In the spring of 1978, a few weeks after the death of Charlie Chaplin, a museum in my hometown scheduled a festival of his films. On the bill were several of the famous features such as The Kid, as well as some comparatively lesser-known short comedies. That's where I first saw The Idle Class, and I still remember how well it went over with the audience, provoking big bursts of laughter that seemed to erupt every 30 seconds or so. Even viewers who'd already seen lots of Chaplin's short comedies (myself included) were blown away by this one, which was both laugh-out-loud funny and poignant in equal measure.
Seeing the film again today, I feel it belongs with Chaplin's best work. The first thing that strikes me now is his economy of expression. Note how few title cards there are, and how brief and simple the wording is. It isn't easy to set up a story plainly and clearly in silent cinema without using lengthy expository passages, at least during the opening scenes, but here Chaplin manages to establish the premise with remarkable efficiency and very few words in a matter of minutes. We soon learn that Chaplin is playing a dual role, and that one of his characters is a wealthy sot, while the other is his familiar Tramp character. We also learn that Charlie the Tramp has hitched a ride to a resort for the Idle Rich, apparently in order to play golf (golf!?!), which brings him into close contact with his feminine ideal, Edna, and her wealthy cohorts. Chaplin does not heavily emphasize the irony that Edna is already married to a rich drunk who is Charlie's double, and who is selfish and unworthy of her, nor does he stress the point that practically all of these privileged people appear to be quite spoiled and useless. "Political" elements are present in The Idle Class for anyone who feels inclined to look for them, or to write a dissertation on 'Chaplin & Society,' but in my opinion the director was not interested in making a movie about social inequality, not at this point in his career, anyway. I believe he was interested in the absurdities of human behavior, and in deflating pomposity for comic effect. In any case, and whatever his intentions, the gags are in generous supply in The Idle Class, brilliantly conceived and beautifully performed.
Earlier postings have mentioned the bit when the rich husband, seen from behind, appears to be racked with sobs when he reads a note indicating that his wife has left him, on account of his drinking -- although in fact he's shaking a cocktail. I believe that's one of Chaplin's all-time best gags, and it sure rocked the house at the museum screening. Even funnier is the extended sequence in which the rich husband, obviously nursing a hangover, wanders down to the lobby of his hotel in his underwear. He's horrified to discover his lapse, and must then maneuver his way back to his room without being seen. Also worth noting is a great, wordless sequence in which Charlie the Tramp sees Edna ride by on horseback, and fantasizes about rescuing her from a runaway horse. Her gratitude turns into love, and within seconds they've married and Charlie has fathered her child! It's hilarious and a little sad, a brief story-within-a-story told without any words whatsoever.
I'll sum up by simply saying that The Idle Class is a timeless comic gem, certainly one of Charlie Chaplin's best short films, and that it's a genuine treat for anyone who appreciates great comedy.
Seeing the film again today, I feel it belongs with Chaplin's best work. The first thing that strikes me now is his economy of expression. Note how few title cards there are, and how brief and simple the wording is. It isn't easy to set up a story plainly and clearly in silent cinema without using lengthy expository passages, at least during the opening scenes, but here Chaplin manages to establish the premise with remarkable efficiency and very few words in a matter of minutes. We soon learn that Chaplin is playing a dual role, and that one of his characters is a wealthy sot, while the other is his familiar Tramp character. We also learn that Charlie the Tramp has hitched a ride to a resort for the Idle Rich, apparently in order to play golf (golf!?!), which brings him into close contact with his feminine ideal, Edna, and her wealthy cohorts. Chaplin does not heavily emphasize the irony that Edna is already married to a rich drunk who is Charlie's double, and who is selfish and unworthy of her, nor does he stress the point that practically all of these privileged people appear to be quite spoiled and useless. "Political" elements are present in The Idle Class for anyone who feels inclined to look for them, or to write a dissertation on 'Chaplin & Society,' but in my opinion the director was not interested in making a movie about social inequality, not at this point in his career, anyway. I believe he was interested in the absurdities of human behavior, and in deflating pomposity for comic effect. In any case, and whatever his intentions, the gags are in generous supply in The Idle Class, brilliantly conceived and beautifully performed.
Earlier postings have mentioned the bit when the rich husband, seen from behind, appears to be racked with sobs when he reads a note indicating that his wife has left him, on account of his drinking -- although in fact he's shaking a cocktail. I believe that's one of Chaplin's all-time best gags, and it sure rocked the house at the museum screening. Even funnier is the extended sequence in which the rich husband, obviously nursing a hangover, wanders down to the lobby of his hotel in his underwear. He's horrified to discover his lapse, and must then maneuver his way back to his room without being seen. Also worth noting is a great, wordless sequence in which Charlie the Tramp sees Edna ride by on horseback, and fantasizes about rescuing her from a runaway horse. Her gratitude turns into love, and within seconds they've married and Charlie has fathered her child! It's hilarious and a little sad, a brief story-within-a-story told without any words whatsoever.
I'll sum up by simply saying that The Idle Class is a timeless comic gem, certainly one of Charlie Chaplin's best short films, and that it's a genuine treat for anyone who appreciates great comedy.