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The inevitable brush with the police follows — this time innocently. His neighbor on a park bench has his pocket picked from behind and the Tramp is blamed. In the ensuing chase he takes refuge at the masked ball in the hotel ballroom.
Here the Tramp — the husband's double in appearance — is taken for the latter in masquerade disguise. The Wife in an eighteenth-century Watteau costume with a powdered wig, makes affectionate demonstrations of her forgiveness, and the puzzled Charlie thinks his dream has come true. Her stout and humorless father, a veritable gargoyle in Scottish kilts and bare legs, is also deceived, and uses the occasion for a further demonstration of his dislike for his "son-in-law."
When the real Husband arrives, unrecognizable in a suit of medieval armor into which he is locked tight, he becomes infuriated over the Tramp's liberties with his Wife and, like a knight of old, charges at the intruder. In the free-for-all that follows, the Wife's Father takes a heavy hand. Finally, with the assistance of the puzzled Tramp, the Husband is "opened" with a hammer and can-opener, and the doubles are revealed. With a quick kick to square accounts with his temporary "father-inlaw," the agile Tramp takes to his heels again.
"Pay Day" is a realistic little film — a slice of the life of a building laborer before, on, and after pay day. This film, too, was probably influenced by Clare Sheridan and other social-minded friends. If so it hardly succeeds in its aim. For all its sympathy for the working man in his tribulations, its social overtones do not achieve much sonority. In fact, lacking the genuine pathos of "A Dog's Life" or the brilliance of "Shoulder Arms," "Pay Day" is closest to the Essanay films.
Technically, however, "Pay Day" is a noticeable advance. For the first time in a Chaplin film backlighting is