Charlot conserje

As Chaplin's earliest films continue to evolve you can see more and more of the sight gags that would become very common in his later films, such as kicking his cigarette when he throws it away, various kicking and falling routines, and one which would be used again in The Immigrant a few years later, holding a man up with a gun held between his legs from behind.

This film has a more complex plot that the majority of Chaplin's short comedies that came before it, although I might have to admit that at times I found it to be a little bit hard to follow, maybe because the comedy was not quite enough to pull along the rest of the story, which itself is not quite strong enough to stand on its own.

Charlie plays a janitor who, as is to be expected, gets himself fired in some hilarious way, and then later comes to the rescue when an employee with a gambling debt attacks a woman who catches him trying to steal from the safe to cover his debt. The story is not complex or even very interesting, but it's there, and it shows that Chaplin sees the lack of story in his films so far as is trying to improve that.

A ripping good comedy number, with Chas. Chapman playing the part of the Janitor. He interpolates a lot of his inimitable funny business and the plot is better than usual. It contains a mixture of suspense and humor. A very good offering. - The Moving Picture World, September 26, 1914

Charlot is the school janitor. His troubles range from lifting the basket that drops its contents on the ground to the overthrow of a bucket of water on the director. When the manager is stealing from the safe he is stopped by the secretary, who he silences and lands by force. Charlot arrives and saves her. The police arrive, who initially thinks that Charlot is the culprit. After slapstick and rolling, Charlot is free and receives a reward. Charlot begins to take on the role of man in the cylinder, mustache and long shoes that avenges the oppressed with his strategies and architectures comic.

Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.

He did do better than 'The New Janitor', still made relatively early on in his career, generally a period where he was still finding his feet and not fully formed what he became famous for (though he is definitely more settled feeling here). Can understand why the Keystone period suffered from not being as best remembered or highly remembered than his later efforts, but they are mainly decent and important in their own right. 'The New Janitor' has a lot of nice things about it and is to me one of the best efforts in the 1914 Keystone batch.

'The New Janitor' is one of his funniest and most charming efforts from this period. Sure the production values not as audacious. Appreciated the busier and more complex story than before, though occasionally it was a bit hard to follow. 'The New Janitor' for early Chaplin is very good and it showed that Chaplin was starting to settle.

While not audacious, the film hardly looks ugly, is more than competently directed and is appealingly played. Chaplin looks comfortable, with more shades than before of his distinctive style here, and shows his stage expertise while opening it up that it doesn't become stagy or repetitive shtick. There is more sympathy and emotion than before.

Although the humour, charm and emotion was done even better and became more refined later, 'The New Janitor' is still very funny, cute and hard to dislike. It moves quickly and doesn't feel too long or short.

In conclusion, very good for early Chaplin. 8/10 Bethany Cox

One cannot expect masterpieces from embryonic cinema in 1914, but THE NEW JANITOR posts some wonderful slapstick sequences.

It raises the interesting problems of gambling, blackmail and theft, but just dismissed janitor Charlot somehow saves the day thanks to some graceful balletic moves and a lot of buttkicking.

Even in these very rudimentary shorts one can see the array of emotions that would punctuate all the major films that CC would direct and enact in the 1920-1952 period.

Well worth watching!