#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Three Chaplin silent comedies “A Dog’s Life”, “Shoulder Arms”, and “The Pilgrim” are strung together to form a single feature length film. Chaplin provides new music, narration, and a small amount of new connecting material. “Shoulder Arms” is now described as taking place in a time before “the atom bomb”.
Plot: Three Chaplin silent comedies “A Dog’s Life”, “Shoulder Arms”, and “The Pilgrim” are strung together to form a single feature length film. Chaplin provides new music, narration, and a small amount of new connecting material. “Shoulder Arms” is now described as taking place in a time before “the atom bomb”.
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Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film’s most important and influential directors.
The short films that form ‘The Chaplin Revue’ (‘A Dog’s Life’, ‘The Pilgrim’ and ‘Shoulder Arms’), made when Chaplin had found his groove and building upon it, showed a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career. The Essanay and Mutual periods were something of Chaplin’s adolescence period where his style had been found and starting to settle. Something that can be seen in all three shorts forming ‘The Chaplin Revue’, hard to decide which is my personal favourite of three of his best short films and three of the best efforts of his relatively early career.
The stories are more discernible than before and are never dull, though sometimes a bit too busy and manic.
On the other hand, ‘The Chaplin Revue’ looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious here in ‘The Chaplin Revue’.
While not one of his most hilarious or touching, all three, especially ‘Shoulder Arms’ are still very funny with some clever, entertaining and well-timed slapstick and has substance and pathos in particularly ‘A Dog’s Life’. ‘The Chaplin Revue’ moves quickly and there is no dullness in sight.
Chaplin directs more than competently, if not quite cinematic genius standard yet in this period. He also, as usual, gives amusing and expressive performances and at clear ease with the physicality and substance of the roles. The supporting cast acquit themselves well in all three.
Overall, great as a representation of what Chaplin’s appeal was. 9/10 Bethany Cox
Three classic comedies, available again after a long hibernation
In the late 1940s there was a short film series entitled “Flicker Flashbacks,” in which excerpts from silent dramas featuring the likes of Mary Pickford and Blanche Sweet were played for laughs. Scratchy clips from antiquated old movies were rearranged, projected too fast, and given an overlay of jangly music and lame quips. The attitude expressed through this brutal treatment pretty much summed up mid-century Hollywood’s view of its early days: silent cinema was considered hokey, florid, a little embarrassing, and only good for a chuckle. During the 1950s this attitude gradually began to change for a number of reasons. James Agee’s famous 1949 essay on the silent clowns for Life Magazine was a factor, but television played a major role in reacquainting viewers with silent movies. Admittedly, the TV networks sometimes handled the material almost as crudely as the “Flicker Flashbacks” people, but high-toned series such as “Silents, Please” treated the films with respect. Another milestone was Robert Youngson’s compilation feature The Golden Age of Comedy, which proved to be something of a surprise hit when it was released to theaters late in 1957.
I don’t know if Charles Chaplin was aware of Youngson’s film or its success at the box office, but it was around this time that he decided to launch a theatrical re-release of three of his best short comedies, A Dog’s Life, Shoulder Arms (both made in 1918), and The Pilgrim (made in 1922 and released the following year). These three movies happened to work well as a trio since they contrast nicely in plot, theme, and setting. In addition, all three offer familiar faces from Chaplin’s stock company, some of whom play multiple roles in each short. At the time of the re-release the films hadn’t been publicly screened in many years, so perhaps Chaplin might also have been concerned about maintaining his reputation with a new generation of movie-goers, especially since his best work was seldom shown on television in the new medium’s early days.
Unfortunately, Chaplin apparently concluded that the films moved too quickly at the old silent projection speed, so he made the decision to “stretch-print” them, which meant that every other frame was printed twice. Maybe he wanted to avoid the ‘Flicker Flashbacks’ look, but from posterity’s point of view this wasn’t the best way to go about it. Aesthetically speaking, the results were awful and practically destroyed the movies’ flow of action. Nonetheless, that’s how The Chaplin Revue was released to theaters in 1959, and that’s the version that was transferred to video and made commercially available by Playhouse Video in the 1980s. I purchased a VHS copy of the movie at the time, and was terribly disappointed with the jerky, stop-and-start rhythm of the films.
It’s a relief to find that David Shepard’s restoration of Chaplin’s compilation (originally produced for the laser-disc format) is an improvement over the Playhouse Video version. The “stretch-printing” has been modified, though not entirely, and the action does seem to lag a bit at times. For example: in A Dog’s Life during Edna and Charlie’s awkward dance in the Green Lantern Café, Edna’s bare arms appear visibly blurred; at another point, during the trench scene in Shoulder Arms when Charlie is relieved from sentry duty, the action appears oddly slowed-down for a few moments, although this may be the result of a maneuver by the film restorers to cover a bit of decomposition. Over all, picture quality is fantastic considering the age of the movies themselves.
Other bonuses: The Revue begins with rare behind-the-scenes footage taken at the Chaplin studio. This includes shots of an obviously staged, jokey rehearsal session where Chaplin throttles diminutive actor Loyal Underwood, as well as scenes of Charlie at his dressing table putting on his makeup and trimming the famous mustache. These scenes are accompanied by Chaplin’s narration, delivered at a rapid clip. Chaplin also composed a new musical score for the compilation, and I feel his themes for The Revue rank with his best compositions, especially the pieces used during the café sequence in A Dog’s Life. The one exception, in my opinion, is the song written for The Pilgrim, a pseudo Singin’ Cowboy number called “Bound for Texas,” sung 1950s style by Matt Monro (sounding rather like Gene Autry), which is distractingly anachronistic and out of place. Otherwise, throughout the rest of The Revue, the music is perfectly suited to the action and the atmosphere.
The Image release of The Chaplin Revue is, in a sense, its long postponed debut, presenting these classic comedies in a more watchable and enjoyable form than what audiences saw in 1959 — though still not, it should be added, the best possible version. Here’s hoping that a newly restored edition might some day present these films the way they should be seen.
Original Language en
Director Charles Chaplin
Writer Charles Chaplin
Actors Charles Chaplin, Edna Purviance, Albert Austin
Country United Kingdom
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