Tillie's Punctured Romance

A city con-man leaves for the country where he meets a young country girl. In order to get her father's money, he proposes to her and they run off to the city with the money. Once there he abandons her for his own love, Mabel and Tillie is locked up for vagrancy. However one all to her millionaire Uncle and she's free. The con-man is happy until he reads Tillie's Uncle has been killed in a climbing accident and that Tillie is set to inherit the lot. He goes back to her but things are never that simple in love and money.

Best known for being the first ever full length comedy feature made and also for setting Chaplin on his way to greater things, this is a well plotting amusing comedy. Based on a Broadway who the plot stands up well and uses some nice devices (like the movie within the movie) to tell the story. The comedy is less routines than little touches added to the narrative – only the climax with the keystone cops feels like a well worked routine.

This may be it's weakness to some who expect more physical comedy from Chaplin, but he still does plenty of that as well. He is good here and it's one of the more morally bankrupt characters that I've seen him play. Dressler is good as Tillie but she is so ugly for a female lead that I assumed I must have mixed her up with the other actress. But once over the superficial things she is very good and matches Chaplin for times.

The main weakness of the film was a fault of the copy. On top of the soundtrack was a voice over that talked you through the action as if I was too stupid to work it out for myself!

Mack Sennett, head of Keystone Studios, decided to take the plunge and produce a big budgeted feature film based on the Broadway comedy "Tillie's Nightmare." He was able to entice the play's star, Marie Dressler, for at that time one of her rare movie performances (she had previously appeared in two shorts). Augmenting her would be the studio's main stars, Mabel Normand and Charlie Chaplin. Sennett would spend a hefty $50,000 ($1.2 million in today's figures) for production, an enormous departure from his studio's trademark quickie, cheap movies.

Released in December 1914, "Tillie's Punctured Romance" became an instant hit with movie audiences. Chaplin discards his Tramp outfit to play a shyster intent on swindling the father of Dressler's life savings. Normand's role as Chaplin's girlfriend adds humor to the plot.

Critics were equally admirable in their reviews of "Tillie's," with one writing, "The film's final reel is a comedic crescendo, building from a brief pie fight to mayhem caused by Tillie firing a pistol indiscriminately, culminating with a farcical chase on a pier featuring the Keystone Cops on land and sea." "Tillie's" would be one of 500 movies nominated by American Film Institute for its Best 100 All-Time Film Comedies.

"Tillie's" was cinema's first feature film comedy. On a personal level, the movie would be Chaplin's last motion picture with Keystone as well as his final movie he neither wrote nor directed in his long film career. Sennett directed "Tillie's" and co-wrote the script.

Dressler would star in three more "Tillie" movies in the next three years, all produced by different studios. She returned to the stage and vaudeville after the last "Tillie," and wouldn't return to the screen until the late 1920's, making a successful transition to sound soon after. She won the Academy Award for Best Actress in 1930 in "Min and Bill," and received a nomination in the same category two years later in "Emma."

Chaplin, seeing his star rising during his year at Keystone, wanted more money when his contract with the studio expired at the end of 1914. Sennett claimed he couldn't afford the comedian's salary demand of $1,000 per week. Essanay Film Manufacturing Company knocked on Chaplin's door and offered $1,250 per week with a $10,000 signing bonus, guaranteeing greater artistic freedom for the actor. He took the studio's offer. He headed for Chicago, the headquarters for Essanay, to begin working on his first film for the company. Yet, Chaplin later reflected emotionally he couldn't personally say farewell to his buddies he had developed friendships with at Keystone when it was time to depart. "It was a wrench leaving Keystone, for I had grown fond of Sennett and everyone there. I never said goodby, I couldn't."

Chaplin, Mabel Normand, Marie Dressler and Director Mack Sennett on the same set should be hard to beat, right? Well, yes and no. I would have to agree with the majority of writers that the film is important as the first feature length comedy, and for the exceptional talent associated with it. But the slapstick and sight gags become tiresome in a hurry - today's audiences are too sophisticated (or think they are) for pratfalls, a kick in the pants, etc., and so the film does not wear well.To really appreciate it we would have to have been in the audience when it was current. Time marches on, and some pictures get trampled in the march. I gave it a '6' solely on its historical value.

By the way, too many writers include a story synopsis with their comments - but why? If there's one in place, why repeat?

What a treat that this 1914 feature-length comedy still exists. Historically important as the first feature comedy, it also boasts three great stars: Charlie Chaplin, Marie Dressler, and Mabel Normand. Directed by legendary Mack Sennett, this broad comedy was adapted from Dressler's stage hit. It's rough, with missing pieces, but enough exists to showcase the comedy talents of this trio of stars. The story is trite but Dressler and Chaplin are so funny, you forget the plot and laugh along with the mugging and pratfalls. So far as I know, Dressler and Chaplin never worked together again. What a shame. Dressler adapted to talkies (winning an Oscar for Min and Bill) so much better than Chaplin did. Normand died before the advent of talkies. Anyway, certainly worth a look. Co-stars Chester Conklin, Charles Murray, Minta Durfee, Edgar Kennedy, Charley Chase, Mack Swain, and possibly Milton Berle as the newsboy. Berle always said he played it. Edna Purviance may be the leading lady in the film Chaplin and Normand go to see. I love this film.

This was the last film Chaplin was in that he neither directed nor wrote, made at the end of 1914, his first full year in America. There are a dearth of title cards in this one, and just about everything is projected via pantomime. And because it is a Mack Sennett film there is lots of pants kicking.

The plot is pretty simple. Chaplin plays a ne'er do well who convinces plain plus sized Tillie, who is physically abused by her father, to elope with him and to help herself to a big dowry. When they get to the city he steals her money and abandons her for his old girlfriend, Mabel Normand. As Tillie's fortunes wax and wane, so does Chaplin's interest in her.

Why was pants kicking and pie throwing considered such a big laugh getter in early silent film? According to a film historian on some silent Charlie Chase films I bought, it was push back at Victorian values of the day. When Victorian values fell away after WWI, this was no longer considered funny.

Things I noticed? That three million dollars in 1914 was considered a great fortune, worthy of newspaper headlines. Today it would be the cost of a home in the San Francisco Bay area that is nothing to write home about. Also, notice that men AND women are put in the same drunk tank. I have no idea if that is a dash of realism or just the Keystone Cops mismanaging a precinct as usual. When there is a big society party towards the end, the band is all dressed up like a bunch of Cossacks, but the servants are dressed like they are from the French Revolutionary period. I have no idea what was up with that.

At any rate, it is a real treat to see three great comics on the silent screen together. It's a shame sound had to come in for Marie Dressler to really get her due in comedy, a top box office draw the last few years of her life. Of course, Chaplin made the transition successfully, but pantomime was really always his forte. Poor Mabel Normand, a great silent comedienne, will not live long enough to compete in talking pictures. She died in 1930 of tuberculosis.