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some Luke series, Lloyd had hit upon his tortoise-shell"glass" character. In glasses and a pale make-up, he typified the small-town American boy whose earnestness and persistence overcame impossible obstacles. In these two years he made a dozen delightful comedies, filled with clever gags, among them "Captain Kidd's Kids," "Haunted Spooks," and "High and Dizzy."
Larry Semon offered entertaining stunts and acrobatics in "The Grocery Clerk," "The Fly Cop," and other pictures. And Buster Keaton returned from army service, to make a popular series featuring his "frozen faced," otherworldly zany, that included "Convict 13" and "The Scarecrow." Arbuckle's broad burlesque proved so successful in shorts that, in 1920, he ventured into features making "The Round Up" and "The Life of the Party." However, with "The Kid," in 1921, Chaplin made his "come back."
"Sunnyside," neither comedy nor drama, is a gentle pastoral idyl containing little of the old slapstick. The Chaplin screen character was becoming more complex and his emotions more refined. Now he receives the kicks without retaliation. Satire was also intended, with the rural, Charles Ray type of films, popular at that time, as its butt. Although the story had a flawlessly logical construction and a polished production, movie audiences (in general) sat back through most of it, wondering when a laugh was in order.
Its highlight is, of course, Charlie's ballet with the nymphs in the delightful dream sequence which, by itself, is enough to make the picture memorable. On its subsequent release in Europe, "Sunnyside" evoked rhapsodies from Delluc and other French critics, who raved over its poetry, its lyricism, its deft touch. The dream sequence was compared to paintings of Corot. Even in the United States, the film was not without influence. The cow-herding scene introduced a new comedy situation —