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APRIL The Jitney Elopement (2 reels)
The Tramp (2 reels)
Here for the first time is an undercurrent of pathos; the first appearance of the outcast, the wanderer without shelter. From the opening scene of the limitless dusty road bordered with stunted bushes, and the little defenceless figure walking wearily down it towards the cameras, constantly bowled over and left in the dust by motors speeding past, the note of solitude and pathos is set; and at the end of the film we have for the first time that poignant finish when Charlie, once more defeated in his search for love, a roof, a place of his own in the world, walks sadly away down the long road and then, inveterate optimist, adventurous vagabond, shrugs away sadness, kicks up his heels, and waddles eagerly towards the horizon. There are wonderful touches that bring to light the essential fastidiousness, the dandyism of the shabby tramp. Bowled over by cars, rolled in the dust, he is no sooner upon his feet again than out comes a whisk brush from the recesses of his person; and with infinite care he brushes himself down, shoots his curls, settles his bowler, rubs up his boots on the backs of his trouser legs and meets his next encounter with a car like a gentleman. The dandy is apparent again as he prepares to eat by the wayside by dipping his ringers into water, and cleaning his nails with a knife, all this with a sober unselfconsciousness. The Don Quixote is there, when Charlie rescues the fair maiden from thieves; and the eternal little fellow filled with a desire to love and be loved. Here diabolic life is given to objects, so that loaded sacks and pitchforks and eggs, with irresistible comedy, become instruments of the fate dogging the steps of the outcast.
By the Sea (1 reel) JUNE Work (2 reels)
JULY A Woman (2 reels)
august The Bank (2 reels)
Offers ample evidence of the further development of Chaplin's original line, and a reiteration of the pathetic element in the little tramp. This film is a microcosm of Chaplin's work, and on that count extremely valuable as an historic document, as well as for its own sake as a remarkably perfect work of art. The opening shot makes wonderful use of the humour of incongruity, when Charlie enters an imposing bank, opens with great dignity an enormous vault — and brings out a mop and pail, becoming at once the janitor. Objects enter into the persecution against him — the mop achieves a violent life of its own that involves him disastrously with other people; alight