* This is the first in a two-part series.
Charles Chaplin left Mutual Film in 1917 and signed a contract with First National. Their agreement amounted to more than a million dollars per year. Chaplin was the first movie star to sign such a lucrative offer. Loyal to his inner circle, he brought leading lady Edna Purviance and heavy Mack Swain with him, among others.
Although Chaplin’s first feature length film, The Kid (1921), would emerge from his five years at First National, his relationship with the studio was not an amiable one. The struggles between artist and executives would inspire Chaplin to form his own studio, United Artists. Again, this was a first for Hollywood.
Most critics and film historians consider the First National films a notch below the work Chaplin did for Mutual. In the First national shorts, Chaplin’s level of inspiration often noticeably wanes, so the general consensus is, for once, correct. Still, even lesser Chaplin is worthwhile (well, until we get to the late Chaplin features).
A Dog’s Life (1918) was Chaplin’s first short for First National. It was also the first movie to make a million dollars, more than justifying its considerable budget. Chaplin is in full Tramp mode here. Although an immensely popular film, and containing elements which Chaplin would develop more fully in The Kid, A Dog’s Life is an uneven effort.
Dawn brings only another day of misery in poverty. The Tramp ingeniously tires to steal a hotdog, but policeman Tom Wilson shows up to soil the spoils (Wilson would appear as the same character in The Kid).
In flight, the Tramp saves a mongrel, Scraps, from a scrape with a pack of dogs. Scraps, like the Kid (and, the Gamin later still) is a reflection of sorts of the Tramp, creating an identifying bond between the two.
The Tramp is a scrapper himself, fighting desperately for employment, but to no avail, alas. Dog and man enter The Green Lantern bar to find a mother and wife figure in Edna, who, as an amusingly awkward torch singer, has the locals in buckets of tears. (Literally. This scene also includes Henry Bergman in mighty uncomfortable drag).
Edna’s Big Boss Man threatens her with: “flirt or you’re fired! Give them a wink and smile!” Poor Edna’s just no good at flirting. “Do you have something in your eye?” asks the Tramp. Now Edna’s out of a job.
Lo and behold, some local bank robbers have buried some money, which Scraps has located. It looks like Paradise has been found, but not before at least one more scrap (which involves a surreal rendezvous with the crooks in a booth).
An over-written, bucolic finale rings phony. Ambiguity pointing to a release from the hell of poverty would have worked considerably better.
Shoulder Arms (1918) finds Chaplin again in social commentary mode, which was a gutsy move considering that the star was under intense Continue reading CHAPLIN AT FIRST NATIONAL (PART I)