Charlot attore

'The Masquerader' is uneven and coarse. The humor is blunt, consisting mostly of kicks and fallings. Still, there are some clever moments - the scene in the dressing room with Roscoe 'Fatty' Arbuckle (who, in this case, outshines Chaplin). The plot might be a little bit difficult to follow, but here's my take - Charles Chaplin plays an actor (possibly himself) who gets hired in the movies. He dresses up as his most famous character, The Tramp. On the set, he misses his cues, flirts with women, and organizes some proper shenanigans which end in him getting fired and kicked out of the studio. The actor (Chaplin) returns, now dressed as a woman (a very beautiful woman). He (now she) attracts the attention of the director right away, and again, he starts another round of mischief.

The film is uneven and thinly plotted, but still, it is an interesting movie, mostly because it offers us a brief glance at the behind the scenes of that era's movie-making. Did I mention how convincingly feminine Chaplin looks in drag?

Cute meta Chaplin short in which he creates havoc on a movie set after first trying to swipe Roscoe Arbuckle's drink in the dressing room while changing into his Little Tramp costume. It's the usual Keystone formula of kicks and bricks, but enhanced immeasurably by Chaplin's physical dexterity and flawless sense of comic timing.

This is an interesting little short comedy that, while rather uneven, is generally amusing. It's mostly remembered for Chaplin disguising himself as a woman, in an attempt to get into a movie studio. The idea of a man masquerading as a woman, or vice versa, was relatively common in the old silent comedies - this is one of the more believable efforts, as Charlie's disguise is credible enough to make that part of the movie work all right. But that's not necessarily the best or even the most interesting part of the film.

The setting in a movie studio is interesting in itself, offering a chance for some good-natured self-parody, and they got reasonable mileage out of the idea. Perhaps the best-crafted scene occurs very early on, when Chaplin and 'Fatty' Arbuckle have a battle of wits in the dressing room. It's no coincidence that it is the one scene in the picture in which Chaplin performs with another highly talented comedian, as the smooth timing and careful movement make it stand out from the more disjointed, frantic pace of most of the rest of the movie. But even as a whole, the movie works all right, despite its lack of refinement. It's hardly one of Chaplin's top efforts, but still entertaining and worth seeing.

I've seen quite a few Chaplin shorts from early in his career and I've noticed that his early stuff (done for Keystone Studios) is pretty dreadful stuff. Unlike his wonderful full-length films from the 20s and 30s, the films from 1914-1915 are incredibly poorly made--having no script but only vague instructions from the director. In most cases, the films had almost no plot and degenerated to people punching and kicking each other.

This movie has a very thin plot. Charlie is either working at a movie set or he sneaks in--it's not sure which. And, he makes a mess of everything until he's thrown out,...only to return in drag! The director thinks Charlie's a hot tamale and begins making passes at him/her! Actually, I was shocked just how GOOD Chaplin looked as a girl! He probably could have passed as a woman in public.

FYI--this is the second film in which Chaplin appeared in drag. It also features Fatty Arbuckle in a cameo playing, I think, himself.

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 'The Masquerader', 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. 'The Masquerader' 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.

'The Masquerader' 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, 'The Masquerador' 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.

Although the humour, charm and emotion was done even better and became more refined later, 'The Masquerader' is still very amusing and hard to dislike. It moves quickly and doesn't feel too long or short. It is Chaplin's second endeavour in drag, 'A Busy Day' being the previous one, and the far more successful one.

Overall, far from one of Chaplin's best but pretty good and perhaps one of his better efforts from the early Keystone period. 7/10 Bethany Cox