I'm a guy who loves his Charlie Chaplin flicks, but this is the first one I've seen without him directing it. Interestingly enough, while the film loses that sense of tragic artistry Chaplin had in his directorial projects, this film helps to illustrate another side of Chaplin that could largely be unnoticed without a basis of comparison: the works of Chaplin are pretty egocentric and usually involve Chaplin in most, if not all, of the action.
Here, however, is a film that involves three comic characters. Tillie is a wonderfully robust woman who, if she was around today, would describe herself as "comfortable with her body." One day a Stranger walks by (Chaplin) and, due to a little bad timing, gets hit in the face by a brick Tillie threw for her dog to fetch (Why exactly a dog would be playing fetch with a brick is probably one of those things to be ignored). As Tillie helps the Stanger up and tries to be hospitable to him, she, her father, and the Stranger begin a series of ego conflicts with largely humorous results.
However, the Stranger has his eyes on Tillie's father's money, so he uses Tillie to get the money by promising "love and the great city" to her. She robs her father, they elope, and they find themselves in the not-so-great city--where, also, Mabel, the girl the Stranger left behind, is waiting.
The story traces Tillie, Mabel, and the Stranger through trial and error (mostly error), as they all try to find love, riches, and happiness, with pretty amusing results.
Charlie Chaplin is a master of physical comedy, but in this movie he's no match for Marie Dressler, who can throw her body around with the same sort of fluid klutziness Chaplin can, only with an extra hundred pounds or so packed on. Mabel is a wonderful sort of anchor to them, as her battle with her desires versus integrity often keeps Mabel and the Stranger from tripping their way off into space.
The film also includes a rather surreal moment where Mabel and the Stranger watch a movie that is highly reflective of the situation they're in, and as a result, causes them to look further into themselves than they want to go. That scene is filmed nearly perfectly, almost shockingly psychological considering most of the rather light comedy the rest of the movie contains.
This movie isn't really what I'd call a classic, but it's certainly worth the watch for anybody interested. Since silent film isn't generally recognized by most modern audiences, it probably isn't something anyone but an enthusiast might watch. Still, I'm sure it has enough enjoyable moments for everyone who takes the time to sit down and watch it.
--PolarisDiB
Here, however, is a film that involves three comic characters. Tillie is a wonderfully robust woman who, if she was around today, would describe herself as "comfortable with her body." One day a Stranger walks by (Chaplin) and, due to a little bad timing, gets hit in the face by a brick Tillie threw for her dog to fetch (Why exactly a dog would be playing fetch with a brick is probably one of those things to be ignored). As Tillie helps the Stanger up and tries to be hospitable to him, she, her father, and the Stranger begin a series of ego conflicts with largely humorous results.
However, the Stranger has his eyes on Tillie's father's money, so he uses Tillie to get the money by promising "love and the great city" to her. She robs her father, they elope, and they find themselves in the not-so-great city--where, also, Mabel, the girl the Stranger left behind, is waiting.
The story traces Tillie, Mabel, and the Stranger through trial and error (mostly error), as they all try to find love, riches, and happiness, with pretty amusing results.
Charlie Chaplin is a master of physical comedy, but in this movie he's no match for Marie Dressler, who can throw her body around with the same sort of fluid klutziness Chaplin can, only with an extra hundred pounds or so packed on. Mabel is a wonderful sort of anchor to them, as her battle with her desires versus integrity often keeps Mabel and the Stranger from tripping their way off into space.
The film also includes a rather surreal moment where Mabel and the Stranger watch a movie that is highly reflective of the situation they're in, and as a result, causes them to look further into themselves than they want to go. That scene is filmed nearly perfectly, almost shockingly psychological considering most of the rather light comedy the rest of the movie contains.
This movie isn't really what I'd call a classic, but it's certainly worth the watch for anybody interested. Since silent film isn't generally recognized by most modern audiences, it probably isn't something anyone but an enthusiast might watch. Still, I'm sure it has enough enjoyable moments for everyone who takes the time to sit down and watch it.
--PolarisDiB