Charlot et Mabel en promenade

There is no real plot. It's as tho they showed up at a park with a camera came up with a 12 year old's project to film.

It's not funny nor is it interesting.

The print I viewed was really terrible. The picture was view-able, but the titles weren't. In fact it appeared as tho the titles were taped off the TV and added later.

A continuous exchange of meetings between husbands and wives of different couples in which a policeman intrudes in daring chase until both couples are found. The mechanism of the chase in a getting acquainted that highlights the dissatisfactions and desires of the different couples in a comic mood.

A Fair Exchange is a strangely prophetic film about the troubles with women that Chaplin would encounter later in life. Having seen a few documentaries about Chaplin's life off screen, I always get the feeling that I can sense just under the surface (and even in his earliest films), his love not only of attention but of the amorous affections of women. A Fair Exchange concerns two married couples, one happy and one not so happy, in which the men ultimately meet and make passes at each other's wives, and soon find themselves being introduced to their would-be mistresses by their own wives.

As is probably to be expected, it is Chaplin who is clearly in a miserable marriage with what appears to be an angry, over-bearing wife, and it doesn't take long before he starts taking steps to try to meet someone else. One thing that I noticed about this film it that it seems to be much less modest than films of the time were, or at least how I thought they were.

At one point, the pretty wife of the other man bends way over right in front of Charlie, giving him a clear view of her backside, and Charlie makes no effort to be cautious as he gazes enraptured at the sight before him, despite the fact that his wife is sitting right next to him. Later, he scolds his cane for 'accidentally' lifting up the girl's skirt as she is standing next to him. I'll just go ahead and admit that until now, I thought such things would have been unacceptable in the movies. Looks like it's about time for me to go back and re-read the parameters of the infamous Code.

At any rate, the film also features a pretty clear picture of what might be considered Chaplin's conflicting views of women. Given what we know about his personal life, he had a particularly strong desire for women, but he seemed to reel back and forth from extremes of good and bad, with very quick love and happy marriages soon turning into divorce and bitter legal disputes.

In the movie, it could be argued that he was just inexperienced in the ways of romance. Charlie doesn't seem to know how to act around women, at one point tipping his hat and smiling, and at the next, using her as an armrest. Whatever the case, it seems that in the years that followed, his behavior in real life may have been a little too similar to his behavior in the movie. As a film in comparison to the other short films that he was making at the time, what I really like about A Fair Exchange is that it has a fully developed plot that is relatively easy to follow. A lot of the Keystone comedies tried to tell more of a story than they could sustain, and ultimately became very hard to follow. The plot here is entertaining and easy to follow, and while the comedy and slapstick is not much different from the other short films, it is more memorable here because it comes with an entertaining story.

It's time for more fun in the park: two restless husbands leave their wives behind, flirt with other women, get involved in brief but heated confrontations, chase each other through the shrubbery and, ultimately, receive harsh punishment from a cop who seems to be on permanent Flirtation Patrol. Dozens of Keystone comedies fit this description, but Getting Acquainted is a fairly amusing example of the familiar routine. It's a little less frantic than some shorts and decidedly less violent than the Keystone norm of the day. This was the second-to-last comedy Charlie Chaplin made for Mack Sennett, and it feels almost like a sentimental farewell to the old gang. Here's what passes for "sentimental" at Keystone: no bricks are hurled, no mallets wielded, no bombs explode, and not one person gets thrown into the pond. That said, Charlie does receive a rather nasty-looking stab in the butt early on, and the mustachioed cop (Edgar Kennedy) who pursues the errant husbands delivers a couple of vigorous conks on the head with his billy-club, but compared to some Keystone efforts this one amounts to a genteel tea party.

At times the camera lingers on the players for a quiet moment or two in between intrigues, giving us a chance to observe them more closely than was generally the case in these brisk one-reel comedies. The couples at the center of the action certainly look mismatched: pint-sized Charlie is paired off with the much larger, older, gorgon-like Phyllis Allen (who would also play his formidable spouse years later in Pay Day) while Mack Swain, obese and unsightly, is paired with petite, pretty Mabel Normand. We meet Charlie and Phyllis first (although this opening scene is missing from some prints), and they make such an inappropriate-looking couple the casting itself serves as a sight gag. Next we meet Swain and Normand, as Mack kindly assists a motorist with his car. Soon afterward we recognize that this film's theme concerns people who don't belong together, searching in vain for their true partners. Or, I don't know, maybe it's really about comedians in quaint outfits, chasing each other through shrubbery.

In any case, Charlie quickly ditches his wife and tests the water with blonde Cecile Arnold, but he is distracted and then driven away by her escort, a mysterious man wearing a fez. I wanted to know more about this fellow, but apparently he's there solely to supply a touch of the exotic. Come to think of it, this couple looks mismatched too, visually anyway, but they appear perfectly content with each other during their brief scenes. Once Charlie meets Mabel he forgets all about Cecile and wastes no time in trying to make an impression on this new potential conquest. First he taps Mabel's bottom with his cane, then within moments he raises the cane and 'accidentally' hooks her dress with it. When Mabel reacts with shock Charlie disengages his cane and gives it a quick spank. Mabel's attitude towards this strange little cad never improves after this startling introduction, but soon Charlie is too busy getting chased through the park by Kennedy and Swain to care. Edgar Kennedy, by the way, gives the film's most lively performance as the crazed cop.

Getting Acquainted is diverting if not exactly memorable, while its comparatively relaxed, methodical tempo stands in notable contrast with Chaplin's other Keystone "park" comedies. It's lightweight fun while it lasts, and it's nice that we're granted a few moments to appreciate Mabel Normand's dark-eyed beauty. This film marked Chaplin's last teaming with Mabel, seen here while still in her youthful prime.

The last of the Charlie & Mabel pictures. After suffering the indignity of playing second fiddle to Marie Dressler in 'Tillie's', the pair get together in this movie, which is slightly reminiscent of The Fatal Mallet. Unfortunately, as there are no mallets in this film, the story is somewhat weaker, although there is a Terrible Turk who enjoys sticking his dagger in Charlie's backside. The Terrible Turk is a throwback to Charlie's vaudeville days.

Mabel is married to her umpteenth screen husband in the picture – this time it's Mack Swain. However, Mack is being very foolish when he helps a stranded car driver, and leaves gorgeous Mabel unguarded in the park (silly man). Who should happen along but lecherous Charlie, who's left his own, less than pretty, spouse sitting on a park bench. Having failed to secure the affections of Cecile Arnold (she's the Turk's flame) he wastes no time in lifting Mabel's dress and generally interfering about her person. After manoeuvring the Keystone Girl into a position where he can kiss her, Mabel tells the lecher to get lost, and gives him a slap in the face. The vulnerable maiden then shouts for help from Mack, who returns, but merely introduces Charlie to Mabel! Unsurprisingly, Mabel is flabbergasted, and is left alone with Charlie when Mack goes off again. Expecting to be rummaged once more, Mabel shouts 'Police, Police' and a cop arrives on the scene. This is the cue for the inevitable series of Keystone chases, in the middle of which Mabel is introduced to the over-amorous Charlie by his wife. Of course, Mabel has already had experience of Charlie The Lustful.

We can imagine that Charlie and Mabel would have been able to conjure up something better than this film for their final collaboration. The two had been getting along fine since Mabel At The Wheel, and Mabel seems to have devoted much time to cultivating the Englisher as an ally (she negotiated all his pay rises with Sennett). It seemed clear that Charlie was going places, and could be Mabel's route out of the madhouse that was Keystone. Furthermore, it seems certain that when Charlie was made a director at Essanay for $1,200 a week (he told Mabel it was $1,000) the starlet expected a call from The Tramp asking her to be his co-star. The call never came. However, Mabel never gave up, and for some time afterwards used to shout across restaurants at him 'Charlie, I'll be your leading lady yet!' Mabel being Mabel, she had miscalculated as usual, and failed to realize Charlie was not looking for an established, big-money star, but a cheap-jack newcomer who he could mold into his kind of leading lady. In addition Charlie was a rather nasty piece of work, who would certainly have planned to get his own back for Mabel's rejection of his amorous advances. We may like to think that Mabel and Charlie making their own films together would constitute a dream team, but their personalities were such that only disaster could have ensued. Charlie was no Mack Sennett, and Mabel was no Edna Purviance.

It has often been stated that Mabel contributed to Charlie's tramp character, but it is difficult to quantify this contribution. However, note that Mabel, in this film and others, pushes her hat aside and ruffles her hair when flustered, Stan Laurel style. Stan Laurel was a serial mimic, and after lacklustre performances as Charlie Chaplin's tramp, and a bland Keaton-like character, he ended up at Hal Roach studios. It was here, as a scenario writer, that there happened along a certain Mabel Normand, the naive character who was none too careful about which actions she let people see around the lot. It is clear that the classic Stan Laurel dumb face is also the face Mabel demonstrates early on in The Extra Girl. Armed with these assets, washed-up Stan was able to extend his career as the fool in the Laurel and Hardy pictures. Fortunately (for Laurel) Mabel was cold and in the ground by the time the L & H movies appeared.