Charlie Chaplin (1951)

cc 80 poses each time the gouty man opens the curtain, finally dancing out daintily on his toes into the pool. In the massage room Charlie, watching a patient being pounded, raises the masseur's arm and proclaims him ''the winner!" When his time comes, Charlie turns the treatment into a slippery wrestling match. Pepped up by the spiked "water," two male invalids chase Edna whom Charlie rescues by deft use of his cane; then gallantly moves one of the "bodies" so that Edna may pass. A sampling of the water has its effects on him. He rests his foot on Edna's lap, sends the gouty man head-first into the pool, gets caught again in the revolving door, which sends him spinning around (photographed in fast motion) until he falls into the pool. Next morning Edna explains as he holds an ice cake on his head. After Charlie vows to reform, the couple stroll forward— to his last ducking in the pool. "The Immigrant" is another Chaplin triumph which compares favorably with any of his later works. Sentiment and social satire are adroitly worked into the story. The entire last half is cleverly constructed around an elusive coin, in one of the longest variations on a single comedy incident ever portrayed on the screen, yet so skillfully managed that every moment seems natural and spontaneous. Slower paced than the other Mutuals, "The Immigrant" has drama in the comedy and comedy in the drama. On a rocking ocean liner, jammed with immigrants, we first see Charlie from the rear, leaning over the rail. His head is down and his shoulders quiver in an apparent spasm of mal de mer. Then, with a sudden turn forward, he triumphantly displays a large fish he has just hooked. The next scene is dinner on the violently rocking boat, with the passengers tossed from one end of the