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fixing him with cold, clear eyes that dare him to question or to comment, is a masterpiece all by itself.
November Behind the Screen (2 reels)
DECEMBER The Rink (2 reels)
Contains a very beautiful waltz on skates.
1917 — JANUARY Easy Street (2 reels)
april The Cure (2 reels)
JUNE The Immigrant (2 reels)
Noteworthy — the superb irony of that shot in which the refugees, packed like sardines on board ship, are roped in by the ship's officials at the very moment they catch sight of the Statue of Liberty.
OCTOBER The Adventurer (2 reels)
1918-1922— The First National Films. With Edna Purviance, Chuck Reisner, Henry Bergman, Albert Austin, Syd Chaplin, Tom Wilson, Jackie Coogan, Mack Swain, etc.
april A Dog's Life (3 reels)
Packed with comedy and pathos. Realism due to autobiographical
factors.
AUGUST The Bond (half reel)
Propaganda film made for the Liberty Loan Committee.
OCTOBER Shoulder Arms (3 reels)
The perfect expression of Chaplin's genius. Artistically it offers the best of Chaplin — pace, rhythm, comedy, burlesque, satire, pathos, and brilliant mime. Charlie at war is still Charlie, taken from one dog's life into another. The lovely comedy of his attempt to sleep in the flooded dug-out, when he is forced at last to put his head under the water in order to lay it upon his submerged pillow; his attempt to blow out his candle floating upon the water — attempts that send it sailing under the bare feet of his neighbouring bedfellows; the hilarious scene in which he disguises himself as a tree — oh shades of Dunsinane! — and knocks out Germans who come to gather him for firewood — all these offer Charlie at his comic best. But there is pathos too. Who can ever forget the stab at the heart that came with the sight of the little soldier nibbling cheese from the mousetrap? He alone had received no parcel of food from home, so he pretended to enjoy the cheese, refusing friendly offers to share with the fixed, forced smile that hides loneliness and neglect and pride.