Charlie Chaplin’s Keystone Shorts

In 1913, while on tour in the United States with a British comedy group (Fred Karno’s comedy group), Charlie Chaplin accepted a contract to perform in a series of short silent films for Mark Sennett’s Keystone film company in Los Angeles, California. Though the film company is now gone, the large warehouse remains standing and is used as a storage facility.

I watched the following selection of Chaplin’s Keystone films, a portion of his larger collection of 36 films while at Keystone. Interestingly many of his Keystone films show Chaplin performing in various roles, not simply as the Tramp.

#1 Making A Living (1914)
The first of Chaplin’s Keystone films is odd – it is perhaps the least funny Chaplin film ever made, and it does not include his notable “Tramp” character. Chaplin plays an awkward British swindler masquerading as an English gentleman. He spends the film running from the police and stealing the girlfriend of his rival. He is a significantly less sympathetic character than the little “Tramp”.

Chaplin maintained a low opinion of the film throughout his career, for his arguments with his co-star, who was jealous of Chaplin’s skills, and also Chaplin was frustrated with the botched editing job of the film.

#2 Kid At The Auto Races (1914)
Chaplin had actually filmed Mabel’s Strange Predicament first, but Kid At The Auto Races was released first. It is the first on-screen performance of his famous “Tramp” character. The film is truly amazing – it features Chaplin roaming around a day at the auto races performing various spontaneous gags amidst large crowds of confused and unsuspecting people.  It was shot at the Junior Vanderbilt Cup in Venice, California. It remains a very funny film.

#3 Mabel’s Strange Predicament (1914)
Chaplin plays a very drunk “Tramp” in a hotel lobby. He amusingly pursues a lady through the hotel until she hides in an older man’s room, but she is caught by the man’s wife who attacks her husband, the lady, as well as the “Tramp”. Several other “Mabel” films were made by Chaplin while at Keystone.

Chaplin then played various roles from a police officer to a pickpocket and a villain, until in Spring 1914, after disagreements with Director Mark Sennett, it was agreed that Chaplin would be allowed to direct and act in his own movies. Sadly for some of the films, such as Caught In A Cabaret, and one Her Friend the Bandit is entirely lost.

#12 Twenty Minutes of Love (1914)
Chaplin’s directorial debut! The short 10+ minute film shows a level of sophistication not seen in the earlier Keystone films (this was film #12 of 36 films he partners with Keystone on). In the film, he plays his famous “Tramp” character as he goes around the park causing havoc for various amorous couples. At one point, he steals a valuable watch, gives to a woman and causes a hilariously violent outbreak that ends with everyone in the lake except for the tramp and his new lover.

#14 Caught in the Rain (1914)
This short film is a delight, though some of the footage is now lost. In it the “tramp” roams the park and attempts to steal another man’s woman, but he is attacked by the man. He goes to a nearby saloon and gets drunk stumbling through the road and wandering into the very hotel where the earlier man and woman are staying. They get into several awkward situations, with Chaplin being caught in the rain on the balcony, and the police arrive only to be quickly chased away as the remaining all collapse in a drunken stupor. This was actually the first film Chaplin directed for Keystone, but not the first of his directed films to be released. Therefore it is not considered his directorial debut.

#30 Dough and Dynamite (1914)
This was the most successful Keynote film, and it runs over 30 minutes long. Mark Sennett once called it Chaplin’s breakout film during his time at Keystone. It is a hilarious movie in which Chaplin again plays his “tramp” character who is a clumsy waiter in what appears to be a European restaurant. He angers several high profile customers, just as the bakers go on strike for higher wages and less work-time, so he is sent to work in the bakery. However, Chaplin disappoints in this role, as well, and just as things get crazy for he and his compatriot, the fired bakers who were striking return with a smuggled stick of dynamite in a loaf of bread. As the film concludes, the “tramp” amusingly emerges from a pile of rubble.

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