Charlot au music-hall

This is one of the first Charlie Chaplin films I ever watched, and still holds as one of my favorites. This is a film you have to watch very closely to appreciate. While there is plenty of the signature slapstick comedy you would expect to see in a Chaplin film, there are many more funny scenes that happen quickly through gestures and facial expressions. To fully experience the hilarity this film offers, you first have to fully understand what is going on, and to remember that the people in the audience are in the wealthy upper-class.

If you're in the right frame of mind for it, "A Night at the Show" is Charlie Chaplin at his slapstick best. I like my early Chaplin tipsy, abusive, mischievous, amorous, and a little put off by the world around him, and he's all of these things in this one. He's also two characters.

Mr. Rowdy (Chaplin) is an abusive drunk with an overblown mischievous streak. We learn little about him, and he's there for the laughs he provides. He does provide them, and one can imagine that he was just a fun character to play.

Mr. Pest (Chaplin), on the other hand, has the universe revolving around him. Everyone else in the theater is there for his amusement, and it strained credulity a little bit – which is fine – that he wasn't just thrown out of the place.

The show which Chaplin attends is intolerable until Chaplin takes matters into his own hands. Some people in the audience, you'll feel, deserve to be smacked, and of course, they are knocked around by a master.

I'm a big fan of his Keystone stuff, but "A Night at the Show" is Chaplin freed at Essanay. The world is his oyster, and he sups on seafood. It's a blast!

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 Essanay period after leaving Keystone, 'A Night in the Show' (from my understanding it is indeed based on his vaudeville years with Fred Karno) is not one of his very best but is one of his best early efforts and among the better short films of his. 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 Bank'.

The story is still flimsy and actually one of the most lightweight ones of the Essanay period, there are times where it struggles to sustain the short length, and could have had more variety.

On the other hand, 'A Night in the Show' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out 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 most hilarious or touching, 'A Night in the Show' is still very funny with some clever, entertaining and well-timed slapstick and is one of his first to have substance and pathos after 'The Bank' and 'The Tramp'. It moves quickly and there is no dullness in sight. The ending is great fun.

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 and substance of the role. The supporting cast acquit themselves well.

In summary, very good and one of the best from Chaplin's Essanay period. 8/10 Bethany Cox

"A Night In The Show" (1915, Chaplin) "A Night In The Show" is Charlie at his best in this early stage in his careeer. Early being his 48th overall film and 32nd directing, all within 1914 and 1915, and one of 49 in that time period. From the very beginning, the film just flows from one comedic segment into another. The beginning is rather lackluster which may only bolster the opinion of a rising laugh overall. Charlie starts trouble and adds on to future troubles all at once. All the sketches are played out with perfect timing. In the middle of the ruckus that Charlie causes as he moves around the theater is another tramp in the first seat of the aisle in the balcony. He spills beer onto the people below, throws cream puffs at a dude and a little person act, and in the grand finale, uses a fire hose to put out a fire which is part of the act on stage.

This is one of the few of these early films that could withstand repeated watching of it.

Long before he became a smash on the silver screen, Charlie Chaplin had been making a splash in music hall comedy, where he honed his craft and began to discover his comic persona. A Night in the Show is one of the few Chaplin pictures to directly reference those theatrical beginnings, borrowing heavily from the Fred Karno sketch "Mummingbirds", with a sprinkling of Chaplin's own touches.

Appropriately enough, this is also a rare outing for Chaplin's aristocratic drunk act, which predates his little tramp, having originated in his days with the Karno troupe. While not as versatile or sympathetic as the tramp, the drunk could nevertheless be just as funny. With Chaplin's refined directorial style, he makes the most of the character's antics, allowing him to bumble about in a series of long takes. He is joined by "Mr Rowdy", also played by Chaplin, a character I have not seen anywhere else, but who bares a slight resemblance to the screen persona of Ben Turpin, who made a few appearances for Chaplin in earlier Essanay shorts. Mr Rowdy isn't exactly hilarious, although he allows for some interplay between the two Chaplins, as we see the drink Rowdy pours from the gallery landing on the drunk in the stalls in two separate shots, which is a kind of cinematic joke in itself – and one thing Chaplin couldn't have done on stage.

In fact, this whole piece seems to be Chaplin showing off the advantages of screen over stage. Although in the Karno sketch the drunk would be planted in the audience, right by the stage as we see him here, it did not involve the audience any further. In the medium of film, Chaplin can make as many gags as he wants among the on screen audience. In the most bizarre bit of nose-thumbing, there is even a Georges Melies moment, when the demonic fire-eater "appears" on stage with a stop-trick. It is, in many ways, one of the most intelligent shorts Chaplin made at Essanay. And yet, sadly it isn't very funny. It doesn't have the sense of cohesion or build up of gags that we would expect from a Chaplin short by this point.

But there's still time for the all-important statistic - Number of kicks up the arse: 1 (1 for)