Topic: The Pawnshop (1916) - Charlie Chaplin

[metaldams]

      Short six of twelve which means this ends the first half of the Chaplin Mutual journey.  What can I say?  I love this short.  End of review.  What, you want me to say more?  Alright, alright, I’ll speak, but be thankful I’m not charging per word.  Anywho, THE PAWNSHOP, from a character perspective, really has Chaplin in Keystone mode.  He’s really immature and loves to fight and one thing I notice here, as in a few other Chaplin shorts, is that he does all the dishing out.  Does not take one single hit, minus running into the bass at the end.  Even there, he uses that as an excuse to dish out some punishment on others!  It’s all in good fun though, and if the characterization may be a bit early Chaplin, the pacing and film making certainly are not.  The gags and situations, all very skit like, have a very casual and logical flow.  Chaplin takes his time with each situation, making this short very easy and a joy to follow.

      THE PAWNSHOP is most famous - and rightly so - for Chaplin’s masterful use of props.  These props are what he takes time with and uses at a mesmerizing level.  The short begins with a few virtuosic twirls of his famous cane and then he grabs a duster.  After dusting the cane, he manages to dust the room and get the feathers stuck in the fan, going all over the place.  This is all the opening act, as the real fun begins with that ladder!  The way him and John Rand work together is incredible.  Really funny the way Rand is stuck in the ladder and Chaplin just eggs him on with his ballet like shadow boxing bit.  The way Chaplin uses the ladder to hit everyone in sight and bounce in and out of the building and the outdoor era like a pinball is another great sight to watch, but best of all is when he is sitting in top the ladder balancing it.  Just about the most physically daring bit Chaplin has done.  Keaton worthy in the sense that I wonder how Chaplin didn’t hurt himself. 

      What else?  Oh yes, the clock scene where he’s oiling it up and acting like a doctor on the operating table.  It’s genius and mesmerizing to watch.  I’m not going to describe it further.  Instead, I’ll use this as an opportunity to plug Walter Kerr’s book, THE SILENT CLOWNS.  If you can find it for a good price, grab it, it’s a must read.  Kerr’s dissection of this scene is fantastic and truly is the definitive say on this scene, so I will to the master and plug him.  Reading metaldams for comedy is OK, but I’m merely Billy West to Kerr’s Chaplin.  Check him out.

      For a brief note, there is a scene where Chaplin pantomimes the size of different family members he cares for just like Shemp in FRIGHT NIGHT, which I just watched last week.  THE PAWNSHOP is another winner in the Chaplin Mutual series, check it out.

[Dr. Mabuse]

In terms of sustained inventiveness, The Pawnshop ranks among the best Chaplin comedies.  As a pawnbroker’s assistant, Charlie makes creative use of objects ranging from stale doughnuts to an alarm clock that requires a surgical procedure. If there is a rope on the floor, he walks across it as though he were a high-wire artist. Chaplin’s performance has an effortless, balletic grace rarely seen in his later films.

Perhaps the most revealing moment in The Pawnshop is the final shot in which Charlie emerges from a trunk to capture a thief, then bows to the camera, hugs the pawnbroker’s daughter and delivers a swift back-kick to his rival — all in one remarkable take.  Apart from the flawless timing and choreography, the sequence is an example of Chaplin’s playful detachment in a heroic situation. Unfortunately, Chaplin jettisoned much of this comic detachment after he left Mutual and gradually became a more self-conscious performer . . . as if he wanted to belong.  Perhaps that is why the best of his post-Mutual films are The Pilgrim and Modern Times. In both instances, Chaplin eliminates some of his pathos and recaptures the exhilaration of playfulness.

[Tony Bensley]

I did view this masterful short a little while back on a budget DVD that I picked up quite a few years back. It is basically as you describe; the best of both worlds with early Chaplin Keystone like knockabout comedy, combined with great choreography, fine camera work, and just enough logical story-line to hold it all together!

CHEERS!

[metaldams]

In terms of sustained inventiveness, The Pawnshop ranks among the best Chaplin comedies.  As a pawnbroker’s assistant, Charlie makes creative use of objects ranging from stale doughnuts to an alarm clock that requires a surgical procedure. If there is a rope on the floor, he walks across it as though he were a high-wire artist. Chaplin’s performance has an effortless, balletic grace rarely seen in his later films.

Perhaps the most revealing moment in The Pawnshop is the final shot in which Charlie emerges from a trunk to capture a thief, then bows to the camera, hugs the pawnbroker’s daughter and delivers a swift back-kick to his rival — all in one remarkable take.  Apart from the flawless timing and choreography, the sequence is an example of Chaplin’s playful detachment in a heroic situation. Unfortunately, Chaplin jettisoned much of this comic detachment after he left Mutual and gradually became a more self-conscious performer, as if he wanted to belong.  Perhaps that is why the best of his post-Mutual films are The Pilgrim and Modern Times. In both instances, Chaplin eliminates some of his pathos and recaptures the exhilaration of playfulness.

Great summary of the ending.

[Paul Pain]

This was a comedic masterpiece.  If you don't like this, then I don't like you.  The end.

[Paul Pain]

On a serious note, this really was a comedic masterpiece.  Every single thing that shows up serves a purpose, and the build-ups to the gags are fantastic.  All this time later, I'm still laughing over the scene of Chaplin eating the crackers and spewing them as the rich old man gives his sob story... better was how Chaplin hears the man's story, gives him a hammer to kill himself, and then ends up using it on himself after seeing the man's money roll.

The choreography in this one was absolutely incredible, with Chaplin and John Rand bouncing off everyone and everything in sight.  It was an incredible sequence, especially with the ladder.  But, how I gasped and laughed my rear off watching that scene.

The clock surgery was a devastating sequence of cringing and laughing.  I was cross-eyed in wonder with how Charlie milks that clock for every ounce, whether performing surgery or tenderly treating it as a patient in need.  Then he just cracks it open with a can-opener and reveals the full acid trip that is a run through this character's mind.  I was hurting by the end of that scene.

Lest we forget the cast... Edna, Henry Bergman, and Eric Campbell are all fine.  Nice touch to get the Jewish actor play a stereotypical Jewish pawnbroker, and Campbell was fantastic as the mustache-obsessed (seriously, look at how many times he strokes that 'stache) crook.

[Tony Bensley]

On a serious note, this really was a comedic masterpiece.  Every single thing that shows up serves a purpose, and the build-ups to the gags are fantastic.  All this time later, I'm still laughing over the scene of Chaplin eating the crackers and spewing them as the rich old man gives his sob story... better was how Chaplin hears the man's story, gives him a hammer to kill himself, and then ends up using it on himself after seeing the man's money roll.

The choreography in this one was absolutely incredible, with Chaplin and John Rand bouncing off everyone and everything in sight.  It was an incredible sequence, especially with the ladder.  But, how I gasped and laughed my rear off watching that seen.

The clock surgery was a devastating sequence of cringing and laughing.  I was cross-eyed in wonder with how Charlie milks that clock for every ounce, whether performing surgery or tenderly treating it as a patient in need.  Then he just cracks it open with a can-opener and reveals the full acid trip that is a run through this character's mind.  I was hurting by the end of that scene.

Lest we forget the cast... Edna, Henry Bergman, and Eric Campbell are all fine.  Nice touch to get the Jewish actor play a stereotypical Jewish pawnbroker, and Campbell was fantastic as the mustache-obsessed (seriously, look at how many times he strokes that 'stache) crook.

Yes, Eric Campbell! What a shame he died so young!!

[metaldams]

This was a comedic masterpiece.  If you don't like this, then I don't like you.  The end.

Should be quoted on the back cover if there is ever another blu ray release.

[Paul Pain]

Should be quoted on the back cover if there is ever another blu ray release.

 

That may be the highest compliment I have ever received on this forum! 

[Paul Pain]

Yes, Eric Campbell! What a shame he died so young!!

The last year of his life was a constant tragedy. 

[Tony Bensley]

Relating to this short, I seem to recall an episode of PAWN STARS that featured an original poster of THE PAWN SHOP (1916).

CHEERS!

[Tony Bensley]

The last year of his life was a constant tragedy. 

Other than having died in an automobile accident, I know nothing else about Eric's personal life. Perhaps an Eric Campbell thread is needed to remedy this?

[Paul Pain]

Other than having died in an automobile accident, I know nothing else about Eric's personal life. Perhaps an Eric Campbell thread is needed to remedy this?

Wikipedia sums it up nicely.  His wife died of a heart attack.  While still mourning, his daughter got hit by a car and barely lived.  Then, he dated and married a world-famous gold digger while his daughter was recovering.  The new wife almost immediately filed for divorce, and during that battle he died in a car accident because he was driving while drunk.

[Umbday]

I clearly remember the first time I saw The Pawnshop. It was in 7th grade health class. It was the last class before the x-mas break. The teacher had the 16mm projector set up. Nothing unusual. But that day, without comment from the teacher, the film was The Pawnshop.

By that time (mid-1970s), I had already become familiar with One A.M. and some of the other Chaplin Mutuals thanks to PBS television. But that day, The Pawnshop became an all-time favorite, and it was the first Chaplin that I bought from Blackhawk Films when I began assembling a small collection of super 8MM prints in the pre-VHS days. It is still at the apex for pure inventiveness. Something special about it, even if it isn't necessarily a step forward.

[metaldams]

I clearly remember the first time I saw The Pawnshop. It was in 7th grade health class. It was the last class before the x-mas break. The teacher had the 16mm projector set up. Nothing unusual. But that day, without comment from the teacher, the film was The Pawnshop.

By that time (mid-1970s), I had already become familiar with One A.M. and some of the other Chaplin Mutuals thanks to PBS television. But that day, The Pawnshop became an all-time favorite, and it was the first Chaplin that I bought from Blackhawk Films when I began assembling a small collection of super 8MM prints in the pre-VHS days. It is still at the apex for pure inventiveness. Something special about it, even if it isn't necessarily a step forward.

Great story, Umday.  I remember as a second grader, Halloween 1986, my second grade teacher dressed as Chaplin and showed us the cabin tilting on the edge of the cliff scene in THE GOLD RUSH.  First time I ever saw Chaplin.  Don’t remember if it was film projector or VHS - in the 80’s both were used in classrooms.

[HomokHarcos]

A fun short indeed, one that is much more comedy based than drama. I like the set and the fact it is a workplace comedy. He works at s pawnshop and gets into all sorts of trouble with a ladder, breaking a person’s alarm clock and getting into fights with his coworkers. It’s a very Stooge-like comedy where each job turns into a mess. I prefer those types of comedies to the domestic marriage mishaps. My favorite part was when they were fighting and when the boss comes in they have to stop and act busy.

The clock scene is the most famous. In order to figure out the price he decides to dissect the clock, causing it to be destroyed and lose all of its value.

[Umbrella Sam]

I have to agree, this was a very entertaining short. As was a bit more common in these early days, there is somewhat of a sketch comedy feel throughout, but each sketch is paced well. One of the early standout gags involves a ladder. I don’t know what it is, but for some reason, I really like gags involving out of control ladders; my favorite moment in my favorite movie, IT’S A MAD, MAD, MAD, MAD WORLD involves this. I guess it has to do with how well it can manage to be funny and intense at the same time, very along the lines of something Buster Keaton would do. The constant fighting between Charlie and John Rand is great; I love the way they’re constantly at each other, yet incredibly fast when it comes to breaking things off and not getting caught. Charlie’s scenes behind the counter are where he gets to shine as a solo act. The clock scene is great, very fun to see Charlie constantly messing around with it, and I also like his reactions to the old man’s sob stories; the way he goes from mildly disinterested to sad to shock in a small amount of time is hilarious. There’s not one dull moment here; the actual plot itself is light, but it all ties together in the end and is surrounded by so many funny things that it doesn’t matter. Very well done.

[NoahYoung]

I was just watching ALICE IN WONDERLAND, the Disney animated classic, and I wondered if Chaplin got the idea of "fixing" a watch/clock from Lewis Carroll. Of course the Chaplin film came before the Disney film, so I need to check the Lewis Carroll books about Alice to see if that's there. I have them in one volume on my shelf, but read it awhile ago and don't remember if the watch fixing was there. (The Mad Hatter and the March Hare attempt to "fix" the White Rabbit's watch, but break it instead!)
 

[NoahYoung]

Ok, well I read the short chapter about The Mad Tea Party and there was nothing about fixing the White Rabbit's watch. Perhaps it is elsewhere in the books?

If not, then perhaps Disney was inspired by Chaplin.

Note how it goes to B&W for a second -- perhaps another clue that it is an homage to Chaplin?

[Tony Bensley]

Ok, well I read the short chapter about The Mad Tea Party and there was nothing about fixing the White Rabbit's watch. Perhaps it is elsewhere in the books?

If not, then perhaps Disney was inspired by Chaplin.

Note how it goes to B&W for a second -- perhaps another clue that it is an homage to Chaplin?

I don't remember ever picking up on this scene briefly going to Black & White, before. Very interesting!

CHEERS! 

[NoahYoung]

Yes, it's like that on the DVD too.