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Watching Charlie Chaplin's Keystone comedies is like watching the earliest appearances of classic cartoon characters such as Mickey Mouse or Bugs Bunny; that is, our hero is certainly familiar yet not quite himself, and is crude in both appearance and behavior, sometimes to a startling degree. It's fascinating to see these early works, but they can be a little disquieting, too. In some Keystones Chaplin is an outright villain, shockingly mean-spirited and dastardly. In others, however, he is comparatively benign, as in Caught in a Cabaret, an early short I enjoy, which is of special interest for several reasons.

When this film was made Chaplin was not yet his own director. Caught in a Cabaret was directed by his co-star, Mabel Normand, who had clashed with the temperamental Englishman on their previous collaboration, Mabel at the Wheel. Studio boss Mack Sennett almost fired Chaplin on that occasion, but by the time this follow up was made, it appears that all was forgiven. (Chaplin's burgeoning popularity with the public was surely a big factor in saving his career at Keystone.) Both stars contributed to this film's scenario, and here is where we find a number of elements Chaplin would develop and refine later on. The basic premise is certainly familiar: Charlie is a lowly waiter who pretends to be a dignitary, and finagles an invitation to a party where he mingles with the upper crust, which makes this short a blue-print for a number of memorable comedies yet to come, including The Count, The Rink, and The Idle Class, among others. Naturally, the prototype isn't as polished as the later works, but hey, you have to start somewhere. As a bonus, Caught in a Cabaret offers a rogue's gallery of Keystone players in support: Edgar Kennedy, Chester Conklin, Minta Durfee, Mack Swain, etc., all emoting at full throttle, not to mention the lovely Mabel as leading lady, so there's plenty to enjoy as this two-reel extravaganza unfolds.

The cabaret where Charlie works is a real dive, seamy and scuzzy. During the cabaret scenes director Normand crowds the frame with so much rowdy activity—people carousing, raising hell, caterwauling, whatever—that the joint looks like Bedlam. When Charlie steps outside to walk his dog, we're treated to grimy location shots taken in L.A.'s old Chinatown district, a ghetto that would be demolished in the '30s. By way of contrast, Mabel plays a "Society Bud" of noble lineage who lives in a mansion, and it's clear that she and her foppish boyfriend (Harry McCoy) travel in more rarefied circles. The denizens of these very different worlds meet up in a park, where Charlie defends Mabel from a thief while her boyfriend cowers. But it's not enough for Charlie to be a hero; he must claim to be an important figure to impress this young lady, though once he's invited to her party he forgets himself and promptly gets hammered. Harry the fop gets his revenge by inviting his society pals to go slumming at the very cabaret where Mabel's new love interest works, thus revealing his true status. It all ends in a classic Keystone mêlée, although oddly it's cabaret boss Edgar Kennedy who inexplicably freaks out and shoots up the place.

There are a number of moments to savor: Mabel and Charlie sharing an intimate moment during the party, and singing along with the musicians; Minta Durfee's saucy dance in the cabaret; tough guy Mack Swain picking his teeth with a pistol; and finally, Mabel's horrified reaction at the end, when she learns that Charlie isn't really a V.I.P. (You can read her lips: "A WAITER? Oh my God!") The only thing that troubles me about this amusing short is the fate of Charlie's lively little dog. He makes quite an impression during his brief sequence before the cameras, but when Charlie returns to the cabaret from the park, the dog is no longer with him. Where did he go? And didn't anyone notice?

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 'Caught in a Cabaret', still made very early on in his career where he was still finding his feet and not fully formed what he became famous for. 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. 'Caught in a Cabaret' is a long way from a career high, but has a lot of nice things about it and is to me one of the better efforts in the 1914 Keystone batch and one of his better collaborations with Mabel Normand.

'Caught in a Cabaret' is not as hilarious, charming or touching as his later work and some other shorts in the same period. The story is flimsy and the production values not as audacious. Occasionally, things feel a little scrappy and confused.

For someone who was still relatively new to the film industry and had literally just moved on from their stage background, 'Caught in a Cabaret' is not bad at all.

While not audacious, the film hardly looks ugly, is more than competently directed and is appealingly played. Chaplin looks comfortable for so early on and shows his stage expertise while opening it up that it doesn't become stagy or repetitive shtick.

Although the humour, charm and emotion was done even better and became more refined later, 'Caught in a Cabaret' is humorous, sweet and easy to like, though the emotion is not quite there. It moves quickly and doesn't feel too long or short.

Overall, far from one of Chaplin's best but pretty good and perhaps one of his better efforts from the early Keystone period. 7/10 Bethany Cox

'Caught in a Cabaret' is directed and written by Mabel Normand but she allows Chaplin to shine. She is the leading lady, but this movie is purely Chaplin's show. I don't know how much creative control Chaplin had over his stunts or in this film overall but his performance was great. He didn't play simple troublemaker still, his character was quite a swindler.

Charlie works as a waiter in the cheap Cabaret. In his lunch break, he saves Mabel from the mugger who has already chased off her boyfriend (Harry McCoy). Charlie presents himself as a high society man (Prime Minister of Greenland, or Greek Ambassador - I've seen two versions). Mabel invites him to her party. Charlie goes back to work, and after finishing his shift, he goes to the party. In there he gets trunk and makes somewhat of a fool of himself. Mabel's bitter boyfriend leads Mabel and the party company at Charlie's workplace where his true identity is revealed.

The plot is very coherent. Many of the jokes and gags are reused but they work well. The film doesn't offer many surprises or belly laughs but it is funny and entertaining. Besides quite a well-developed plot (well, compared to some other Keystone comedies from that era) the movie is not very memorable.

Like all of the very early Chaplin works on this VHS, the quality is rather poor and there are dropouts -- not from the tape, but from the film elements -- sometimes enough so that the action is hard to follow. Not that it matters a whole lot, as these are for the most part very simple films with lots of knockabout action, broad humor, and very little else.

"Caught in a Cabaret" finds Charlie as a waiter in a cheap cabaret who, on an unauthorized "break" tries to convince a wealthy society girl that he is the Ambassador from Greece (how or why he contrives this particular scam is uncertain). He doesn't fool all of her high-society friends however and it all ends in a big ruckus back at his workplace. A bit overlong, lacking in the timing that Chaplin would bring to his efforts in as little as a year, but pleasant enough in a rough, silly way.

It's rather chaotic (at least in the form in which it has survived), but "Caught in a Cabaret" includes some good material. It is also interesting to see some of the plot themes (identity mix-ups, interplay between different classes) that Chaplin would use in more refined ways in his later comedies. Finally, having Mabel Normand in the cast is always a plus.

While a good portion of the film is just simple knockabout slapstick, it also has an interesting setup, with Charlie working as a waiter but also trying to pass himself off as someone else so that he can move into high society. The complications that follow may not be unexpected, but they are amusing enough. Both Chaplin and other silent comedians soon learned to get much more out of this kind of premise, but this one is not bad, and it makes pretty good use of the two stars. There is more than enough to make it worth seeing for any fan of silent comedies.

Charlie's Tramp is working as a waiter, but cons a naïve society girl (Mabel Normand) into believing he is the Ambassador for Greece. Co-written (with Chaplin) and directed by Normand, this is notably less violent than most of the films Chaplin was churning out for Keystone (until the last few minutes, that is, when he causes a brawl in a bar). His character is much less abrasive than he usually was in these early shorts, even when under the influence of alcohol. Unfortunately, while it's good to see Chaplin moving away from Keystone's brand of repetitive violent slapstick, the rest of the material isn't quite strong enough to cover.

I recently had the pleasure of finding two DVDs of Charlie Chaplin shorts in one of those "Dollar Stores". And this film was just one of many gems in the set.

Written and directed by Mabel Normand, the film showcases her talent in both fields. But, of course, the spotlight shines on Chaplin. In the guise of his well known Little Tramp character Charlie plays a waiter who takes an hour off for lunch and ends up rescuing Mabel from a masher.

She invites him to lunch with her, and a comical case of mistaken identity leads to a slapstick free-for-all when Mabel and her high-class entourage wind up dining at the same Cabaret where Charlie works as a waiter.

A classic example of Keystone wackiness ! Watch for Roscoe Arbuckle's wife, Minta Durfee, in a supporting role as a wild socialite !

"Caught In A Cabaret" marks one of the first teamings of Mabel Normand and Charlie Chaplin, two of the titans of film comedy! Their playing is far subtler and wittier than that of their contemporaries at Keystone or at the other comedy studios.

Their chemistry is great together. Now that it is out that Mabel Normand directed several of her own and others' comedies at Keystone, what a treat to have been on the set and story conferences where she and Chaplin worked.

"Caught in A Cabaret" is also noteworthy for the teaming of Chaplin and Fatty Arbuckle. Comedy heaven! As if that weren't enough, Arbuckle's then-wife, Minta Durfee (a formidable light comedienne in her own right) rounds out the cast. Her scenes with Arbuckle are light and playful while her chemistry with Mabel Normand would've warranted an all-female comedy team.

While the film's pictorial quality has obviously aged, it shows a Victorian-era Los Angeles.

A fun, enjoyable two-reeler with a cast unmatched since "Libeled Lady" (1936)!

Caught in a Cabaret (1914)

*** (out of 4)

Chaplin is mistaken as a Greek Ambassador and must keep a girl's family from finding out. This one here is a real riot with some wonderfully funny fight scenes but the real highlights are the title cards, which feature some very funny one-liners. Also of note is that this storyline would play a big part in future Chaplin films.

A Busy Day (1914)

** (out of 4)

Chaplin plays a woman(!) who gets tired of her husbands and decides to fight with him in public. This here really doesn't have a single funny moment but it's still interesting to see Chaplin playing a woman.

Fatal Mallet, The (1914)

*** (out of 4)

Chaplin, along with two other guys, fights for the affection of a woman. Instead of using their fist the guys instead throw bricks at one another. This is a very funny film that has some outrageous violence that makes for a good time.

Knockout, The (1914)

*** (out of 4)

To show off his braveness, Fatty Arbuckle challenged a professional boxer to a fight. Fatty is funny as usually and like the above film, this one here gets the laughs from violence ranging from punches to items being thrown. Chaplin has a small but funny cameo as the referee.

This is another two reel comedy manufactured in Mack Sennett's comical factory out in Californy state. It caused so much laughter you couldn't hear what the actors was talkin'. Charles Chaplin was the leading fun maker. Mabel Normand, with several of the actors finished the show artistically. Sennett must have been behind the camera. Continuous laughter greeted the offering. - The Moving Picture World, May 9, 1914