We now wrap up our Chaplin Mutual discussion with the 12th and final film of the series, 1917’s THE ADVENTURER. It is also our goodbye to Eric Campbell, as he would tragically pass away shortly after this.
THE ADVENTURER for me stands out the most because it involves a silent comedy staple Chaplin would occasionally delve into, but not as often as his contemporaries - the chase. This short starts out with a chase and ends with a chase. Actually, watching the beginning, I was reminded of Freddie Sanborn’s comment about how THE IMMIGRANT starts out epic and dwindles down in the end. While I’m perfectly fine with THE IMMIGRANT’s structure, I also understand what Freddie is saying. THE ADVENTURER also starts out with this real epic chase, one you would think would end a short. It is brilliantly crafted and even though it’s fast paced in parts, Chaplin also takes moments to breath while the chase is happening. The buried in the sand gag, the gag where he realizes the guard’s feet is next to him so he buries the feet and most brilliantly, where it appears Chaplin is shot and plays dead, only to reverse mule kick the guard in the backside. All of these gags lead to the guards falling down that sand dune. A nice combination of picking the pace up and slowing down, brilliantly done.
Chaplin in the water rescuing all the drowning people is another excellent part. The biggest laugh in the short for me is when Chaplin is about to save Edna’s Mom but when he sees Edna drowning, he shoves the Mom to the side. Hysterically low class, I love it. Also love the way Eric Campbell gets saved yet when on the stretcher, gets dumped back in the water all over again. Basically a nice way to stretch out the drowning gags a little further.
The party stuff is good fun. I really love the ice cream gag, especially when Eric Campbell tries to take the ice cream out of the lady’s back and gets slapped for his efforts. Damned if you do, damned if you don’t. Nice way of delaying Chaplin eventually getting found that’s he’s a convict at this party and not some guy with a yacht like he’s pretending. The gag where Charlie’s wanted picture is the paper and he draws Eric Campbell’s beard on it to hide the fact from the guests is great. Chaplin finds the judge but barely escapes recognition and there’s also the nice bit where Chaplin discovers the guard having a fling with the house servant hiding in the closet to conceal his affair. Chaplin opens the closet and quickly runs away when he sees who is in there. Yup, it’s just a matter of time until he gets caught.
Unlike THE IMMIGRANT, the big part, being the chase, also ends this short. Chaplin does get figured out and we get a big chase throughout the house. I always get a big laugh when in spite of all the trouble Charlie is in, he still manages a moment to kiss Edna. The door gag is brilliant and is mechanical in nature in a way one would normally associate with Keaton. Keaton at this point barely debuted with Arbuckle, keep in mind. But yeah, the short ends as it begins, via the chase. Chaplin gets away from the guard and the short fades out, Chase still on. A great short.
So yeah, from here Chaplin goes to First National where he would make more shorts and of course, begin his transition into features. I will try to shoehorn those films in the future. After I do the final Lloyd short next week, it’s The Abbott and Costello show one week followed by whatever I want the next. Chaplin some weeks may fall into “whatever I want.”