The Pawnshop

This is funnier and more inventive than some of his earlier work, and it's completely free of the pathos that would be found in his later work.

Chaplin is an assistant in a pawn shop that's run by a jumbo-sized, bearded older man who is alternately hysterical and furious and who, in both appearance and demeanor, reminded me of my cabinet-maker grandfather. Chaplin shows an amazing physical dexterity in some of the slapstick episodes and I couldn't help comparing them to the same sorts of gags that showed up in Laurel and Hardy. Without knocking Laurel and Hardy, the approaches are entirely different. Laurel and Hardy try desperately to be polite, efficient, and relatively normal. The pace is slower and more deliberate. Chaplin is faster, more aggressive, meaner. He kicks people in the pants for little reason. And he's a whirlwind of action. Even when he pretends to be unconscious in order to gain the attentions of his girl friend, he falls to the floor in a twinkling and is up just as fast to receive her ministrations.

The most memorable scene probably has to do with a customer who brings in an alarm clock. Behind the counter, Charlie exams it as a doctor would examine a patient, percussing its case, twinging its bell, and then he dismantles it roughly before handing the hatful of disordered pieces back to the guy and rejecting it with a shrug.

I think I prefer the shenanigans in the back room but partly because they involve that apoplectic owner and, I guess, because after Charlie knocks an armed robber unconscious he breaks the fourth wall, and whips around with a quick TA-TAH to the camera before the film ends.

One of the funniest movies every made, and definitely one of Chaplin's finest. It refreshingly lacks the pathos that Chaplin (sometimes unwisely) inserted in his later movies.

This short is memorable because of its unrelenting comedy "business," such as the famous scene in which a customer brings in an alarm clock and Chaplin examines it like a doctor, eventually taking a pair of pliers and yanking out its innards. This and other routines were later stolen by other comedians. For example, the scene in which an old actor comes in to sell a ring. This bit was stolen, in every single detail--down to Chaplin spitting crackers while crying--by Abbott & Costello.

Chaplin's constant tussling with another shop assistant, played by John Rand, is hilarious. Oddly, Rand did not receive screen credit for his role, even though he appears in almost every scene and is brilliant.

The Pawn Shop also provided good roles for other Chaplin regulars, including Edna Purviance, Eric Campbell, Albert Austin (as the customer with the clock), and Henry Bergmann as the pawn shop proprietor.

One interesting sidelight to this film is that the Bergmann character wears a skullcap and is identifiably Jewish--which is accurate enough, given that most urban pawnshops were owned by Jewish people at the time. This means that two of the main characters, he and Purviance, were Jewish. That was unusual at the time, particularly because the characters are not stereotyped.

I've seen about 15 early shorts by Chaplin so far and this is definately in the top 5. Charlie works at a pawnshop and has to deal with several customers, his boss and ultimately a thief. But, once again, he saves the day.

Great slapstick early on with the 'ladder-scene' and later on with what seems to be a cello or contra-bass (I know nothing of those sort of things), hitting people in the face. There's also a very funny scene with an alarm-clock, which Charlie 'fixes', but not quite!

Although probably not up there with The Adventurer (my favorite short so far) or The Tramp, this is pretty funny stuff, even by Chaplins standards. Final score: 8/10.

"The Pawnshop" is a pretty good Charlie Chaplin comedy, with some routine stretches but also some very good slapstick. It features Charlie as an assistant in a pawnshop, engaged in a heated rivalry with another employee, trying to stay on the good side of the boss and the boss's pretty daughter, and occasionally waiting on a customer. The beginning has some very funny moments, with some slapstick that makes good use of the props, which include a feather duster and a ladder. There is a funny finale with Eric Campbell - one of Chaplin's best regular supporting players - playing a thief. The parts in between have some good moments, too, but they overdo it a bit with Charlie's fights with the other shop assistant. Overall, this is an average short feature for Chaplin, which means it is pretty good by most other standards.

A truly great comedian doesn't sit around dreaming up funny situations – they take a look at what is around them and make something funny out of it. This is what stand-up comics do when they make satire out of anecdotes from their own life or surroundings. And in another way this is what Charlie Chaplin does in a picture like The Pawnshop, where he takes a realistic setting that could appear in any straight drama (or, indeed, the real world) and simply plays around with the props and conventions of the environment.

The Pawnshop is known as one of Chaplin's greatest "prop" pictures, in which he manages to sustain an entire twenty-five minute short just through messing around with the bric-a-brac and getting in the way of his co-workers. Still, what he is doing is really quite simple. He is merely very inventive at thinking up mismatches between an item and its purpose – for example using a mangle to dry crockery or absent-mindedly cleaning a violin with a soapy cloth. Like all the best comedians, Chaplin's genius lies in his timing and positioning. He never lets any routine run for too long and become boring or repetitive. He places gags where they will have the most impact – such as the spraying of crumbs when listening to the "sad story", which he does towards the end of the sequence to diffuse the over-the-top, hammy build-up. For a piece like the well-known "clock dissection", he is able to play it slowly in just two long shots because the material has plenty of potential, and he can keep the audience wondering just how far it will go.

Watching The Pawnshop, I was struck by how much more editing there now is in Chaplin's pictures. His earlier style was to keep everything in unbroken takes and let the comedy unfold naturally, but now he is throwing in a lot of angle changes and reaction shots (which is in any case consistent with how cinema was developing at this time). However he still preserves the flow of the picture by making sure the various edits complement each other. For example, in one of Charlie's fights with John Rand, we cut over to Henry Bergman gesticulating angrily at the woman with the goldfish bowl – so the pace of movement in the two shots is consistent. In an earlier fight, he throws in a couple of shots of Edna Purviance hearing the brawl from the next room. These are in mid-shot and last only a split second, thus having a snappy feel and not breaking the tempo of the fight. This is proper film-making technique in the service of comedy.

Genius as he was, where would Chaplin have been without his fine supporting cast? The Pawnshop contains some of his regular co-stars at their best, including the debut of the reliable Henry Bergman. Chaplin collected generic stock characters, and Bergman is his archetypal Jolly Fat Man. Look at the way Bergman falls – his feet go one way, his head another, while the centre of his bulk goes straight down. John Rand is great as the pompous and indignant antagonist, and he manages to match Charlie for stance and timing as he suddenly dives back to work whenever the boss walks in. There's also one the best appearances of gangly Albert Austin, whose concerned but naively trusting expression really adds to the clock dissection, making the build-up seem funnier by contrast because his face stays the same regardless of how drastic the things Charlie does to his clock are. The appearances of Eric Campbell and Edna Purviance are slightly shorter than usual, but nonetheless worthy.

Which brings us hurtling towards that all-important statistic – Number of kicks up the arse: 7 (7 against)