His New Profession

This 16 minute flick is no where near his very best or indeed his keystone best but the film from a historical points out why Chaplin and his tramp became the greatest success in popular entertainment up to that time. Chaplin quickly mastered the new medium and here he circumvents normal morals by playing to the popular crowd which at the time was very the poor, the working class and the exploited so the little tramps cruelty seemed then to be not just funny but clever in a way that simply does play to modern manners. Chaplin was still learning his trade when this short was put to celluloid way back in 1914 but even then he knew what cinema and entertainment was all about. Today 100 and more years on it is clear that Chaplin was not only an artist but a genius and a pioneer and innovator of deserved legendary status.

If you've seen any of the comedies Charlie Chaplin made at Keystone during his first year in the movies you know that they're usually very fast-paced, sometimes chaotic (even when the print is in decent shape), and generally full of slapstick violence. Furthermore, Charlie himself is not the lovable Little Tramp of later days, but a more ruthless figure, often drunk and combative. Where the ladies are concerned he's playful but not exactly warm-hearted. Sometimes Charlie is an out-and-out villain, as in Mabel at the Wheel and Tillie's Punctured Romance, and in one Keystone, The Property Man, he's a bully who torments his elderly assistant.

In His New Profession, a one-reel comedy, Charlie is a scamp who hangs around at a seaside park reading The Police Gazette, an illustrated weekly full of sin and scandal that was the National Enquirer of its day. A young gent who is stuck pushing his wheelchair-bound uncle around the pier persuades Charlie to take on the job for a while, so he can go off with his girlfriend. Through devious means Charlie uses the old man to raise a little cash to buy himself beer, but when the nephew returns the situation quickly deteriorates into a brawl involving the police. In this film Charlie is more selfish and amoral than villainous; when a passing lady drops her handbag he almost pockets it, but quickly returns it when challenged. His strategy to earn himself beer money is rather amusing. Compared to other, more crazed Keystone shorts the knockabout violence in this one builds gradually, the way Laurel & Hardy would handle escalating hostilities in their best comedies later on. Still, the tone here is pretty raw. Charlie sits on eggs and wipes off the residue on the grass, a beggar pretends to be crippled, and the uncle's bandaged foot gets clobbered repeatedly -- of course. Refined it ain't, but nonetheless it's more enjoyable than some of the other Keystones. It's well paced, and despite the low comedy stuff the atmosphere is light-hearted. It's just a day at the seashore with the old gang.

A couple of notes on the cast: the dapper young man first seen pushing his uncle's wheelchair (and who comes to regret entrusting Charlie with this job) is played by a very young Charley Chase, who went on to a starring career of his own in the '20s and '30s. And during the sequence in the saloon you'll have to look fast to catch a glimpse of Roscoe Arbuckle as the bartender. This cameo role is so brief, and is presented so casually, one suspects an inside joke.

In 1914 Charlie Chaplin made no fewer than 36 silent comedy shorts. "The Good for Nothing", also known as "His New Profession", is one of them, released in late August just after the outbreak of World War I. Europe may have had more serious matters on its mind, but in America what mattered was slapstick.

Here Charlie is hired by a man to wheel his elderly, wheelchair-bound uncle around a seaside park. Dissatisfied with the amount he is being paid, however, he puts a beggar's sign and tin on the wheelchair while the old man is asleep. Further complications ensure, involving a real beggar and those two stock comic figures from Chaplin comedies, a pretty girl and a policeman. When the uncle's wheelchair rolls on to the pier we think we know what is coming. Or is it?

We are lucky that so many of Chaplin's films have survived, given that many films from the 1910s are now lost, although today some of them are of little more than historical interest. What strikes the modern viewer is how cruel some of them are. "The Good for Nothing" is not quite as bad in this respect as something like "In the Park", but even so it struck me as trying to get laughs at the expense of the elderly and disabled. The uncle is not treated as a human being in his own right, more like an item of property on whom virtually any indignity can be inflicted provided that it helps to get laughs.

Motion Picture News described the film as "a laugh throughout", which suggests that both audiences and critics in 1914 were more easily pleased than modern ones. This was, however, a period during which both Chaplin, and the cinema in general, were on an upward learning curve and needed to work out what worked and what didn't. And, although films like this one may seem a bit crude by modern standards, and indeed by the standards of any period alter than about 1930, the general consensus at the time seemed to be that they did work. They just don't make very interesting watching 100 years on.

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 'His New Profession', 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. 'His New Profession' 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.

'His New Profession' 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, 'His New Profession' is not bad at all, pretty good actually.

While not audacious, the film hardly looks ugly, is more than competently directed and is appealingly played. Chaplin looks comfortable, with shades of his distinctive style here, and shows his stage expertise while opening it up that it doesn't become stagy or repetitive shtick. Fatty Arbuckle's cameo is worth looking out for.

Although the humour, charm and emotion was done even better and became more refined later, 'His New Profession' is still very amusing, cute and hard to dislike. It moves quickly and doesn't feel too long or short.

To conclude, decent. 7/10 Bethany Cox

In His New Profession, Chaplin again reverts into drunken slapstick, what I think is his weakest effect, although I am sure it was very popular back in 1914. A man in a park is clearly very annoyed at having to care for his uncle, who is confined to a wheelchair, so he asks the Tramp to "push him around for a bit," while he goes off chasing some girl. He does, but soon passes a bar and wants to go inside and get a drink. When the uncle won't give him a dime on account, he steals money from a sleeping homeless man's tin cup, then places his cardboard sign on the uncle and heads for the bar, where Fatty Arbuckle is almost completely unnoticed as the bartender.

There are several moderately effective gags, but it seems that the film is trying to present more story than it can carry. There is a lot going on in the story, but very little of it is clear, and as is so common in these early films, it soon resorts to a lot of pushing and kicking. You can't really expect a whole lot more than that from these early comedies, but as it is, there is not much to make this one stand out from the rest of Chaplin's early work.

Even Chaplin himself begins and ends the film with a yawn!!!