Carlitos no Armazém

This is the first picture Charlie Chaplin made at Mutual studios. After a year-long maturing period at Essanay, he had at last set off in search of greater creative freedom and vastly inflated salaries. This is precisely what Mutual gave him.

The most obvious difference between the Floorwalker and the shorts that went before it is the level of confidence and cinematic professionalism Chaplin now displays. There is a lengthy opening sequence before the little tramp even appears, establishing the antagonists and the scam in which Charlie will later become embroiled. Eric Campbell is introduced with a formidable close-up, giving him a more menacing and memorable entrance. There's also a bit of bold cross-cutting, some of which becomes a joke in itself. For example, we cut back-and-forth from Albert Austin tussling with the essentially harmless Charlie, while behind his back a gang of thieves rob the store blind. That particular gag also shows his willingness to sometimes move the camera away from himself, making his little tramp the cause of the comedy but not the focus of it. These were all techniques Chaplin had used before, but never quite to this extent or with this much bravura.

With a new studio came new supporting actors, and here we see the introduction of two very important figures in the Chaplin career. Most noticeable of these was the stupendous Eric Campbell, who fulfilled in the Mutual films the role of the bully. Campbell's appeal works on the old adage of "the bigger they come the harder they fall", but he's also a wonderfully expressive comedy character, all his movements looking comically exaggerated because of his size. The floorwalker also marks the debut of Albert Austin, who does a similar job to that of Billy Armstrong in the Essanays, that is, a lanky twerp for Charlie to wind up. He makes a good impression here, tumbling helplessly and striving to maintain his dignity. Fortunately, Chaplin brought across some of his best collaborators from the Essanay days, but Leo White and even Edna Purviance get a bit lost among all the new faces here. Honourable mentions go to Charlotte Mineau and Lloyd Bacon, both of whom had bit parts in a few Essanay pictures, now appearing in meatier roles.

In spite of its technical polish and auspicious debuts, it has to be said that the Floorwalker is one of the less entertaining Mutual pictures. It has its moments (surely the best of which is Charlie's "mirror-image" routine with Lloyd Bacon, repeated years later by the Marx brothers in Duck Soup), but there is bit too much going on and a few too many characters, with not enough high quality comedy in between. Chaplin would have to do a little better than this to justify his hefty new pay packet.

Still, let us not forget that all-important statistic – Number of kicks up the arse: 6 (3 for, 3 against)

THE FLOORWALKER (Mutual/Lone Star Company, 1916), Written and Directed by Charlie Chaplin, stars The Little Tramp in his first of twelve comedy shorts for Mutual (1916-1917). Coming a long way in a short time since his screen debut in 1914, Chaplin, now on his own, taking charge of his script and comedy material that has become genuine classics. Though some of his finest work in both short and feature-length formats were ahead of him, THE FLOORWALKER marked the new beginning in Chaplin's creativity and comical genius that developed with each passing film. Aside from Edna Purviance, Chaplin's frequent co-star since 1915, THE FLOORWALKER also marked the first of eleven comedies to pair the pint-sized Chaplin with the giant-sized Eric Campbell, a classic combination. A winning pair responsible for Chaplin's finest moments in screen comedy and new phase for the development of his tramp character that was to start here.

Opening title: "The Big Store." The slight plot development introduces scenes involving a stern floorwalker (Lloyd Bacon) ordering his sales clerk (Albert Austin) about and a loyal secretary (Edna Purviance) working for her general manager (Eric Campbell). After Campbell reads some shocking news from a memo, he works on a diabolical plot of robbing the store safe along with his floorwalker. The floorwalker, however, turns against Campbell, knocking him unconscious only to take the full bag of money for himself. There's one setback, how to get out of the place without the store detectives watching. During a shoplifting spree from numerous bargain seekers, in comes a customer (Charlie Chaplin) causing trouble for the clerk and getting himself into mischief before going through a series of pratfalls up the down escalator. Evading store detectives, Charlie takes refuge in the manager's office where he comes face to face with his look-alike floorwalker thief. Wanting a job in the store, both men agree to switch clothes and identities, this leaving Charlie holding the bag and thief falling victim through a series of unforeseen circumstances.

While not as crude as some of Chaplin's earlier comedies for both Mack Sennett and the Essanay Company, there's still some use of behind kicking and facial slaps to go around. Surprisingly, however, THE FLOORWALKER doesn't make use the traditional love match between Chaplin and Purviance. In fact, they share no scenes together whatsoever. Purviance's presence is devoted mainly towards her bearded, evil- eyed employer, Campbell. With a mannequin, water fountain and elevator playing part of prop comedy material, the one that gets the most attention is the escalator. Chaplin's ballet dancing technique where he avoids a fight is Chaplin style that's seldom imitated, never duplicated. However, the mirror bit between Chaplin and Bacon is one duplicated and imitated by other comedians over the years, the best re-enactment coming from the Marx Brothers twosome, Groucho and Harpo, doing it their way in the masterful production of DUCK SOUP (Paramount, 1933).

Other than the gag material expected from Chaplin, THE FLOORWALKER makes good use with camera cutaways from one action to another. There's even a D.W. Griffith-type of extreme close-up reaction technique on the lady store detective (Charlotte Mineau) worth noting. Others seen in the cast include Bud Jamison, Leo White, James T. Kelly and Chaplin regular, Henry Bergman, doing a minor bit as an old man who blows his horn.

An enjoyable twenty minutes that might have developed into a featurette, THE FLOORWALKER is as good as it gets. Along with the other Chaplin Mutuals, THE FLOORWALKER did have plenty of exposure on both commercial and public television broadcasts in the sixties and seventies with prints from 1930s reissue accompanied by jazzy music score and sound effects, the same prints acquired by Blackhawk and Republic Home Video for its video distributions in the 1980s and 90s. Interestingly, rather than placing these Chaplin Mutual comedies in order for which they appeared, Republic released these twelve Chaplin shorts in out sequence mix, placing THE FLOORWALKER as the second movie in the third of its four volume VHS sets. In recent years, THE FLOORWALKER has turned up on cable television, namely Turner Classic Movies (TCM premiere: December 13, 1999) with new orchestral scoring and silent acu-speed prints from Kino Home Video. Next in store of the Chaplin Mutual comedies: THE FIREMAN (1916) (***)

Although Charlie Chaplin made some great short comedies in the late 1910's, others don't quite make it. Examples like His New Job and Shanghaied come to mind, and I would also The Floorwalker in this category.

Charlie gets mistaken for a manager of a department store (and vice versa). This manager tries to steal money from the cash register and make a run for it, and Charlie is just an honest costumer but getting blamed for some missing objects, stolen by other costumers.

There aren't many laughs in it, except for the last couple of minutes or so with some great scenes on the escalator. For the rest, quite disappointing.

4/10.

There are some good moments in "The Floorwalker" that make up for the more routine parts. Chaplin gets good mileage out of an identity mix-up - a theme he always liked - and he also has some good slapstick moments with Eric Campbell, one of his best supporting actors. The plot is mostly goofy, serving mainly as an excuse to allow the characters to chase each other around the store. Overall, it's about average for a Chaplin short feature, which makes it pretty good by most other standards.

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 Floorwalker' is not one of his very best or even among the best of this particular period. 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 period is 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 Floorwalker'.

'The Floorwalker' is not one of his all-time funniest or most memorable, other efforts also have more pathos and a balance of that and the comedy. The story is still a little flimsy, there are times where it struggles to sustain the short length, and could have had more variety and less more of the same repeition.

On the other hand, 'The Floorwalker' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work (even when deadlines were still tight) and not churning out as many 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 funniest or original, 'The Floorwalker' is still very entertaining with some clever, entertaining and well-timed slapstick. It moves quickly and there is no dullness in sight.

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.

Summing up, worth a look though Chaplin did better. 7/10 Bethany Cox