Ajouter une intrigue dans votre langueDisguised as a priest, an escaped convict makes his way to Texas. He ends up in a small rural town where the townsfolk mistake him for their new church minister.Disguised as a priest, an escaped convict makes his way to Texas. He ends up in a small rural town where the townsfolk mistake him for their new church minister.Disguised as a priest, an escaped convict makes his way to Texas. He ends up in a small rural town where the townsfolk mistake him for their new church minister.
- Prix
- 3 victoires au total
Dean Riesner
- Little Boy
- (as Dinky Reisner)
Charles Reisner
- Howard Huntington - The Crook
- (as Chuck Reisner)
Phyllis Allen
- Congregation Member
- (uncredited)
Joe Anderson
- Roulette Player
- (uncredited)
Frank Antunez
- Bandit
- (uncredited)
Sarah Barrows
- Congregation Member
- (uncredited)
Monta Bell
- Policeman
- (uncredited)
Edith Bostwick
- Congregation Member
- (uncredited)
George Bradford
- Congregation Member
- (uncredited)
Avis en vedette
Having escaped from prison for a crime that is never mentioned, The Tramp disguises himself as a pastor as he heads for Texas. Arriving from train, he is quickly mistaken as the new curator / priest that the small town is expecting. The Tramp is once again placed into a situation that he was act his way out of. Finding himself in the middle of a sermon, The Tramp must perform is way off stage to convince the town that he a priest. The ending, although meant to be funny, is more political that humor. The 1920's outlook on Mexico was the same as it was since the end of the Mexican American War in the 1840's. The audience laughs as we see Mexico and its people as savage and unpredictable as ever. Although the Tramp survives to fight another day, he manages to throw a political message out to the audience before the end of the movie.
The tramp escapes from prison and, with wanted posters everywhere, takes a train to a place picked randomly Texas. Disguised as a minister he is fortune enough to be mistaken for the real deal when he stumbles into a welcoming party for a town's new minister, Reverend Phillip Pin. A mixed blessing this as it puts more pressure on his disguise and makes it even more important he cover up the telltale signs of a life spent behind bars.
As part of my recent film education I have been watching quite a few Chaplin films of this period as Sky have been showing them as a season over the last few weeks and what I have found is what everyone already knows which is that the enduring popularity of Chaplin is not a fluke or accident. No, The Pilgrim yet again demonstrates the talent and skill that Chaplin had because it is very funny, imaginative and well put together. The story is simply and allows for a series of scenarios where Chaplin can work his comedy such as the hat becoming part of the pudding, the early confused chase and so on. However in the smaller moments you can also see plenty of evidence of talent; my favourite moments of the film are the frequent bits of habitual behaviour that betray the tramp as a convict. Having bought a ticket for the train he then climbs under the car because he is not aware of any other way of doing it, or while buying the ticket he leans against the bar as one would in a cage. Little things like this running along with the bigger scenarios make the film that much funnier for having a consistency to it.
In front of the camera Chaplin delivers perfectly. I have yet to get into his later films (although I will do) but I will be interested to see how he acts when he has the ability to deliver dialogue with sound. The reason for this is that silent film acting is much different from dialogue driven because near everything has to be done with body language and gestures; goes without saying that he is great at it. He is well supported by a cast getting familiar to me after seeing several of his shorts and the turns from Swain, Purviance, Underwood and others are good.
Overall then another classic comedy from Chaplin that is consistently funny due to the bigger laughs blended with lots of clever amusing detail.
As part of my recent film education I have been watching quite a few Chaplin films of this period as Sky have been showing them as a season over the last few weeks and what I have found is what everyone already knows which is that the enduring popularity of Chaplin is not a fluke or accident. No, The Pilgrim yet again demonstrates the talent and skill that Chaplin had because it is very funny, imaginative and well put together. The story is simply and allows for a series of scenarios where Chaplin can work his comedy such as the hat becoming part of the pudding, the early confused chase and so on. However in the smaller moments you can also see plenty of evidence of talent; my favourite moments of the film are the frequent bits of habitual behaviour that betray the tramp as a convict. Having bought a ticket for the train he then climbs under the car because he is not aware of any other way of doing it, or while buying the ticket he leans against the bar as one would in a cage. Little things like this running along with the bigger scenarios make the film that much funnier for having a consistency to it.
In front of the camera Chaplin delivers perfectly. I have yet to get into his later films (although I will do) but I will be interested to see how he acts when he has the ability to deliver dialogue with sound. The reason for this is that silent film acting is much different from dialogue driven because near everything has to be done with body language and gestures; goes without saying that he is great at it. He is well supported by a cast getting familiar to me after seeing several of his shorts and the turns from Swain, Purviance, Underwood and others are good.
Overall then another classic comedy from Chaplin that is consistently funny due to the bigger laughs blended with lots of clever amusing detail.
Over-shadowed by such classics as THE GOLD RUSH or CITY-LIGHTS, THE PILGRIM is a delight and is perhaps Charlie's finest 'short'. Dropping his 'Little Tramp' character, Chaplin is now an escaped convict, heading out West disguised as a clergyman and who is mistaken for the new Pastor of a small Western town.
Sentiment is kept at a minimum and THE PILGRIM is filled with inventive sight gags and sequences, with perhaps the stand-out being the middle-section, where Charlie suffers from the attentions of a little boy (the bowler hat covered with custard and served as afternoon tea is a wonderfully surreal touch)..
The 1959 re-issued version is perhaps the version to see, as it comes with a wonderful score by Chaplin and a specially written theme song, 'Bound For Texas' sung by Britain's own Matt Monroe. It's a memorably jaunty song which you will be humming for days afterwards.
Sentiment is kept at a minimum and THE PILGRIM is filled with inventive sight gags and sequences, with perhaps the stand-out being the middle-section, where Charlie suffers from the attentions of a little boy (the bowler hat covered with custard and served as afternoon tea is a wonderfully surreal touch)..
The 1959 re-issued version is perhaps the version to see, as it comes with a wonderful score by Chaplin and a specially written theme song, 'Bound For Texas' sung by Britain's own Matt Monroe. It's a memorably jaunty song which you will be humming for days afterwards.
The Pilgrim is an outstanding example of Charlie Chaplin at work. So much of what Chaplin did was based on his physical ability to move like a dancer, and this film shows off his agility to the maximum. Charlie tumbles and jumps, turns on a dime, and makes every graceful movement funny. The plot is your basic silent movie plot, with a lot of mistaken identities and a love interest that leads to a plot climax and a happy ending for Charlie--but without the girl. (Charlie almost never got the girl at the end of his films. It was one of his enduring charms.) The difference between this and a typical silent film is the charisma of Charlie Chaplin. There is simply nothing else like it in film history.
As was now his tradition when leaving a studio, Charlie Chaplin here begins his final short feature for First National with an escape from prison. It also appears he was vengefully trying to bankrupt the studio, with lots of fancy sets, costumes and location shooting in what is one of his larger scale short pictures.
But what really makes The Pilgrim stand out is that, like his earliest works for First National, A Dog's Life and Shoulder Arms, it is really a concerted effort, with all the breadth, sincerity and care in production of his full-length features. After some experimentation in The Idle Class and Pay Day the comic now returns to his roots, pushing pure pantomime to its limits. Sequences like his acting out of the story of David and Goliath or little asides such as his gestures describing features of people in a photo album demand the intention and intelligence of the audience, and are very rewarding gags as a result. The business with the hat in the cake is also a great routine, a classic Chaplin situation of the chaos caused by the little tramp becoming bigger than the tramp himself.
Chaplin regulars such as Henry Bergman make only fleeting appearances in The Pilgrim. One time stalwart Albert Austin, now busy as a director, does not feature at all. Making up for this deficit however is one of the more substantial appearances by Charlie's brother Syd Chaplin. His pompous husband makes a great counter-foil for the tramp – his looks of horror and indignant gestures are priceless – and he was really strong enough to have become a recurring character in his own right. Sadly this was Syd's last appearance in one of his brother's films.
The nicest thing about The Pilgrim is that it is a great return to stories driven by the little tramp's character – something that had been wavering in the last couple of Chaplin shorts. Many of the gags stem from his status as a plucky fugitive, and his complete inappropriateness – yet clever bluffing – in the role of a preacher. Once again we have a rounded yet unfulfilled love for Edna Purviance, and his redemption for her sake is given a credible build-up. With his last ever short, Chaplin demonstrates that these little movies where he had honed his craft were far from idle throwaways.
We end with the all-important statistic – Number of kicks up the arse: 2 (2 for).
But what really makes The Pilgrim stand out is that, like his earliest works for First National, A Dog's Life and Shoulder Arms, it is really a concerted effort, with all the breadth, sincerity and care in production of his full-length features. After some experimentation in The Idle Class and Pay Day the comic now returns to his roots, pushing pure pantomime to its limits. Sequences like his acting out of the story of David and Goliath or little asides such as his gestures describing features of people in a photo album demand the intention and intelligence of the audience, and are very rewarding gags as a result. The business with the hat in the cake is also a great routine, a classic Chaplin situation of the chaos caused by the little tramp becoming bigger than the tramp himself.
Chaplin regulars such as Henry Bergman make only fleeting appearances in The Pilgrim. One time stalwart Albert Austin, now busy as a director, does not feature at all. Making up for this deficit however is one of the more substantial appearances by Charlie's brother Syd Chaplin. His pompous husband makes a great counter-foil for the tramp – his looks of horror and indignant gestures are priceless – and he was really strong enough to have become a recurring character in his own right. Sadly this was Syd's last appearance in one of his brother's films.
The nicest thing about The Pilgrim is that it is a great return to stories driven by the little tramp's character – something that had been wavering in the last couple of Chaplin shorts. Many of the gags stem from his status as a plucky fugitive, and his complete inappropriateness – yet clever bluffing – in the role of a preacher. Once again we have a rounded yet unfulfilled love for Edna Purviance, and his redemption for her sake is given a credible build-up. With his last ever short, Chaplin demonstrates that these little movies where he had honed his craft were far from idle throwaways.
We end with the all-important statistic – Number of kicks up the arse: 2 (2 for).
Le saviez-vous
- AnecdotesThe bratty boy was played by Dean Riesner, associate director and co-star Charles Reisner's son. In later years, Dean recounted how he did not want to slap Charles Chaplin's face, even though the story called for him to do so. As a result, Chaplin and his elder brother Syd Chaplin continually slapped each other's faces to convince Riesner what fun it was.
- GaffesThe Mexico Texas border is marked by a sign on dry land. The entire Mexico Texas border is in the middle of the Rio Grande.
- Citations
Crook: I missed my train.
Girl's Mother: Then you must stay for the night. I'll get some light.
- ConnexionsEdited into The Chaplin Revue (1959)
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- How long is The Pilgrim?Propulsé par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langues
- Aussi connu sous le nom de
- At Large
- Lieux de tournage
- société de production
- Consultez plus de crédits d'entreprise sur IMDbPro
Box-office
- Brut – États-Unis et Canada
- 280 171 $ US
- Durée47 minutes
- Couleur
- Mixage
- Rapport de forme
- 1.33 : 1
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By what name was The Pilgrim (1923) officially released in India in English?
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