Charlot et le comte

In the cinema of Charlie Chaplin, silly facial hair was like a kind of comedy insurance. If all Charlie's antagonists looked suitably ridiculous, the pratfalls would fall that little bit harder and the laughs would be that little bit louder. The Count is a good picture for silly facial hair, from the flapping fuzz of the band leader, to the upturned curiosity of Count Broko, to the wispy behemoth adorning Eric Campbell. Chaplin's reliance on beards and moustaches here gives a clue as to the fact that this is not among his best Mutual Pictures.

It appears he was aiming for here a story of broader social goings-on, with a plot that is funny in itself as Chaplin and Campbell double-cross each other, both trying to pretend to be a count so they can get in with Edna Purviance, until the real count turns up, and mayhem ensues. It's a good idea, but Chaplin is at this stage focusing on milking each scene for potential gags, rather than making the whole thing flow seamlessly. Consequently The Count has a rather disjointed feel, lurching awkwardly from a boss/apprentice set-up of the kind with which Chaplin normally sustained a whole picture, to an elicit meeting between Chaplin and some frumpy cook, to the rather contrived situation in which counts are impersonated. Neither the plot nor the tramp character really seems consistent, and it runs almost like a Charlie Chaplin clip show.

But Chaplin was nevertheless at the top of his game as far as pure comedy went, and there are some of these "clips" are pretty good. The opening scene is a great example of the triumph of absurd ideas over broad slapstick, with Charlie as a tailor who measures a woman's ear, smile and finger. There's a very smooth and pretty ballroom scene, punctuated by a few arse-kicking gags. In the frantic finale there is a rather subtle but very funny juxtaposition, as the band continues to play gently in the background as the other characters run around and fight each other in the foreground. Luckily composer Carl Davis, in his new score for the Mutual films, picks up on this and keeps going with the sedate band music rather than a typical chase theme. And those beards, backups though they may be, do work as a touch of comic sparkle.

So yet again, we come to the all-important statistic – Number of kicks up the arse: 9 (4 for, 5 against)

Charlie Chaplin goes to a party and he pretends to be a certain count. He doesn't act like a count but they all believe he is one until the real count shows up.

This is another fine Charlie Chaplin movie where he does some nice satire on higher society. It starts a little slow but once they are on that party it gets very funny.

Charlie and Eric Campbell are in top form is this very amusing short. Charlie plays a tailor's assistant and Campbell is his boss. They wind up by coincidence (!) at the same rich lady's party, where both compete for the daughter Miss Moneybags, played by Edna Purviance.

The plot is, of course, completely ridiculous, and the whole thing is totally silly and contrived--which is just how it should be. The highlight is a hilarious dance sequence, with Charlie at his acrobatic best. There is a lot of cake-throwing and bottom-kicking. The latter is such a standard device in Chaplin movies that I wonder if there might have been some kind of underlying S&M thing going on here.

Not one of his best, but standard Charlie is Grade A stuff. Still very very funny.

After having seen in the "Schloss", "The Count", a film directed by Herr Charles Chaplin in the silent year of 1916, this German Count must enumerate both the accurate and inaccurate elements in order to prevent the many misunderstandings that still persist among the longhaired around the world and the provincial aristocracy, even after centuries.

Inaccurate :

· A genuine Count's secretary never accompanies his master to a ball · The free style dancing is not allowed in a ball · In an elegant and aristocratic dinner, ordinary foods such as watermelon or spaghetti never are served. · A wealthy heiress never dances with a man in civvies · A wealthy heiress usually is not young, thin or charming.

Accurate:

· The servants always cause problems for their masters · The aristocratic floors always are waxed · The aristocratic servants wear slovenly wigs · A genuine Count wears top hat and matching moustache

Those were necessary clarifications so in this way it does depict aristocratic business in the correct manner.

And now, if you'll allow me, I must temporarily take my leave because this German Count must continue in this aristocratic corporate spirit.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

There's not much subtlety in "The Count", but there is some pretty good slapstick. Chaplin regular Eric Campbell gets a big role in this one, and he and Charlie always make a good pair of comic rivals. The settings offer some good props and comic possibilities, and the story and the cast make pretty good use of them, as well as the kind of identity mix-up that Chaplin liked to use. There is pretty good detail in some of the settings as well, making them rather interesting in their own right, as a small look into the daily life of 1916.

Chaplin and Campbell have some good moments in their series of confrontations with one another, getting into a series of antics first in a tailor's shop and then at a formal dinner. The first part moves pretty slowly at times, but then things start to pick up, and there is a rather manic finale. Edna Purviance also appears, but she does not get a lot of material to work with this time.

It's not among the best of Chaplin's shorts, but it's still worthwhile. There are no especially imaginative or innovative ideas here, but there is enough funny slapstick to make it worth seeing.