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with passionate love and ecstasy he blows a kiss to the beloved he worships from afar, turns and immediately bumps into a door. In this film too, Charlie is doomed to love in vain. His pathetic flowers are despised and rejected, his fervent note torn up. There is an unforgettable close-up of Charlie, watching his beloved's reaction to his gift through a keyhole, fingers pressed to his mouth in excitement, like a child at a party. As he sees his gift scornfully rejected, the same pose turns into a mask of sadness and the fingers droop from his mouth in utter desolation. It would be impossible to analyse the subtle and complex means by which the excited child, retaining the same pose, becomes the desolate unwanted. The result is profoundly moving: humanity recognizing its essential loneliness.
Here too for the first time is the use of a dream sequence, transporting Charlie to a world of fantasy in which he is admired, respected, loved, a dynamic hero incapable of blunder. Only to find a cruel awakening expressed in the shots in which Charlie on the verge of embracing his love, is replaced by Charlie fervently embracing his mop. The fine dream is faded, reality oppresses him again. And as in The Tramp, he walked lonely down the endless road, so now, with the same weary resignation and the same unquenchable optimism, he wanders back to the vault.
OCTOBER Shanghaied (2 reels)
November A Night in the Show (2 reels)
1916 — APRIL Carmen (4 reels)
A burlesque of the Cecil B. de Mille film of the opera.
march Police (2 reels)
1918— AUGUST Triple Trouble (2 reels)
1916-1917— The Mutual Films. With Edna Purviance, Eric Campbell, Lloyd Bacon, Charlotte Mineau, Leo White, John Rand, Frank J. Coleman, James T. Kelley, Albert Austin, Henry Bergman, etc.
may The Floorwalker (2 reels)
JUNE The Fireman (2 reels)
JULY The Vagabond (2 reels)
AUGUST One A.M. (2 reels)
An example of Chaplin's experimental approach to cinema at this time. The theme of the film is of the slightest — Charlie returning