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This film is pretty typical of the earlier incarnation of The Little Tramp character. Charlie is a hobo and is drawn to helping a lady who is being harassed by bad hobos intent on stealing her money. At first, Charlie is somewhat inclined to do the same thing (something the earlier Tramp shorts might have had Charlie doing and something the later version never would have even thought of doing). But very quickly he realizes this is wrong and devotes much of the movie helping her. The Tramp thinks that the girl is in love with him so he sticks around even after the evil hobos have departed. However, eventually he discovers she actually has a boyfriend and so he excuses himself from her life--leaving a note to that effect. In effect, this script is an early version of Chaplin's full-length film, THE CIRCUS--where Charlie again is in love with a young lady who he helps from danger but he eventually walks away when he realizes she loves another. Nice stuff and a good introduction to this character.

Charlie Chaplin's The Tramp will appear in his movies for the next 25 years as America's favorite movie star. More than just a comical character. Chaplin creates his own world, but reacts to events. He belongs to the 19th century in his ideas. But in the early 20th century, in his films, he plays the little man against the malevolent odds. The outsider fighting oppressive villains. He was the comedy of expression, specializing in minute perfection and precision. He alternated comedy and evoked pity and compassion.

The Tramp symbolized a certain class in early 20th century society.

'The Tramp' is Charles Chaplin's first great cinematic achievement. Not only because here we see The Little Tramp first time in the way the audiences love him now but it is a very well put together movie overall. The story is great and the setting up of the scenes is good. While watching Chaplin's works (almost) chronologically it is good to see how he progresses - leaving the rough slapstick out and concentrating more on the storytelling and the subtlety of the visual gags. One can say that 'The Tramp' is a milestone in Charles Chaplin's career.

Charlie Chaplin is a great artist and probably one of the best comedians ever. Watching him always brings a smile on my face. It was not different this time, but the short 'The Tramp' is one of those little films that doesn't work anymore. Some Chaplin short are great because of Chaplin, and some of them are great because of Chaplin and the film. This one, unfortunately, belongs in the first category.

Of course, Chaplin's early career is over-flowing with famous short comedies, but The Tramp is probably one of the most well-known of the early two-reelers, especially since it is one of the most direct studies of the famous character after whom the film is named. A lot of the Keystone and Essanay films have dated pretty badly, and The Tramp is no exception. Many people may find a lot of the plot confusing or pointless, just random slapstick comedy, although I have a feeling that some of it was not meant to be much more than that.

It starts out with the tramp wandering down a dusty road, soon knocked over by the gusts of wind created by two speeding cars, only to pick himself up and dusts his wildly over-sized pants off with the handy little brush that he carries with him, apparently for just such an occasion. There are some clever an amusing sight gags involving things like a pitchfork and huge bags of flour and lot of mallets to the head, but not much in the slapstick department that is entirely memorable.

What the film is more famous for is certain elements of the tramp's personality that we learn here, such as his efforts to be proper and presentable despite being broke and wearing pants big enough for two or three of him, along with a jacket that's too small. We also see him protecting a young woman from the bullies of several oafish men, each of whom could easily have brained the little fellow (as Chaplin later lovingly called him), except that he is too smart for them.

The film is most memorable for the closing shot, however. Things don't go as planned, we are not given a happily ever after ending, and the movie closes with the tramp again wandering alone down a dusty road, at first seemingly depressed, until after a second or two, he perks up and all but dances down the road. He didn't get what he wanted and he's still poor and lonely, but he faces his life with a smile and seems like he's off to make the best of it. In a lot of ways, that sums up one of the recurring themes that Chaplin espoused throughout his lengthy career.

Smile.

I am very fond of Charlie Chaplin, his films and shorts. And I do love The Tramp. I don't consider it the very best of his shorts, but I do understand its importance and significance, being the short to introduce the iconic character The Tramp. I quite like the comedy in the Tramp. While it is not among the most special or funniest of all the comedy in Chaplin's biography, there are some inspired gags especially the ones with the pitchfork and the bags of flour, not to mentions the bashings on the head with the mallet. The Tramp has a lovely and touching comical-love story and moves along quickly. Some might say that the short may have dated slightly, maybe so though if so I think it is part of the charm, but the photography is very nice with a beautiful and perhaps iconic closing shot and the short is very well-edited. Speaking of the ending, it is one of genuine pathos. Edna Purviance is a cute, sweet and charming love interest, but the real jewel in the crown is the performance of Chaplin who down from his appearance to his mannerisms is excellent as the tramp. All in all, maybe not among the best of Chaplin's efforts but still wonderful and a milestone as well. 9/10 Bethany Cox

Chaplin's favorite character and one of the world's most indelible images is introduced in this movie, The tramp. Chaplin also sets up the theme that recurs in all of his best movies, the thing that man will do for love, whether real or imagined. It is a well known fact, that man is essentially a slave to woman, to her whims, fantasies, and urgings. It is what creates the love that is often opaque in the brusqueness and machoism that beguiles the maturity of man. Chaplin knew this and studied and exacerbated it in his movies, id est to ask the question; What is a man? What is a man without a woman? The yin and yang of the two creates humanity, so to speak. In this movie, he rescues a farmer's daughter from a bunch of thugs, and is brought by the woman home to the farm where he gets a job from her father. He stays because he loves the woman but does she love him? The melancholy of this movie eschews the laughs for the audience and the ordeals that Chaplin endures for her approval. A funny and touching movie.

Charlie plays a tramp, who, after saving a farmer's daughter from thieves, is given a job on the farm as a reward. Charlie later manages to thwart the same bandits who try to rob the farm, but he is accidently shot in the process by the farmer. Charlie basks in the attention of the farmer, and his daughter, until the girl's boyfriend arrives. Knowing he doesn't have a chance with the girl anymore, Charlie leaves, walking down the road alone.

"The Tramp" was made for Essanay, who gave Chaplin his second film contract in as many years and much greater creative freedom than he previously enjoyed under Mack Sennett at Keystone. Despite claims to the contrary, this film was not introduction of Chaplin's famous tramp character. That character was actually born in Chaplin's second film for Keystone "Kid Auto Races in Venice." This film was, however, an important step in the development of the tramp as a character, and for Chaplin as an artist. With his failed attempt to win the girl and his final walk, with his back to us, down the road, Chaplin made his first serious attempt to inject pathos and genuine human emotion into his comedies. In "The Tramp," he was laying the groundwork for future masterpieces like "The Circus."

Sadly, aside from the dramatic elements, this isn't one of Chaplin's best shorts. The comedy isn't very original. He simply takes advantage of various barnyard props for the rough, rather mindless knockabout brand of slapstick he would soon evolve away from. This isn't a terrible comedy by any means, it probably as good if not better than the bulk of the comedies produced that year by his contemporaries. It simply doesn't live up to the standard he would set for himself over the next two years at the Mutual Company.

Fans should definitely watch if they get the chance, but it isn't a good place for the uninitiated to start.

Loosely based on Jacob and Rebekkeh from Bible. This is a comical love story where a man gets what he wants in spite of all obstacles. The Tramp delivers humor that bends the rules of his time period. This film influenced many future great comics. It has clever satire about society and pokes good fun at romance. Not his best but still a classic worth watching.

Be sure to watch when your wide awake. Chaplins films obviously lack the sound and picture quality of todays pictures. If you give it a go it won't disappoint.

If your looking to be impressed check out The Great Dictator and for a lot of fun watch Modern Times. Another great film by another director is Metropolis, this is a definite 10!

Only he could and still can, after over one hundred years, to make you laugh, doing mundane things, which if anyone else did, they wouldn't have the same comic effect. The perfect blend of comedy and melancholy, of which only Chaplin was an expert, still entertaining after 106 years.

Were the films of Charlie Chaplin stagey because he employed long takes and few camera moves? No! There is something else you can have on screen that you can't on stage beside camera-work and edits, and that is the field of depth. From early on Chaplin had learnt how to use depth to give his little tramp character the kind of entrances and exits that you couldn't have in the theatre, ones that stretched off into the distance, allowing him to gradually appear on the scene and make the most of that now-familiar walk. In the Tramp, he created his most iconic image, that of the tramp sauntering up and later plodding away down a winding country lane.

Such a great and memorable entrance is important for the more structured story lines that Chaplin was now starting to build. Whereas most of the Essanay shorts this far had simply taken a setting in which Charlie could run wild, the Tramp seems to have been constructed plot first, with the funny business appearing along the way. Far from diluting the comedy, this actually improves the material. For example, the middle section in which Charlie causes havoc on the farm, might a few months earlier have been the basis for an entire short – "The Farmhand", perhaps – but now Chaplin is able to condense the best gags of the situation down to one segment which can be woven into the overall story.

The Tramp ends on a note of poignancy – something that was unheard of in screen comedy at the time. But all that Chaplin is doing is recognising something that has been established for centuries. Shakespeare knew it, and so did Dickens. Tragedy affects us more when it appears amongst comedy, and the moment that Chaplin creates here is touching and bittersweet. He even throws in one last gag to stop the moment from becoming too strained.

This isn't quite the funniest of Chaplin's Essanay pictures, but it is the first mature and truly beautiful thing he had yet created.

And finally, that all important statistic – Number of kicks up the arse: 5 (2 for, 1 against, 2 other)

Charlie Chaplin's The Tramp will appear in his movies for the next 25 years as America's favorite movie star. More than just a comical character. Chaplin creates his own world, but reacts to events. He belongs to the 19th century in his ideas. But in the early 20th century, in his films, he plays the little man against the malevolent odds. The outsider fighting oppressive villains. He was the comedy of expression, specializing in minute perfection and precision. He alternated comedy and evoked pity and compassion.

The Tramp symbolized a certain class in early 20th century society.

This film is a Chaplin classic in my opinion. He plays a great underdog by not backing down against the villians or the hard work that is laid before him on the farm. He has an inspiring optimism no matter what goes wrong, makes him a relatable and sympathetic heroic character. The sounds that goes along with the film as well as the intercaptions fit perfectly with what you see from the actors. This film is worth the watch.

Charles Chaplin is a tramp who gets in trouble with three hobos.He also saves a girl of his dreams from the hobos, a beautiful farmer's daughter played by Edna Purviance.The girl is grateful at the little tramp and he takes him home with her and he starts working at the family farm.Being a farmhand isn't really his cup of tea and also the hobos show up again causing some trouble.Happiness doesn't often seem to follow the tramp and he notices the girl of his dreams is already taken.Chaplin's The Tramp (1915) marked the beginning of his most known character as we know him today.The difference between this and his more slapstick character in the earlier films was the sad ending and showing he cared for others, rather than just himself.Chaplin works so great together with Edna Purviance, just like he did in so many other films.Ernest Van Pelt plays The Farmer.Paddy McGuire plays Farmhand.Lloyd Bacon is Edna's Fiancé/Second Thief.Leo White is First Thief while Bud Jamison plays Third Thief.The Minister is played by Billy Armstrong.This short comedy holds some funny stuff inside.Charlie walking around with that pitchfork is funny.Or Charlie trying to milk the cow from its tail.Obviously The Little Tramp hasn't spent too much time on a farm.Also using the mallet in the end.Charles Chaplin was born 120 years and one day ago.For his second film, Kid Auto Races at Venice (1914) he wore baggy pants he borrowed from 'Fatty' Arbuckle, size 14 shoes that belonged to Ford Sterling, a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and Mack Swain's mustache trimmed down to toothbrush size.The Tramp was born!

As the movies moved past their pioneering stage and into the 1910s, the quality in the movies began to rise. The pioneers were learning their craft and getting even better at it. The now, red, hot, silent era was coming into its own. By 1915, the movie business was in it's early 20s and all genres were doing well. That also applied to the comedy genre.

Mack Sennett was the reigning king of the comedy films, but a new guy, who Sennett helped debut, was in his sophomore year in motion pictures and well on his way to legendary status, when he directed a film called The Tramp (1915). In just a couple of years, Charlie Chaplin was pretty much a seasoned veteran in the business, directing, writing and acting in his films. He had put together an impressive resume in just two years. His iconic tramp character was still being worked on and when the time came he gave the Tramp his own title.

The Tramp comes waltzing into town and after a harrowing incident on the road, he sits down to eat, but is interrupted when a young farmer's daughter needs rescuing from a scoundrel of a hobo. She befriends him and between her and her father, they take Charlie in to help around the house and live there. From there, he gets acquainted with his chores and the other farm hands, until he stumbles across a plot by other hobos to rob the farm. The comedy ensues.

Charlie and some of the other characters kept breaking the fourth wall, as a way to help jokes better, by looking at the camera/at the audience to help certain gags. Oliver Hardy did that a lot with Stan Laurel and I remember Alan Hale doing it with Bob Denver on Gilligan's Island (1966-1968), in the 60s. It worked though.

It's a text book silent movie. What makes it special is it seems polished, as polished goes for a silent film. You can see that the art of film-making has been growing for 20 years. It has all the elements found in a silent comedy. The hero. The girl. The bad guys. It includes elements found in Chaplin's legacy, such as depicting destitute people needing food or work, which always helped explain the hobo/tramp plot lines in his stories. It provides laughs, tears and excitement. A basic plot, but something that has a good pace throughout. Not boring, nor is it over-the-top exciting. It's just right.

7.9 (B- MyGrade) = 8 IMDB.

`The Tramp' is significant for establishing Chaplin's working-class character in the popular consciousness, but it lacks the ingenuity and surprise of Chaplin's later films. The tramp's trademark appearance and mannerisms became universally beloved, but they are not what made Chaplin great. His genius is in his vision of how to use filmmaking techniques to confound and endear his audience. Here, the closest he comes is when he devises umpteen ways to tell a joke using a pitchfork. Many of them just aren't that funny.

Rating: 5.5

This is the short feature in which Chaplin introduced his famous "Tramp" character, and it would be worth watching for that alone. The character is pretty well-defined, and is already recognizable as the one who would appear in many later films. The movie itself is pretty good, although not one of Chaplin's best, and it features the kinds of material that Chaplin would soon afterward learn to film as well as anyone of his time.

The story takes "The Tramp" through a series of events, from his desperate efforts to scratch up some food, to finding a sympathetic family, to facing up to his lot in life. It has some good comic moments, a little bit of excitement, and also some worthwhile thoughtful moments, just as in all of Chaplin's best movies. Here, the main thing keeping it from being better is that the best material is interspersed with some more routine sequences.

On the whole, there's certainly enough to make it worth watching in itself, and it is also one that all Chaplin fans will want to see so that they can watch the origins of Charlie's trademark role.