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Other films have other special points of interest. We can see Chaplin himself, without make-up, in "Tango Tangles," an impromptu film taken in a real dancehall at a tango contest. In "A Busy Day" and "The Masquerader" there is another costume break, with Chaplin impersonating a woman, a "battle-ax" type of wife in the former and a coy actress in the latter. "Dough and Dynamite" was generally considered his first big hit as a director of his own films. It began, as "Those Love Pangs," with Charlie and Chester, as bakers and rivals in love. The bakery sequence turned out so funny it was released separately as a second film.
"Getting Acquainted," although not as well known as some others, has some unusual qualities. At first glance, this picture, set in a park, appears to be just another marital mix-up. Analysis shows it to be filled with amazingly clever and fast-paced bits of business. Charlie, married to the buxom Phyllis Allen, Mabel Normand and her husband Mack Swain, Edgar Kennedy the policeman, a mysterious "Turk," and other characters, dance a veritable comic ballet until Charlie is yanked away by his husky and jealous wife. "The Rounders," with Chaplin and Arbuckle as homecoming drunks pursued by their wives, is marked by clever teamwork and amuses average audiences of today more than most others.
The best known of all the thirty-five films Chaplin made for Sennett is, of course, the six-reel "Tillie's Punctured Romance," the first feature-length comedy. It starred Marie Dressier, brought from the stage in the general movement of the period. Though Chaplin supported Marie Dressier who got the star billing, it was this film, released late in 1914, that made his name widely known to the general public. It was a free-swinging adaptation of Marie Dressler's stage success "Tillie's Nightmare," in which she sang the hilarious "Heaven Will Protect the Working Girl."