L'idillio nei campi

Charlie works on a farm from 4am to late at night. He gets his food on the run (milking a cow into his coffee, holding an chicken over the frying pan to get fried eggs). He loves the neighbor's daughter Edna but is disliked by her father.

All I know about this film comes from two things: one, watching it. And two, the work of legendary professor Wes Gehring. From watching it, I find that the film is good, with a few amusing bits, but far from Chaplin's best work and it is no surprise that this is not one of his championed films.

From Gehring, I learn that this film (and "A Day's Pleasure") were made while going through a nasty divorce (something Chaplin would do a few times). So if it is not his best work, it may be because he was far from in the best of moods.

It's somewhat uneven, and you'd probably say that it's interesting rather than good, but "Sunnyside" is still worth seeing if you like Charlie Chaplin's short comedies. A couple of the sequences are very enjoyable, but others don't really work that well, and just take up time.

Rather than his usual tramp character, Charlie plays a put-upon farmhand and handyman who has some of the same characteristics, and the story combines some conventional slapstick with some more imaginative sequences. Some of the material is quite good, especially the sequence with Charlie and the horse doctor treating a patient. But not all of it comes off equally well, and it bogs down at times. It's only average among Chaplin's many short comedies, and not quite as good as most of the later ones, but it has enough to be worth seeing.

While this is certainly not a bad film and is entertaining to watch, compared to other Chaplin shorts, it's a bit of a let-down. Part of this is because there aren't as many laughs as usual and part of it was that the characters just didn't seem that engaging--something a little unusual for a Chaplin short made this late in his career. Plus, for me, it was a little hard to accept the Little Tramp as a farm hand--he just seemed really out of place and a bit lost. Later, when the rich guy appears and Charlie thinks he's going to lose his girl to this dandy, the movie seems a little more familiar, but still it failed to grab hold of my attention. Not a bad film, but Chaplin certain did better.

This is another one of Chaplin's comedies. The Tramp is the butt of the joke by the start of the movie and turns the tables on the jokers by the end of the movie. There is a love interest that The Tramp falls in love with and by the end of the movie, wins over. Like many of Chaplin's movies, the use of extras and supporting actors add to the comedy. So often, Chaplin casted very large people or very small people. Usually we see a very over weight and tall man standing next to a very skinny and short man. For a silent film, Chaplin is good is using the eye candy to create laughter. Also, if you look closely, all of Chaplin's films have a political message. By the time Chaplin was producing full length features in the 1930's and 1940's, he was clearly making an attempt to throw large political messages at his audience. Although it is a tiny and is easy to miss if you are not looking, the message given by Chaplin is successful. The hotel owner in the movie has a framed sign on his bedroom wall that reads: Love thy Neighbor. Pointing the finger at the ignorant Christian, Chaplin showcases a man who reminds himself to love his fellow man, but manages to treat The Tramp like dirt. Very nice and to the point, Chaplin does it again.

Sunnyside reminds me of some of the early films in Alfred Hitchcock's career, like Rich & Strange or The Skin Game, which are curiosity pieces both because they come from such massive directors and are still so empty and disappointing. Like some of Hitch's early films, Sunnyside for Charlie Chaplin represents to me a point in his early career when he was testing the waters and still trying to find out what he is really best at doing.

Some people were disappointed that Chaplin forced the Tramp into the unlikely role of a farmhand, forgetting that the very nature of the Tramp is that he is such an everyman that he can be placed in virtually every different kind of situation, from brick-layer to World War I soldier, and Chaplin can use his particular brand of comedy to deliver his clever political themes and brilliant slapstick.

Some of the situations and sequences don't work so well or run as smoothly as many of Chaplin's more famous ones, and there is a bizarre sequence involving some dancing nymphs, but it is interesting to consider how this early, experimental film foreshadows the work that Chaplin did later in much more famous and highly superior films like City Lights and The Kid. Throughout the film are what may be taken as examples of the exasperation that Chaplin has admitted to having during the production of the film, but to call is a total loss is missing the mark completely. Certainly not the best of Chaplin's early short films, but I don't think Chaplin ever made a real failure.