teenager might do. Similarly, once seated he counts the pancakes to make sure they each get an even amount. The lack of sound doesn't prevent the point from coming across, because Chaplin's facial expressions and emphasis of his movements lets the audience know what is going on. 

    While this film is a comedy, much of the content is actually quite dark, with issues of poverty and class differences shown throughout. Furthermore, Chaplin's own son died only ten days before production began, giving more meaning to the relationship between Chaplin's character in the film and the character of the kid who he saves and raises as his own. There is also speculation that many of the events and situations represented in the film are based off of Chaplin's own life growing up in London. One of the most extraordinary things about the film is that while it does contain a significant amount of sad and dark content it still manages to bring a smile to your face, and Chaplin's acting makes even the most dire of situations in the film still feel like a comedy scene. This accomplishment is even more noteworthy due to the fact that Chaplin not only starred in the film, but also wrote, directed, and produced it. 

Max Schreck

 Max Schreck was a German actor who acted in movies primarily in the 1920s. His most prominent role was that of Count Orlok in the 1922 movie Nosferatu. The character of Count Orlok was based off Count Dracula. Schreck received his training in acting and theater from the State Theatre of Berlin. Growing up Schreck's mother supported his love for the theater but his father was not as supportive. After the death of his father is when Schreck started attending theater school. Schreck started his acting career in a tv show titled Trommeln in der Nacht. After three years of this, he got his first job acting in a film and then got the role of Count Orlok in Nosferatu. He went on to make another movie for the director of Nosferatu, this time acting a comedy film. Schreck acted for a couple more years after this before dying from heart failure at the age of 56.

 Mason Quaka