Charlot pompiere

One of the many advantages Charlie Chaplin had in the independence, confidence and familiarity of this point in his career was that he had a large crew of supporting players, each with their own slightly different character, whom the little tramp could play off of. Since the Fireman does not show Charlie at his funniest, let's take this opportunity to tip our hats to the gentlemen who were the butts of so many of his jokes.

Chaplin's supporting actors came in many shapes and sizes, but they all had one function in common – to be a puffed-up pompous twerp, who it was amusing to see brought down a peg. You see, Charlie's appeal lay in his own lack of pomposity, and his knack of deflating it in others. This even went to the point of Chaplin not always being the centre of attention, but still being the originator of the biggest laughs. And yet it was that army of pratfallers who keep the supply of potential gags flowing and fresh.

So who have we here? Most noticeable is of course Eric Campbell, in his second role for Chaplin. Campbell was a real find, having size coupled with sternness, meaning he was suitable play Chaplin's boss as well as antagonist. As the ultimate burly bully and a grim figure of authority, he provides us with the most satisfaction when Charlie gets the better of him. Then we get the jumped-up, self-important boss's pet as played by Albert Austin. After seeing Campbell repeatedly kick Charlie up the arse, Austin gets in one kick of his own, only to have Charlie ceremoniously kick him back. Finally there is Leo White, and I'm sad to say this really was finally for him because it was the last appearance of his recurring posh twit persona, and his penultimate appearance in any Chaplin picture. He is at his best here though, hopping frantically around trying to get the fire brigade round to his burning house. Charlie's languid, unconcerned response is hilarious, but only because White's exaggerated capering gives him such an excellent counterpoint.

This is all in all a fairly good Chaplin short, typical of the smoothness he displayed at the Mutual studios. It's also notable for a couple of camera trick gags, such as Charlie appearing to put the horses into reverse, or a jump cut which makes it look like the firemen got dressed in a split second. These are pretty funny, but Chaplin clearly did not consider himself a Melies and would not pursue the approach.

And where would we be without our all-important statistic? – Number of kicks up the arse: 15 (1 for, 13 against, 1 other)

Charlie is a fireman in Eric Campbell's brigade. In the beginning, he oversleeps the alarm bells and therefor is kicked in the ass about a dozen times... I don't know why, but that still cracks me up.

Later on a man is bribing the foreman (with his daughter!) to let his house burn, because he can use the insurance money. But when his place is lit, his own daughter is still in the house! Leave it up to Charlie to save her.

Watch out for the scene where Charlie climbs the house to actually rescue the girl... amazing stuff.

On the whole: pretty good Chaplin classic, not among the very best, but still loads of fun. 7/10.

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.

From his post-Essanay period after leaving Keystone, 'The Fireman' is not one of his very best but is one of his best early efforts and among the better short films of his. It shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career, from 1914, The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in the more than worthwhile 'The Fireman'.

The story is more discernible than usual and is never dull, but is sometimes a bit too busy and manic.

On the other hand, 'The Fireman' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.

While not one of his most hilarious or touching, 'The Fireman' is still very funny with some clever, entertaining and well-timed slapstick and has substance and pathos that generally were not there with Keystone. It moves quickly and there is no dullness in sight. The ending is great fun.

Chaplin directs more than competently, if not quite cinematic genius standard yet. He also, as usual, gives an amusing and expressive performance and at clear ease with the physicality and substance of the role. The supporting cast acquit themselves well, particularly a charming Edna Purviance.

In summary, very good and one of the best from Chaplin's 1916 output. 8/10 Bethany Cox

A typical Chaplin movie from this relatively early stage in the comic's career. He's a clumsy fireman with authority issues due to the bullying nature of fire chief Eric Campbell who takes a liking to Campbell's sweetheart (Edna Purviance). There's nothing groundbreaking here, but the pace is lightning fast and watching Chaplin tormenting Campbell is always fun.

A Fire Chief (Eric Campbell) is approached by a man (Lloyd Bacon) who asks that the Fire Department ignores a fire at his house so that he may collect the insurance money. The man insures that his daughter (Edna Purviance) is out during the fire so remains unharmed. The woman is not out though when an arsonist sets the property alight and she gets trapped upstairs. Meanwhile the Firemen which include accident prone Charlie Chaplin are at another house, putting out a fire. When the man realises his daughter is trapped he searches for them, finding Chaplin who attempts to save the day and win the woman's heart.

Amazingly The Fireman was Chaplin's 52nd film but was released in June 1916. Despite his age and lack of years in the industry he was by now a pro and it shows here with clever gags and a nice central idea. Unfortunately the film suffers from a similar problem as The Floorwalker in that it just isn't quite funny enough.

Although not awash with comedy there are some excellent comic turns to be found. A particular highlight of mine was the dual use of the fire engine as a means of putting out fire and as an over-sized coffee machine. The gag works very well visually and adds a little bit of surrealism which I always like to see. Another laugh comes when Chaplin falls backwards on to a man who is kneeling down, scrubbing a floor. The weight of Chaplin on his back sends the man's head straight into a bucket of water. As well as these sight gags there are the little touches which can often go unnoticed. Chaplin had a habit of using a recurring gag where by he would trip and doff his hat to the curb. Here as a Fireman he salutes. It's a nice in joke and twist on one of his favourites.

One interesting point about the film is that it shows a near deserted area of Los Angeles. It's incredible to see footage of the metropolis less than a hundred years ago and compare it to today. There are few streets and fewer houses and just one vehicle in the background of one shot. To me a lot of Chaplin's location work is fascinating for its background detail as well as its focus.

Another aspect of the film which I enjoyed was the reversing of film to create some odd looking and humorous scenes. The film is reversed to create the effect of Chaplin sliding up a Fireman's pole (in the literal sense) and is also used on a couple of occasions to create images of horses walking backwards which looks very odd indeed. This is another example of Chaplin's ever expanding inventiveness. Because of this and other clever ideas it's a shame that he resorts to so much that even by 1916 was tired and well used. The kick up the backside gag is repeated here several times and although it's Chaplin on the receiving end it does feel a little overdone. The plot itself feels fairly formulaic and very similar to previous films.

Despite the problems with the movie such as tired plot and jack of jokes it ends on a high. The final scene is exciting and sweet and brings the proceedings to a pleasant close. Chaplin's climbing and acrobatics are excellent and even though he has an obviously fake Edna Purviance on his back, the stunts are still impressive. Despite being his second Mutual film it still feels as though Chaplin was finding his feet with the company and though exploring new ideas was relying too heavily on safe material.

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