Jour de paye

This Chaplin short has a lot of variety and some great moments. The first half is especially good, with some very good material featuring Charlie working at a construction site. There is a part with Charlie laying bricks that you will want to see if you are a Chaplin fan - it must have taken a lot of care and planning to film. The film also gets a lot of mileage out of the service elevator that the crew is using. The second part of the movie is not really as good as the first, mostly in that it relies too much on drunkenness for comic effect, but it also has some good gags. The best moments of this part are with Charlie and his imposing wife.

Said to be Chaplin's favorite of his short films, Pay Day is a quick, yet funny story of the Tramp and his Pay Day. Showing up to the job late, complaining about his wage, and then having to deal with his scary wife is just the first half of the movie. The night spent out on the town, drinking his problems away and then trying ever so hard to catch the train home is the second half. The physical comedy in Pay day is pure Chaplin. Catching the bricks, the escapades with the elevator and the mob to ride the train are segments that are unique and very funny. Still, Pay Day is not you average Chaplin film. There are moments in the movie that are just there to make you laugh. More of a joke filled story that an actual story with a beginning, middle and an end, Pay Day is a no holds bar comedy with the object to make the audience laugh. And it does.

This film is definitely worth seeing for the amazing slapstick sequences, though it doesn't have much of a storyline overall. The killer opening scenes, showing Charlie working at a construction site, had me staring open-mouthed at the screen. I also enjoyed the drunks' night out, the running-after-the-tram scenes, and the bits involving the cats (especially that sausage one).

I was less thrilled with the clichéd character of the rolling-pin-wielding wife. That role seems kind of misogynist to me, plus it opens up way too many questions that the film will never answer--you can't help but wonder how they got together in the first place, etc. And it takes a little of the innocent shine off of Charlie's sighs over Edna Purviance when you find out he's supposed to be married. The Tramp actually seems unusually louche in this picture.

According to David Robinson, this picture boasted some of the first successful night scenes that didn't have to be tinted. I loved the big searchlight that lit up the tram sequence. Sydney Chaplin also contributes some nice comedy. Edna, disappointingly, has a very small role.

This is far from my favorite Chaplin film, but I'm glad I have the DVD, because there are sequences I will enjoy watching over and over (and in slow motion).

Chaplin's tramp has a job in this half hour short which comically depicts the plight of the era's laborer that has changed negligibly since. There is little plot to go around but plenty of perfected sight gags by the Silent master as he works and drinks with co-workers and fends off his shrewish rolling pin wielding wife who is intent on collecting his entire pay. The most deft comedy bits are on the job as he does amazing things with a lift as well as a scene grabbing bricks being tossed to him (albeit achieved by reversing the negative). The drinking with co-workers keeps the laughs going and continue through the final confrontation with the wife as Chaplin's uproarious balletic grace remains in fine form from start to finish.

"Pay Day" was Charlie Chaplin's last short film, and I think it's one of his best--not especially for the gags or scenario, but mostly because of its technical superiority in film-making. I consider the scenario substandard; I prefer Charlie as a real tramp, not a man of domesticity in the Tramp outfit, but that's just my preference. Doubtless, "Pay Day" is better constructed than "A Day's Pleasure", another First National short where Chaplin plays a married everyman. And, there are some very funny scenes in "Pay Day". The bricklaying at his construction job is a highlight--a carefully choreographed gag projected in reverse motion. Additionally, Chaplin is hilarious when playing a drunk.

The night scenes when the tramp becomes inebriated and his subsequent follies at his apartment are better photographed than any scenes in a Chaplin film before. Chaplin is well known to be a rather minimalist, even unimaginative, filmmaker when it came to the more technical aspects of the art, such as cinematography, but he and cinematographer Roland Totheroh tried something different here with the lighting. Their films usually feature very flat lighting, but here they employed backlighting, adding another dimension to the film's images. When Chaplin tiptoes towards the camera oblivious of his wife standing behind him in their apartment, he seems ready to fall off the screen.

The night scenes are particularly striking; the backlighting more fully exposes shadows and the shades of gray, highlighting the textures of the sets and streets. The scene where the tramp attempts to get a ride on the trolleys was broken into location shots for the trolleys and studio shooting for when Chaplin is in front of the walled background. Chaplin was by then organizing his films for more efficient production, and the result is this great-looking short.

Art director Charles D. Hall, who would have a prestigious career designing sets for various horror flicks, helped greatly to expand Chaplin's films spatially at First National, which included simply featuring more sets and covering a greater area. Of course, the difference between the First National films and his ones before has as much to do with having his own studio, but Hall's contribution shouldn't be ignored. Even though the sets are still stagy (the missing wall confounded by a lack of changing camera placements), the backlighting highlights their texture and dimensions. "Pay Day" is Chaplin's most tactile short. The Mutual films were a period of refining Chaplin's Tramp persona, as were some of the First National pictures, but these First National films were also a period of experimenting with his film-making--in ways as simple as the number of reels to the technical experiments such as in "Pay Day".