The Tramp

This is the short feature in which Chaplin introduced his famous "Tramp" character, and it would be worth watching for that alone. The character is pretty well-defined, and is already recognizable as the one who would appear in many later films. The movie itself is pretty good, although not one of Chaplin's best, and it features the kinds of material that Chaplin would soon afterward learn to film as well as anyone of his time.

The story takes "The Tramp" through a series of events, from his desperate efforts to scratch up some food, to finding a sympathetic family, to facing up to his lot in life. It has some good comic moments, a little bit of excitement, and also some worthwhile thoughtful moments, just as in all of Chaplin's best movies. Here, the main thing keeping it from being better is that the best material is interspersed with some more routine sequences.

On the whole, there's certainly enough to make it worth watching in itself, and it is also one that all Chaplin fans will want to see so that they can watch the origins of Charlie's trademark role.

Charlie Chaplin's The Tramp will appear in his movies for the next 25 years as America's favorite movie star. More than just a comical character. Chaplin creates his own world, but reacts to events. He belongs to the 19th century in his ideas. But in the early 20th century, in his films, he plays the little man against the malevolent odds. The outsider fighting oppressive villains. He was the comedy of expression, specializing in minute perfection and precision. He alternated comedy and evoked pity and compassion.

The Tramp symbolized a certain class in early 20th century society.

This film is pretty typical of the earlier incarnation of The Little Tramp character. Charlie is a hobo and is drawn to helping a lady who is being harassed by bad hobos intent on stealing her money. At first, Charlie is somewhat inclined to do the same thing (something the earlier Tramp shorts might have had Charlie doing and something the later version never would have even thought of doing). But very quickly he realizes this is wrong and devotes much of the movie helping her. The Tramp thinks that the girl is in love with him so he sticks around even after the evil hobos have departed. However, eventually he discovers she actually has a boyfriend and so he excuses himself from her life--leaving a note to that effect. In effect, this script is an early version of Chaplin's full-length film, THE CIRCUS--where Charlie again is in love with a young lady who he helps from danger but he eventually walks away when he realizes she loves another. Nice stuff and a good introduction to this character.

I am very fond of Charlie Chaplin, his films and shorts. And I do love The Tramp. I don't consider it the very best of his shorts, but I do understand its importance and significance, being the short to introduce the iconic character The Tramp. I quite like the comedy in the Tramp. While it is not among the most special or funniest of all the comedy in Chaplin's biography, there are some inspired gags especially the ones with the pitchfork and the bags of flour, not to mentions the bashings on the head with the mallet. The Tramp has a lovely and touching comical-love story and moves along quickly. Some might say that the short may have dated slightly, maybe so though if so I think it is part of the charm, but the photography is very nice with a beautiful and perhaps iconic closing shot and the short is very well-edited. Speaking of the ending, it is one of genuine pathos. Edna Purviance is a cute, sweet and charming love interest, but the real jewel in the crown is the performance of Chaplin who down from his appearance to his mannerisms is excellent as the tramp. All in all, maybe not among the best of Chaplin's efforts but still wonderful and a milestone as well. 9/10 Bethany Cox

Charlie plays a tramp, who, after saving a farmer's daughter from thieves, is given a job on the farm as a reward. Charlie later manages to thwart the same bandits who try to rob the farm, but he is accidently shot in the process by the farmer. Charlie basks in the attention of the farmer, and his daughter, until the girl's boyfriend arrives. Knowing he doesn't have a chance with the girl anymore, Charlie leaves, walking down the road alone.

"The Tramp" was made for Essanay, who gave Chaplin his second film contract in as many years and much greater creative freedom than he previously enjoyed under Mack Sennett at Keystone. Despite claims to the contrary, this film was not introduction of Chaplin's famous tramp character. That character was actually born in Chaplin's second film for Keystone "Kid Auto Races in Venice." This film was, however, an important step in the development of the tramp as a character, and for Chaplin as an artist. With his failed attempt to win the girl and his final walk, with his back to us, down the road, Chaplin made his first serious attempt to inject pathos and genuine human emotion into his comedies. In "The Tramp," he was laying the groundwork for future masterpieces like "The Circus."

Sadly, aside from the dramatic elements, this isn't one of Chaplin's best shorts. The comedy isn't very original. He simply takes advantage of various barnyard props for the rough, rather mindless knockabout brand of slapstick he would soon evolve away from. This isn't a terrible comedy by any means, it probably as good if not better than the bulk of the comedies produced that year by his contemporaries. It simply doesn't live up to the standard he would set for himself over the next two years at the Mutual Company.

Fans should definitely watch if they get the chance, but it isn't a good place for the uninitiated to start.