Charlot, periodista

This is poorly done, not funny really, and just not that well put together. But, when viewing this sort of thing, I think its important to keep two things in mind ... #1: The film industry was new and inexperienced. It was a treat for most folks just to see images thrown up on a screen. #2: Chaplin was also new and inexperienced. He had not yet grown into that lovable Little Tramp. This was a period of learning via experimentation. Given all of that, this is worth watching once if you're a Chaplin fan just because it is such an early example of his work. If, on the other hand, you're not really into Chaplin so much but just a fan of flicks before the "talkies" fad came along, well, you can safely pass on this one and not miss much.

Not one of Chaplin's best, but not deserving of the bad reviews it has generally received.

Chaplin here, in his very first movie, plays a swindler masquerading as a reporter--or at least I think so. The movie moves along at such a hectic pace that it is a little confusing. Like all Keystone movies of that era, it was a silly bit of fluff. But still, it had its moments and is generally is pretty funny.

One memorable scene--memorable for its silliness--is the scene where a car gets into an accident and a reporter (Charlie? I am not sure) interviews a survivor while pinned in the wreck! That one bit of business was funny as hell. Any former present or former journalist, in particular, would appreciate it.

It was in this, his first film, that Chaplin was called "a comedian of the first water" by an early, unidentified film critic. Actually, this film was considered bad at the time of its release, but Chaplin stood out in this unimaginative short as a first-class performer. Here, he appears in a silk hat and frock-coat, wearing a monocle. It is interesting to note that while American audiences would interpret this characterization as a traditional stage villain, but in England music-hall this characterization represents a man down-on-his-luck, a sort of forerunner of the Little Tramp (which Chaplin would develop in his following film). The plot, such as it is, involves Chaplin and Lehrman as rival reporters, and when Lehrman gets a photo of a car wreck, Chaplin steals it and tries to sell it to the paper as his own.

This is Chaplin's film debut. If it wasn't for that, there's a pretty good chance that this would be totally forgotten by today. Chaplin, in a pre-Tramp role, shows some of the things that would eventually make him one of the most recognizable figures in the world, such as keeping an opponent away from him by using his cane during a fight). There's very little (ok, no) plot development.

This is a Keystone short, so there is quite a bit of slapstick humor. Perhaps it's due to this movie being over 90 years old when I saw this, but I could not tell what exactly happened between Chaplin and the reporter (played by director Henry Lehrman). There are a few interesting parts.

If you are a fan of Chaplin and can't get enough of his work or a fan of silent slapstick comedies, this might be worth a look. Then again, it's only about 8 or 9 minutes long, so if you don't like it, you haven't wasted much of your time.

For his first film, Charlie Chaplin does not yet wear his tramp costume but is dressed as a dandy, a character clearly inspired by Max Linder.

This is a good example of the one- or two-reel slapstick comedies which constituted a large part of American film production at the time. While there is a story which keeps the viewer's interest, it is mainly an opportunity to accumulate as many visual gags as possible. Only four inter-titles are used in the film and they are not even really necessary. Although the filming consists mostly of wide shots and three quarter shots, always with a static camera, the editing gives a very dynamic progression of the action, with a systematic use of cross- cutting. The fact that it is mostly filmed on location in the streets of Los Angeles and in the office of the L.A. Times gives it authenticity and adds now a historical interest with views of the city and of different parts of a newspaper office in 1914, notably shots of a Linotype used for the composition of the newspaper.

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