Charlot e la maschera di ferro

It's summer season. The rich travel by train to a resort. Edna (Edna Purviance) arrives looking to join her husband (Charles Chaplin) who is a hopeless drunk. Also on the train, the Tramp (Charles Chaplin) arrives with the luggage under the train. The Tramp falls for Edna at first sight. During a costume party, Edna mistakes the Tramp for her husband.

I like the doppelganger idea but they need a double scene. They do have a moustachio guy in a knight's suit but that's not enough. They need to do the mirror bit along with other double gags. This starts off with a couple of great gags. The Tramp coming out of the train and the drunken pants-less husband are both terrific. After that, it's not as imaginative.

A great scene in the film is when the HUSBAND has his back to the screen so you can't tell when he is actually doing. To some it looks like he is crying until he turns around to face the camera. In fact, the drunk HUSBAND is mixing himself a martini in his glass shaker. Just one of many situations where Chaplin plays with the audience.

While Charlie Chaplin's little tramp persona has been famous worldwide for nearly a century, a character he created back in his musical hall days is less well-known. That character was the alcoholic aristocrat. Here, in the Idle Class, he makes his final appearance, and his only one opposite the tramp, in a mistaken identity comedy that prefigures Chaplin talkie The Great Dictator.

In spite of this being his swansong, the posh drunk's personality is more fully fleshed out here than ever before, as if Chaplin was eking the utmost out of the character before abandoning him. Chaplin also involves him in gags of a type he did not often do; the pull-back-and-reveal joke, like the shot revealing he is wearing no trousers, or the elaborate arrangement of people and props as he tries to conceal it from the people around him. These jokes are hilarious, but they are not typical Chaplin – they draw too much attention to the artifice of it all, and threatens to detract from the humanity of the characters, which is why he would never have used such gags with the little tramp.

Speaking of the little tramp, he is far from absent in The Idle Class, and there is plenty of his kind of humour here. He gets a great entrance, emerging from a little hatch on the underside of a train after the grand arrival of an assortment of toffs. There are some supremely confident gags on a golf course, where in the classic style of the Mutual shorts the focus is upon the trail of chaos that the tramp leaves behind him. For example, we see Charlie sauntering into the distance while in centre-screen his two fellow golfers get into a fight over a misunderstanding he has caused. In a following shot only his legs appear, as he stomps on a straw hat in one corner of the screen, causing yet more mayhem. Charlie is not shown directly, but it is his personality and his influence on the comedy you remember. Compare that to the scenes of the wealthy drunkard, in which Chaplin is always on screen because the character is weaker and requires our constant attention to work.

So, an odd little Chaplin short, featuring much material of a kind he would not return to again. And yet it is very effective and funny, even when it wasn't in a mode that suited him. As if to prove the value of the kind of gags we see in The Idle Class, they went to live on in the work of his fellow silent comics. Whether the influence of this picture was significant or not, those pull-back-and-reveal gags are used to great effect in Harold Lloyd's films, while those elaborately staged sight-gags were of course a staple for Buster Keaton.

All of which heralds the timely arrival of that all-important statistic – Number of kicks up the arse: 7 (2 for, 4 against, 1 other).

A train arrives at the depot with a range of passengers – from the rich down to a tramp of few means. One rich woman has asked her husband to collect her at the station but his terrible forgetfulness means he does not. All three of them head to the members-only golf club, although the tramp is not strictly invited. He causes confusion and trouble on the greens, while his more than passing resemblance to the rich woman's husband causes plenty trouble at the masquerade ball that evening.

As part of broadening my cinema experience I spent an afternoon checking in with screenings of a few Chaplin feature films and shorts and The Idle Class was one of the latter. Having just watched A Day's Pleasure and finding it amusing, I expected more of the same from Idle Class but actually this film was much funnier. The plot is not really important until the tramp and husband come together in the final scene and up till then it is just one perfectly timed and choreographed piece of confusion after another. The golf course fights were my favourite but the ball itself is pretty funny. As usual Chaplin's performance is quite brilliant, putting so much into his face and physical comedy that really you never thing words as missing so much as superfluous. The support cast of regulars such as Purviance, Swain, Bergman and a few others all put in solid work with well-exaggerated physical deliveries that compliment the subtle performance from Chaplin.

Overall a real delight. Consistently funny with plenty to laugh about.

Another example of Chaplin's brilliance in film-making, this short work. Many of his favorite themes come along, such as several chases and a mix-up between him and 'the husband'(also played by Charlie). Best scenes include the one where 'the husband' reads a letter from his wife that he should drink less. We see him pick up a picture of her, then he starts shaking like he's crying... but he's just mixing another drink. That really cracked me up. The scenes on the golf course are also very funny and well-made. Then the movie slows down a bit with the ballroom-thing, but the ending is just the best: with Charlie kicking the father of 'the wife' right where he should... great scene! In short: good short Chaplin, though not up there with The Adventurer, The Tramp or Pay Day. 7/10.