nukisepp Reviews

His Regeneration (1915)

Chaplin's Barely in It

[6/10 · 1 March 2021]

This is not Charles Chaplin's comedy. It is not a comedy at all, it is quite serious a thoughtful movie. Chaplin only makes a brief cameo at the beginning of the movie when he chats with the girl in the lounge and then gets chased off by her boyfriend. That scene is not particularly funny nor does it add anything to the story. At that time Chaplin was a business associate with 'Broncho Billy' Anderson and he helped with the story.

The film is quite alright. The low score is probably by the people who were disappointed that it wasn't a Chaplin's comedy. Nonetheless, the film isn't great - it raises a good point but it does nothing to maximize it.

Its only worth is to those who want to see everything that Chaplin has ever made

The Flapper (1920)

I Am a Big Girl Now

[6/10 · 1 March 2021]

'The Flapper' is a charming girl power movie. It is obvious that it was aimed at teenage girls and young women who dreamed about more adventurous life like its protagonist. Chick-flick of the 1920s. Olive Thomas stars as sixteen-year-old Genevieve who is sent into a boarding school by his strict senator father. Life in school is dull and she longs for adventures. Her life gets even more exciting for her than she first could have hoped for. Olive Thomas is adorable and her performance as a naive girl is a perfect balance between seriousness and comedy.

The writing is good, especially the first hour of the movie. The conclusion is a little bit disappointing, it felt rushed. It is kinda feel-good fantasy, although there are quite dark undertones - a young girl charms an older good looking man. And then there is the heist. In this case, also you have to notice that the thief, Tom 'The Eel' Morran (sinister portrayal by Arthur Housman) is paired with a schoolgirl, Genevieve's schoolmate, Hortense (Katherine Johnston). But mostly, it is an amusing movie.

It was the first major movie that depicted the flapper lifestyle. Besides being entertaining, this movie also carries a historical value.

The Great Gabbo (1929)

And Otto

[6/10 · 28 February 2021]

If there ever was any schizophrenic example of musicals then that would be 'The Great Gabbo'. This is disturbing psychological drama interrupted by lavish and wonderful dance and music numbers. James Cruze is credited as a director but to be honest most of the non-musical scenes have von Stroheim all written over them. And not only because von Stroheim played in them but there is some sort of very specific psychologically tense atmosphere in them. It is unknown to me how much control von Stroheim had over the production but it is clear (to everyone familiar with von Stroheim's work) that he at least gave some instructions.

The film is much more than just a curiosity - two seemingly different movies, a psychological drama, and a musical tied together. Erich von Stroheim brilliantly plays brilliant ventriloquist Gabbo who is mad or driven mad by his art. When we first meet Gabbo on the screen, we see an unpleasant cruel man who in his egocentrism and perfectionism blames everyone else for his failures. After his lover and partner Mary (Betty Compson) drops the tray in the middle of the performance, he accuses her again. She leaves her but not with a light heart. Pass the two years and they both have worked their way up into Broadway. They meet again when they both appear in the same review show.

The dramatic parts concentrating on Gabbo and his relationships with other people are good but quite poorly developed. Probably because of the forceful inclusion of the musical numbers that do nothing to forward the story or even add anything to it. And this is crystal clear while watching the movie. These would have worked in a lesser amount as just a backdrop for the story. Although, I have to say the musical numbers were interesting to watch but that was the wrong movie for them. The dramatic parts are heavy and the sudden transition into the musical numbers puts the viewer off. Although the musical numbers separately are interesting I found them distracting and thus it made it difficult to follow the story.

Although the movie is inconsistent and didn't quite work, it is still worth watching especially for its uniqueness in the musical category.

The Tramp (1915)

The Tramp Appears

[7/10 · 28 February 2021]

'The Tramp' is Charles Chaplin's first great cinematic achievement. Not only because here we see The Little Tramp first time in the way the audiences love him now but it is a very well put together movie overall. The story is great and the setting up of the scenes is good. While watching Chaplin's works (almost) chronologically it is good to see how he progresses - leaving the rough slapstick out and concentrating more on the storytelling and the subtlety of the visual gags. One can say that 'The Tramp' is a milestone in Charles Chaplin's career.

A Night Out (I) (1915)

LONG Night Out

[5/10 · 25 February 2021]

'A Night Out' stands out only as Edna Purviance's debut. There isn't much plot - the film plays as one running gag concentrating on the antics of drunken Tramp. Drunk Tramp is not usually the most pleasant character and this is the case in this one. And the film doesn't differ much from previous pictures where Charles Chaplin has portrayed trouble making drunk. Although, I have to admit, that this movie is a little more balanced between slapstick and lighter humor. Scenes are staged better and with more attention to detail - not all the energy has gone into drunken slapstick, although, there is plenty of that. Mildly amusing but not overly hilarious. The biggest problem was that it became repetitive rather quickly and thus felt like the movie dragged too much. Ben Turpin knows how to take the fall but that is the only thing he has to offer to this movie. There wasn't much dynamic between him and Chaplin like there was in their previous collaboration 'His New Job'. It is clear that Chaplin still learned the ways of making interesting movies and his progress as a director is showing but 'A Night Out' is still a work of a prentice who's just learned the basics of the craft.

His New Job (1915)

His New Job

[6/10 · 23 February 2021]

How appropriate that after leaving The Keystone Studios Charles Chaplin's first picture with the Essanay Studios was titled 'His New Job'. Although, new job in the new studio where Chaplin was allowed more creative freedom, this movie is nothing spectacular. The plot is quite loose and Chaplin uses all his old tricks he became known in the Keystone pictures. Chaplin's Tramp is still quite far from the loveable fella whom the world learned to admire. For me, the other silent comedy giant, Ben Turpin, managed to steal the whole show from Chaplin in this one. The fictional movie company in the movie was named Lockstone, an obvious jab at The Keystone. Not quite the riot fun like the poster promises neither it's very memorable but entertaining movie nonetheless. This movie is the first where Charles Chaplin starts to shine as a director.

Gloria Swanson also makes a screen appearance - the girl Chaplin is having a conversation with at the beginning of the movie.

His Prehistoric Past (1914)

Prehistoric Movie About Prehistoric Past

[5/10 · 23 February 2021]

Some of Chaplin's final movies for The Keystone got quite good - there was a coherent narrative, there was less unnecessary slapstick violence and more subtle jokes and even sweetness. 'His Prehistoric Past' is kind of a letdown. The movie was quite interesting because of the different set-up but not very memorable in any other way.

Charles Chaplin made 35 short movies (34 are available today, 'Her Friend the Bandit' is still lost) and one feature film for The Keystone Studios. What a prolific start! It is clear that the quality of The Keystone comedies suffered thanks to the quantity. Chaplin was just learning the craft of filmmaking and he didn't have much creative freedom. The Keystone Studios were concentrating more on rough and farcical slapstick, which quite didn't suit Chaplin. This is clear with his later movies that became more focused on the story than just physical gags.

'His Prehistoric Past' along with other films Chaplin made for the Keystone, is still mostly entertaining. Although most of the Keystone movies are not very memorable or special, they are worth checking out just for the curiosity to see the first steps of the great comedian.

The New Janitor (1914)

Cleaning the Office

[7/10 · 23 February 2021]

'The New Janitor' might not be the funniest of Charles Chaplin's Keystone works, but it is his best. The plot is interesting, intriguing even. Chaplin's Tramp is an all-around good guy here the first time. He causes some trouble but they are accidents but not deeds done in spite. And in the end, he comes out as a hero who saves the day. The lack of the rough over-the-top slapstick makes the movie even better and more enjoyable. This movie is not just a farce but a nice crime comedy with some subtle touches

The Face on the Barroom Floor (1914)

Artist's Tragic Love

[6/10 · 12 February 2021]

Let's be honest, 'The Face on the Barroom Floor' is not much of a comedy. That doesn't necessarily mean that it is a bad movie. No! It is more a tragic story with some nice visual gags. It stands above most of The Keystone's farcical slapsticks but not only because it is so different. Here we can see Chaplin shine without relying too much on heavy slapstick. The movie is based on the poem by Hugh Antoine d'Arcy 'The Face Upon the Barroom Floor', which I also recommend reading. The movie follows the story from the poem quite accurately. Of course, there are many different cuts out there and some of them are quite botched up so the story is disfigured and some scenes don't make any sense.

The low score here, in IMDb, is probably due to the fact, that people expected the usual early Chaplin farce, but instead, they got rather a thoughtful movie without any raunchy slapstick.

His Musical Career (1914)

The Piano Players

[6/10 · 10 February 2021]

'His Musical Career' is nothing exceptional overall but here we can witness the first time Charles Chaplin's Tramp to be the little guy who just gets caught in the action of misunderstanding. He is no more a guy going around kicking people with no obvious reason and causing unnecessary trouble. Tramp gets the job in the piano shop. They need to deliver one piano to the customer and then they have to bring back another piano from a customer who's behind with payments. Of course, there is a mixup with the addresses and your mild slapstick adventure can begin. The plot is simply an excuse for Charles Chaplin and his partner (Mack Swain) to move a piano up from the stairs. And what a fashion they are doing it. Once again I noticed how Chaplin manages not to steal the show but how he incorporates his screen partner in a way that he can shine. Chaplin is the main star but Mack Swain plays a big part in Chaplin's performance thus Swain can also have moments of brilliance.

Nice movie, quite constrained in slapstick violence for a Keystone movie. Not a great one but funny and sweet nonetheless with a couple of fantastic visual gags.

The Property Man (1914)

Chaplin the Villain

[6/10 · 10 February 2021]

Not one of the Chaplin's best isn't saying much when describing any Chaplin's work from his Keystone period. Non of his Keystone pictures gets close to his best works. But, in this case, when we say that this might be Chaplin's worst - well, it sounds intriguing. Many people say that this movie is Chaplin's worst because here he is in his most unsympathetic role. He is just a bully going around kicking people just for his amusement. Notice one thing - he plays the archetype of the bully - picking only the one's who are visibly weaker than him, but when some real authority arrives, he visibly shrinks. Well, I tell you, people, that when your favorite actor plays a jerk that doesn't mean the movie is bad. With that, I don't want to say that 'The Property Man' is a masterpiece. No, by any standards it is average Keystone rough slapstick. The film is quite well structured, the story is straightforward and coherent. There is no subtlety and Charlie is not a sweet loveable character (well, he rarely was in The Keystone pictures). What I've heard, he didn't like that film very much, but I'm happy to have seen it. This gives a perfect view of his other side - the one he luckily ditched. It is a misfire, like many call it, but it was much needed misfire. Besides Chaplin being not likeable, the film itself is quite alright.

The Fatal Mallet (1914)

Just Another Blow in the Head

[5/10 · 9 February 2021]

'The Fatal Mallet' is pretty much a movie about hitting people in the head. In the center of the story is a woman (Mabel) and three men fighting over her. After throwing pricks constantly at each other's head, one has to wonder - does it really take only one mallet blow to take a person out? Then again - it is a FATAL mallet.

I noticed that when Mack Sennett and Charles Chaplin worked together to take out the third suitor they formed a nice dynamic duo - their on-screen chemistry seemed something like between Abbott and Costello, or Laurel and Hardy.

Not among the best of Chaplin's Keystone pictures but as the film is only 12 minutes long it's not a huge time waster.

A King in New York (1957)

Royal Highness of New York

[7/10 · 8 February 2021]

'A King in New York' is by no means a masterpiece, it doesn't hold the candle against Chaplin's previous, better movies. Nonetheless, this is a great movie that is a must see. Unfortunately, it doesn't get the attention it deserves. Despite technical shortcomings, the story is interesting (but not flawless), satire is sharp, and the film is much more than just a political commentary. But what is most amazing - the film is aged so well. Its social commentary is as relevant today as it was in the 1950s (and not only in America). Chaplin took a pretty big bite with that film. Although most people turn their attention to the political commentary that the film makes, but the more interesting part is the sharp satire about society in general. Chabs at vanity (not only the story around plastic surgery, but also that little scene where the judges putting on the make-up to look good for the television), fame, wealth, hunger for attention, and egocentrism, even the media gets its fair share with their constant hunger of sensation and scandal. With political commentary Chaplin hit the two birds with one stone - on the other side is the government which suppresses the freedom of speech, on the other end there are ideological parents who brainwash their children. The brilliant scene where King Shadov is faced against Rupert (Michael Chaplin is just amazing) who obnoxiously cites everything he has read and heard without allowing Shadov to counterargument. There are always two sides of political indoctrination (and this again, is seen today - absolute truth on both sides and nothing in between). Serious issues in the very thick sauce of fantastic comedy.

And the humor is good. Chaplin makes good use of his physical comedy. Especially in the scene in the bathroom where he and his ambassador (Oliver Johnston) trying to peek through the keyhole to see the woman in the neighboring bathroom. The story itself is uneven, but the dialogue is a masterclass of subtle and clever remarks.

In the end, the technical flaws of the film might even be its strength - the visual roughness lets the smoothness of the satire shine even more. A feel-good movie with a lot to tell us

Caught in the Rain (1914)

Caught Between the Rain

[6/10 · 8 February 2021]

'Caught in the Rain' is the first movie entirely directed and written by Charles Chaplin. Although he had tried his hand in directing before once and had helped to write other movies, this movie can be named as his directorial debut. The film was released at the beginning of May - so within four months in the Keystone Charles Chaplin had risen from beginner movie actor to movie director. 'Caught in the Rain' is a comedy that is quite equal to other better Keystone productions. A private screening to usual Keystone directors was held and they were impressed by Chaplin's work. So, that says something.

Although quite a good and entertaining movie, the genius we all know Chaplin now, doesn't show yet. What this movie proves, is that Chaplin was a quick learner to create such a coherent work of comedy so early in his career. Charming but the humor is still not so well refined. He still plays on his, by this time, so familiar drunk who makes passes on the women act.

Caught in a Cabaret (1914)

The Prime Minister of Greenland

[6/10 · 8 February 2021]

'Caught in a Cabaret' is directed and written by Mabel Normand but she allows Chaplin to shine. She is the leading lady, but this movie is purely Chaplin's show. I don't know how much creative control Chaplin had over his stunts or in this film overall but his performance was great. He didn't play simple troublemaker still, his character was quite a swindler.

Charlie works as a waiter in the cheap Cabaret. In his lunch break, he saves Mabel from the mugger who has already chased off her boyfriend (Harry McCoy). Charlie presents himself as a high society man (Prime Minister of Greenland, or Greek Ambassador - I've seen two versions). Mabel invites him to her party. Charlie goes back to work, and after finishing his shift, he goes to the party. In there he gets trunk and makes somewhat of a fool of himself. Mabel's bitter boyfriend leads Mabel and the party company at Charlie's workplace where his true identity is revealed.

The plot is very coherent. Many of the jokes and gags are reused but they work well. The film doesn't offer many surprises or belly laughs but it is funny and entertaining. Besides quite a well-developed plot (well, compared to some other Keystone comedies from that era) the movie is not very memorable.

Twenty Minutes of Love (1914)

Twenty with Ten

[6/10 · 6 February 2021]

They only got ten minutes for that twenty minutes of love. 'Twenty Minutes of Love' is widely considered as Charles Chaplin's directorial debut, although many sources claim the director being Joseph Maddern. I don't know how big was Chaplin's creative input, but some sources claim that he took the responsibility to cover the financial losses if the film didn't make any profit. Well, the movie was a success, and all we know for sure that Chaplin went on with a highly successful and prolific director career.

This movie still doesn't show any signs of the true genius of its main star, writer, and (supposed) director. The story is simple and amusing but ends up with the usual Keystone-style slapstick violence where everyone gets their share. Chaplin's Tramp interrupts with two lovers courting on the park bench. He is chased-off by the angry boyfriend. The Tramp soon becomes entangled with the difficult relationship between another couple. Of course, he manages to disturb the third couple as well.

Entertaining, for sure, but only for those ten minutes. The movie is not very memorable and offers nothing inventive yet. The Tramp is still just a scoundrel who goes around just causing trouble. But I liked how the plot elements all came together at the end giving the viewer a satisfying and complete story.

Mabel at the Wheel (1914)

Mabel Is Racing the Wheels Off

[7/10 · 6 February 2021]

'Mabel at the Wheel' is more Mabel Normand's vehicle than Charles Chaplin's. She is the star in this one and a shining star. Chaplin is going against his usual on-screen persona and is a full-fledged villain, but he is still amusing to watch. He goes wonderfully over the top while scheming how to ruin the race first for Mabel's boyfriend and then for Mabel. Although his motivations seem to remain unclear. At first Chaplin's Villain seems to compete with the racing driver over the heart of Mabel. But when the competition is removed and Mabel takes the wheel, the Villain goes on and tries to sabotage her race causing many life-threatening moments for her. One can assume that when he wasn't able to win over the girl, his main motivation became to kill her. A pretty dark theme for slapstick comedy.

The story is clear, not overly confusing plus the racing sequences are very interesting. It seems that there was more effort put into this one than many other Keystone productions. It might be because Mable Normand directed this film together with Mack Sennet. Mable, being a star, wanted a more polished film.

'Mabel at the Wheel' is one of the best early Chaplin's movies and probably my favorite Mabel Normand movie. It was his eleventh film - imagine - making eleven movies within barely three months. What a schedule.

I hereby recommend reading wmorrow59 review which shares some light behind the scenes on how Mabel and Chaplin didn't get along.

The Star Boarder (II) (1914)

Adultery in the Boarding House

[5/10 · 5 February 2021]

An early situation comedy that's not overly funny or memorable. Charles Chaplin's The Tramp is the favorite lodger of the landlady (Minta Durfee) in the boarding house. Her husband (Edgar Kennedy) doesn't like them two spend too much good time together. But he has his own thing going on with a female lodger. Their son secretly takes compromising pictures of them while they are having their "dates". In the evening he shows the pictures to the whole house at the magic lantern show. And the usual group fight will go off. Everyone will get their fair share of hits and kicks.

'The Star Boarder' is somewhere in the middle ground with the quality in Chaplin's Keystone movies. The story is clear, but not very funny. You can even call it a dame compared to some other Keystone slapstick fights. I find this one of the least amusing early Chaplin's films.

Cruel, Cruel Love (1914)

Comedy About the Cruelty of Love

[6/10 · 5 February 2021]

'Cruel, Cruel Love' is one of the better efforts of Chaplin's early Keystone works. It seems to me that those films where Chaplin wasn't playing The Tramp were usually better from that period. The story is a classic romantic fable - after a little misunderstanding, the Lord's (Charles Chaplin) fiancee (Minta Durfee) calls off the engagement. Broken-hearted, the Lord is about to commit suicide. The Lady's gardener explains what caused the misunderstanding, and she rushes to help her loved one. The Lord's butler watches that mess and gets a nice bellyful of laughs.

Although the film is simple and offers very little inventiveness, it is still funny enough, and as a viewer, it is easy to care about the characters and the story. Gags and stunts were barely above the average of that era's slapstick. Chaplin managed to show his true genius as an actor - when his character was thinking he will die and hallucinated about hell - those facial expressions when he realized that all the world is over for him. Amazing.

I also started to pay the attention to the sets they used and noticed how the homes of the characters look very similar. It is because they used the same set, but with little redecoration, they made it look like another location.

'Cruel, Cruel Love' is more than barely watchable - it is enjoyable.

Limelight (1952)

Time We Can Never Get Back

[9/10 · 5 February 2021]

Who would have guessed that the best movie of one of the greatest silent comedian would be a talkie? 'Limelight' is regarded as Charles Chaplin's most personal film. By the time of the release of 'Limelight' Chaplin's star had become started to fade in the US and his last movie 'Monsieur Verdoux' was a flop. Chaplin drew many details from his own and his family's personal life and modeled the characters after the people from his past. This movie also pays the last honors of by then the fading arts of pantomime and vaudeville which where Chaplin (and Buster Keaton also) got his start.

Charles Chaplin stars as Calvero, a comedian whose prime has passed and is quietly falling into the clutches of alcoholism. One day arriving home drunk, he saves the dancer Thereza, or Terry as she liked to be called, from suicide. While his own career is fading, the aging comedian tries to nurture the young Terry who has lost all her passion towards arts and life in general.

'Limelight' is by no means a comedy, although it offers us delightful moments where we can easily laugh. Some feel that the story seems forced and unrealistic - I disagree with those people wholeheartedly. Unrealistic, sure, it is a nostalgia-driven homage to ages long gone. It is a fairytale. But forced or sappy - NO. The story perfectly reflects the life - old ones fade out while the young ones start to bloom. There is a nice balance between melodrama, sweet melancholy, and bits of lighthearted humor. Chaplin makes good use of his best performing tricks - physical comedy. And not only in the scenes where Calvero performs on the stage as 'Tramp Comedian' but even when Calvero was 'himself'. All those small gestures helped to elevate the character even more. Not that without his pantomime skills, Chaplin's performance would have had a lesser impact. He really shined with his dramatic chops. I even think that the criticism towards Claire Bloom's overacting is a little bit unjustified - have you ever met a hysteric person? They tend to over (re)act in real life too.

My biggest problem with the film - Buster Keaton's brief screen time. Although I was immersed in the movie and Chaplin's performance, I still waited when Buster Keaton will show up. When he first appeared on the screen, I was all like - hey, that's Buster Keaton, finally. There are rumors, that Chaplin cut their scene together because Keaton outshined him - that might be true or not, I don't care (and I don't blame Chaplin, because it was his film after all). But, even with that little time, at least for me, Keaton was the star of that scene. I guess that's the personal preference because I've always been a little bit bigger fan of Keaton than Chaplin. That said - 'Limelight' is a wonderful movie. The most poignant and meaningful work Charles Chaplin has ever put on the screen. And let's not forget that wonderful score which Chaplin also composed (together with Ray Rasch and Larry Russell).

His Favorite Pastime (1914)

Not My Favorite Pastime

[4/10 · 5 February 2021]

Although Charles Chaplin played the alcoholic convincingly and there were a couple of funny and clever moments (when the drunkard falls over the railing, lands on the couch and so very elegantly lights his cigarette), 'His Favorite Pastime' wasn't my favorite at all. There are loveable drunkards and then there are those annoying creepy ones. Chaplin, unfortunately, managed to be the latter one. I never felt sympathy towards his character and was waiting when he gets the proper beating as the bully deserved. This is actually quite a pity because 'His Favorite Pastime' is one of the best structured and logical of the early Chaplin's movies. 'Fatty' Arbuckle's appearance at the beginning was quite joyous though.

Tango Tangle (1914)

Three to Tango

[5/10 · 5 February 2021]

'Tango Tangle' basically lacks any deeper plot. Just three guys played by Charles Chaplin, Sterling Ford, and 'Fatty' Arbuckle, are fighting over the girl in a dance hall. And that's just pretty much it. This is one of those early Chaplin pictures where he is not sporting his beloved Tramp suit. Without his trademark mustache, he is just a tipsy dandy who tries to impress the woman. Of course, a bigger fellow, dance hall band member in the embodiment of Sterling Ford, arrives and drives the annoying fella off. But, there's always a bigger guy, in this case, it is Roscoe 'Fatty' Arbuckle.

All three guys manage to pull off some nice bits of physical comedy that is joyful to watch, but the story never rises above the basic idea.

A Film Johnnie (1914)

The Hard-Core Fan

[5/10 · 5 February 2021]

Charles Chaplin plays an overly infatuated film fan who decides to visit a movie theatre after seeing a gorgeous actress on the poster. In theatre, he causes quite a havoc before he gets thrown out. Afterward, he manages to get inside the movie studio where he sees the girl from the poster and movie. Well, you guessed it, more havoc is caused.

The theme of a fan falling in love with a starlet is interesting. The plot is easy to follow, even though some scenes seem quite randomly put together. The most interesting part to me was of course the look inside The Keystone Studios and to see how the films were made back in the day. Chaplin's Tramp was still just a trouble maker, but perhaps here some of the more recognizable traits are becoming visible.

Chaotic but still amusing movie. One of the best from the early works of Charles Chaplin.

If anyone has a question about what the title means then it is a play with the term "stage door Johnnie" which was used to describe people who hang out near the theatres in hopes of meeting actors or even land a job in the theatre.

Between Showers (1914)

The Star is About to Shine

[4/10 · 5 February 2021]

Let's be honest, Charles Chaplin's earlier films with The Keystone Studios weren't usually very good. This is the case with this one. Most part, the problem lied in the production - they made these movies extremely quick, and the artistic outcome wasn't very important, only the profit (like with today's major studios). At that time Chaplin was just the hired hand (although appreciated one) and lacked any artistic control.

In this one, Chaplin shares the screen with another big star of the time, Ford Sterling. These two fight over the attention of the woman (and over the umbrella). Although, Ford Sterling's character seems to fight more with the woman, than with the other man. I guess I didn't find the blatant beating of the woman that funny (oh, the modern 'soft' man).

The film had some moments that proved to grow into something, but I guess the rushed production prevented the development of more elaborate gags. The film itself is not very memorable but it gives us a good comparison between young Charles Chaplin and an already established star. When you pay attention to the styles of these two comedians then it is clear why the world still remembers and hails on as the greatest of all times while the other is totally forgotten (besides by the small subculture of silent comedy aficionados). Chaplin's star started to shine almost immediately.

A Thief Catcher (1914)

Police Chief in Trouble

[4/10 · 2 February 2021]

'A Thief Catcher' was considered the lost movie of Charles Chaplin. Film historian Paul E. Gierucki found a copy of it in 2010. The restored movie is incomplete. Although called a Charles Chaplin movie, this is, in reality, more of a Ford Sterling and Keystone Kops picture. Charles Chaplin has only a brief appearance as one of the Keystone Kops. The film itself is usual silly slapstick that has its moments, but nothing particularly memorable.

Ford Sterling plays the police chief who witnesses the crime (it seems to be a murder). The two thugs start chasing him. He hides into the hut without knowing this is the hideout of the same two criminals. Some basic slapstick follows. Then Charles Chaplin arrives, few more blows are exchanged.

The film is basic slapstick stuff. Nothing inventive in here and the main reason to watch this movie is only for Charles Chaplin's brief role. Or of course, if you are a Ford Sterling fan.