The Vagabond

In 1914 and early 1915, Chaplin did his first comedy shorts. In general, they were pretty awful--with almost no plot and consisting of him mugging it up on camera and hitting people. However, in 1915 he left Keystone Studio and began making better films with Essenay (though there are some exceptions) and finally, in 1916, to Mutual where he made his best comedy shorts. These newer films had more plot and laughs and usually didn't relay on punching or kicking when they ran out of story ideas.

This film tells a complete story--more so than almost any other Chaplin short. In fact, in many ways it is reminiscent of some of his later full-length films--in particular, THE CIRCUS. There were two problems with the film, though. One is a pretty lousy plot device on which the whole film relies. A woman was apparently stolen by gypsies as a little girl and later, as an adult, her portrait is painted and the girl's biological mother recognizes this 20-something year-old as her long-lost daughter!!! Talk about unbelievable! The other problem is that in the version I saw from THE ESSENTIAL CHAPLIN COLLECTION, there were no title cards to explain the action. I had to read the box to get an idea of what was occurring! It's a shame, as without these two problems, it would have been among Chaplin's best shorts.

The first trait that called my attention in this short film is that it brings sequences of situations considerably independent to each other, although presented linearly. Besides that, forgive me if I am wrong, but I had the impression that this film is somewhat different from most of the Tramp's movies. Slapstick is Chaplin's trademark, off course, but in this movie, perhaps more than usual, he performs strongly cartoon-like scenes, with movements which really look like the ones shown in animated TV shows. Another interesting possible novelty is that Edna Purviance has a quite funny scene together with Charlie. She uses to be portrayed in Chaplin's movies as an unassailable beauty diva, but here she gets down the pedestal and makes we laugh at her bath. That is something very nice to see. The end is also somewhat unusual, although related to an issue that is present in almost all Chaplin's movies. These are the novelties, but, on the other hand, prejudice against gypsies is a serious drawback in my opinion. The violent kidnappers could have been non gypsies at no expense to the story. Anyway, the little tramp tried everything to make a living: even as a street musician he tried to get some coins!

A pathetic fiddler tries to scrape a living together playing on the street and in bars. He chances upon a gypsy camp where he plays for a pretty young girl. However her father beats her savagely and the tramp helps her escape. When the pair happen upon a painter, events are set in motion to reveal the girl's true parentage.

One of Chaplin's Mutual short films this shows him still developing the kindly tramp personae on film. As a result the humour is not yet fully developed although we do get one funny scene of people being hit over the head etc. The plot is as basic as above and is typical of the day - audiences wanted to see the poor people suddenly being elevated to better things, no matter what the device. However from modern views I wanted Chaplin to be funnier and the message to be toned down or at least be more realistic.

Overall this will please fans of Chaplin and I think it is one of the first films he directed himself. The cast are good and it's always nice to see the little tramp act done well. However more routines and less aspiration would have been better.

The Vagabond is a funny short film that features Charlie Chaplin as The Tramp. Here he's a wandering violinist who bizarrely finds himself in a gypsy camp, where The Gypsy Drudge--the lovely Edna Purviance--is slaving over a wash tub. He falls in love right away. Several funny episodes here and an oddly happy ending, but there is plenty of Chaplin's stock in trade: masterful comedy, sight gags, and that Victorian sweetness that makes his films so special. Chaplin was a master of creating laughter and tears, and his best films do both. The Kid and City Lights are among the most emotional films you'll ever see. Edna Purviance made more than 20 films with Chaplin and should have been a star in her own right. Eric Campbell, Albert Austin, Charlotte Mineau, and Leo White (as a the gypsy hag) co-star.

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 post-Essanay period when he was working for Mutual, 'The Vagabond' is not one of his very best or even among the best of this particular period. It and his Essanay period 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 and Mutual periods were something of Chaplin's adolescence periods where his style had been found and starting to settle. 'The Vagabond' is among the best of his early work and for me it is the first great Chaplin short under Mutual.

Certainly other efforts of his have more pathos and a balance of that and the comedy than 'The Vagabond'.

On the other hand, 'The Vagabond' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out 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 here and preferred.

'The Vagabond' is one of his funniest from this period and does it without being over-reliant on slapstick. It moves quickly and there is a more discernible and busier story to usual, even if at times it could have had more variety.

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, with a charming Edna Purviance and the chemistry between her and Chaplin.

Summing up, very well done. 9/10 Bethany Cox