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The Count (1916) - Charlie Chaplin

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metaldams:


      THE COUNT is the fifth of twelve shorts Charlie Chaplin made for Mutual.  After the drama filled short THE VAGABOND and the basic solo act that was ONE A.M., we’re back to a normal comedy with Chaplin working with a big cast.  The results are a perfectly fine comedy short.  For the people who like to look at class differences in Chaplin films, there’s plenty to see and for those of us who like our comedy, there’s plenty to laugh at.

      The class stuff.  Admittedly not my main thing but even I can see the layers of it here.  Starts out with Chaplin and his boss at the suit shop, played by Eric Campbell and his epic facial hair.  Both are low on the totem pole, but Campbell a tad higher.  Campbell sees a note in one of his customer’s suits that’s an invitation to a swanky party, so he takes it to advance himself socially under false pretense.  Chaplin happens to be at the party because that’s where his maid girlfriend is.  A game of chess ensues between Chaplin and Campbell about their hierarchy on the guest list, with Chaplin doing the outsmarting.

      Speaking of hierarchy, Chaplin’s lady situation falls into this category.  His actual girlfriend is the maid.  When he convinces the party he is a count, he is able to flirt with the stately Edna, who has money.  Chaplin also encounters this young female party guest who has a very pronounced wiggle in her walk, so Chaplin chases after her.  In the end, for all Chaplin’s pretenses about trying to be high class, his lowly desires take over as he acts so smitten with the young girl he starts smacking pastry with his cane into the faces of guests - his emotions coming out like a giddy school boy, leading to a huge chase that disrupts the party.  Very much like The Three Stooges in HOI POLLOI.  The low comic can act like high society for so long, his true nature will come out.  The female party guest brought it out, though his table manners hinted at things to come.

      Some comic highlights are the opening measuring scene, which I think is hysterical.  The measuring of cheekbones, fingers, lips - Chaplin clearly didn’t know what he was doing.  The chase at the end is classic physical Chaplin.  Slipping and sliding all over the place, ducking under people, giving people mule kicks - this is Chaplin at his young and physical comic prime.  A really fun short overall.

Dr. Mabuse:
Excellent review . . . and one of my favorite Chaplin Mutuals.

"The Count" returns Chaplin to familiar territory — reviving the premise of Charlie invading high society by impersonating an individual of stature and wealth. However, Chaplin avoids the usual contrast between the rich and poor by elevating his character’s social position. Instead of the Tramp, he plays a tailor who is mistaken for a count and becomes the hit of the party until the real count arrives. Chaplin effectively ridicules the pretentiousness of the upper class in ways that predate the anarchic irreverence of the Marx Brothers, notably the scene in which Charlie masters the art of eating watermelon at a lavish dinner.

Unlike the previous Mutuals, "The Count" contains a tremendous amount of comic vitality. The escalating battles between Chaplin and Eric Campbell culminate in a superbly timed ballet of physical violence, with enough kicking and acrobatic chasing for several two-reelers. After more than two years, Chaplin firmly establishes a stylistic fusion of direction and performance that becomes a hallmark in the Mutual series.

NoahYoung:
Not much to add, since I like all the Mutuals. This falls somewhere in the middle for me. I still think it's great, but since the 12 film series is so great, they can't all rank number 1.  :)

I always thought it was interesting that Chaplin's derby is a lighter color (presumably gray) rather than black. I can't think of another film where he wears a derby that wasn't black.

General comment: Eric Campbell was irreplaceable. You'll notice that Chaplin never really tried to replace him after he was tragically killed in a car accident shortly after the last Mutual was filmed. To me (and others, I'm sure), it is hilarious how Chaplin always gets the upper hand even though Eric is twice his size!
 

Dr. Mabuse:

--- Quote from: NoahYoung on February 22, 2022, 02:25:06 PM ---Eric Campbell was irreplaceable. You'll notice that Chaplin never really tried to replace him after he was tragically killed in a car accident shortly after the last Mutual was filmed.

--- End quote ---

The loss was immeasurable to Chaplin, who never again found a comic villain equal to Eric Campbell’s talent and screen presence. At the 44:43 mark of the "Chaplin's Goliath" documentary, we see auditions for Eric's replacement, which obviously proved futile.

NoahYoung:
I've had that documentary ready to watch for over a year but haven't got to it yet. Off the top of my head, I think he endures the most abuse from Chaplin in THE CURE.

I didn't know that Chaplin even attempted to replace him. I've never subscribed to the theory that no one is indispensable -- mostly heard at the workplace. Believe you me, it's not entirely true. Many people aren't, but some very much are. You find out when they are gone.

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