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to have been the first Chaplin film to be referred to by name — instead of merely "the latest Chaplin."
In his female impersonation in "A Woman" Charlie keeps losing his "falsies" — a pincushion — as he flirts coyly with his sweetheart's father. A preoccupied salesman in "The Bank" allows the janitor to feel his pulse and, when requested, sticks out his tongue on which Charlie proceeds to moisten a stamp for a letter. "Shanghaied" employs the old gag, perhaps not original with Chaplin, of keeping a tray of dishes upright through falls and somersaults on the violently rocking ship.
A good sample of the popular "substitution" gag occurs in "A Night at the Show," when Charlie, flirting with a girl in the audience, finds himself holding hands with her husband. In "Police," Charlie picks the pocket of the crook who is holding him up and goes through his pockets. Then there is the "unconscious" gag. In "The Bank" every time Charlie, shouldering a mop, turns around, he swats somebody in the face. Harold Lloyd built his career on such gags and scores of other comedians were to use similar stunts and tricks for comic effect throughout the twenties.
The Chaplin-Essanays are rich in surprise twists. In the opening scene of "The Bank" Charlie makes an officious entrance into an imposing bank, opens a spacious vault — and brings out his mop and pail and his janitor's coat and hat. In "A Night Out" he flirts with a veiled woman — only to uncover a preposterously homely face. A variation of one of his pet tricks appears in the little impromptu comedy "By the Sea." Tossing a banana skin in the air he bats at it with the wrong foot, slips on the skin and falls, all in one unbroken "ballet" movement.
As a variation Chaplin sometimes turned to straight acting. The last scene of "Carmen" — the plea to the girl to come back to him — is played completely straight. Receiving a mocking refusal, he stabs her, lowers her gently