Charlot usuraio

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.

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.

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, 'Pawnshop' 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 Pawnshop'.

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

On the other hand, 'The Pawnshop' 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 Pawnshop' is still very funny with some clever, entertaining and well-timed slapstick, didn't mind that the pathos wasn't there as it was not the right kind of story. It moves quickly and there is no dullness in sight. The clock scene is one of the most uproariously funny and best scenes of any of Charlie early career output.

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 of the role. The supporting cast acquit themselves well, particularly the charming regular leading lady Edna Purviance.

Overall, very enjoyable. 8/10 Bethany Cox

This is definitely one of Chaplin's top 5 or 6 shorts. The part with Albert Austin and the clock is just so hilarious, and I really like the end of that bit where the drunk gets pushed down, just because it makes no sense.

I think this is the exact point in Chaplin's oeuvre in which he matured to the point in which he could make masterpieces. Don't get me wrong I like many of his earlier shorts, but everything he did from this point on could be argued as a masterpiece of comic cinema.

It is true that there isn't a great amount of pathos in this one, but I like the fact that there a just so many ridiculous situations that come one after the other. A+ grade.

For a two reeler this short felt a little too long. In the end it became more of the same although the biggest laugh is very near to the end. Chaplin is working in a pawnshop and he fights with one of his co-workers, argues with his boss, pulls off some nice things with customers and saves the day.

Like I said it became a bit dull. There are some great sequences, especially one involving a balancing ladder. The physical action in that sequence made me think of the physical comedy done by Buster Keaton. A nice short, nothing more.