Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.
It is hard to not expect a lot after not long before Chaplin had one of his earliest career highs in 'The Kid'. 'Pay Day' doesn't disappoint, and it shows Chaplin having properly found his style and fully settled. As said with many of his post-Keystone efforts, it shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career. The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. After Mutual the style had properly settled and the cinematic genius emerged. Very much apparent in his final and one of his best, funniest and most inventive overall short films 'Pay Day.
The story is slight and slightly too simple but is at least discernible and is never dull, and does it while not being as too busy or manic.
On the other hand, 'Pay Day' looks very well done, from Essanay onwards, and it is certainly the case here, it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. It's actually one of his technically best-looking short films. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.
'Pay Day' is one of the funniest, most imaginative and most charming short films of Chaplin. It is hilarious with some clever, inventive, entertaining and well-timed slapstick, some imaginatively choreographed and nimbly done stunts and the charm doesn't get over-sentimental. It moves quickly and there is no dullness in sight. The second half is both hilarious and enchanting, with the sentimentality and such kept at bay rightfully.
Chaplin directs more than competently and the cinematic genius quality is emerging. He also, as usual, gives a playful and expressive performance and at clear ease with the physicality and substance of the role. The support is good from the likes of the ever appealing Edna Purviance and Syd Chaplin.
Overall, great, hilarious, imaginative and charming. 9/10 Bethany Cox
It is hard to not expect a lot after not long before Chaplin had one of his earliest career highs in 'The Kid'. 'Pay Day' doesn't disappoint, and it shows Chaplin having properly found his style and fully settled. As said with many of his post-Keystone efforts, it shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career. The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. After Mutual the style had properly settled and the cinematic genius emerged. Very much apparent in his final and one of his best, funniest and most inventive overall short films 'Pay Day.
The story is slight and slightly too simple but is at least discernible and is never dull, and does it while not being as too busy or manic.
On the other hand, 'Pay Day' looks very well done, from Essanay onwards, and it is certainly the case here, it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. It's actually one of his technically best-looking short films. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.
'Pay Day' is one of the funniest, most imaginative and most charming short films of Chaplin. It is hilarious with some clever, inventive, entertaining and well-timed slapstick, some imaginatively choreographed and nimbly done stunts and the charm doesn't get over-sentimental. It moves quickly and there is no dullness in sight. The second half is both hilarious and enchanting, with the sentimentality and such kept at bay rightfully.
Chaplin directs more than competently and the cinematic genius quality is emerging. He also, as usual, gives a playful and expressive performance and at clear ease with the physicality and substance of the role. The support is good from the likes of the ever appealing Edna Purviance and Syd Chaplin.
Overall, great, hilarious, imaginative and charming. 9/10 Bethany Cox