By the Sea

This is a quick-moving farce, with Charlie getting involved in an altercation at the shore right off the bat. After he and his opponent (Billy Armstrong) agree to end hostilities, they get some ice cream, then start fighting again over who is going to pay for it (that's Snub Pollard behind the counter). Another man (Bud Jamison) gets hit with ice cream in the crossfire and more fisticuffs ensue. Meanwhile, Charlie flirts with Jamison's wife (Edna Purviance). Later, he flirts with Armstrong's wife (Margie Reiger).

Fun to watch, this movie is (thankfully) shorter and more to the point than some of Chaplin's other efforts.

For me this is one of the few Chaplin Essanay movies that contain any real laugh-out-loud moments - although they do come fairly early in the film, and nothing else in it compares to these two sequences. The first is the scene in which Chaplin and another man (Billy Armstrong) get their hats, which are attached to them by pieces of string, entwined and then proceed to repeatedly knock each other over as they try to disentangle themselves. The second is the moment in which Chaplin appears to be staring intently at something in the sand in order to get his adversary to lower his head enough to grasp it in a headlock. Chaplin's regular retinue – Purviance, Jamison, McGuire, etc – are all present in this one and offer solid support.

There is something new under the sun in the way of comedy business. Charlie Chaplin proves this in the opening scenes of his latest comedy, a lively breeze being utilized to fan the audience into a gale of merriment. Only exteriors are used. Fifteen minutes of fun. - The Moving Picture World, May 15, 1915

This is the kind of shtick put up to please those paying a nickel (or less) 'back in the day' when seeing this for nine minutes could amount to a decent time. What Chaplin is after here is just straight up pantomime, and this is both the strength and weakness of the short. It's great to see bits like Tramp and the man switching hats in the wind, or Tramp and the woman cavorting on the beach, or the "fighting" that ensues between him and a huge handle-bar mustached man. But it seems a little too quick, as if it was shot in a day (or less) and done mostly to cash in on good lighting on a beach. I chuckled throughout, don't get me wrong, though I'm sure there are better ones out there starring the Tramp.

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.

From his Essanay period after leaving Keystone, 'By the Sea' is not one of his very best or even among the best of this particular period. It shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career, from 1914, The Essanay period is something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in the more than worthwhile 'By the Sea'.

'By the Sea' is not one of his all-time funniest or most memorable, other efforts also have more pathos and a balance of that and the comedy. The story is still a little flimsy, there are times where it struggles to sustain the short length, and could have had more variety and less more of the same repeition.

On the other hand, 'By the Sea' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work (even when deadlines were still tight) and not churning out as many countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.

While not one of his funniest or original, 'By the Sea' is still very entertaining with some clever, entertaining and well-timed slapstick. It moves quickly and there is no dullness in sight.

Chaplin directs more than competently, if not quite cinematic genius standard yet. He also, as usual, gives an amusing and expressive performance and at clear ease with the physicality of the role. The supporting cast acquit themselves well.