This is not the best-known of the Chaplin output, but arguably its one of his best, certainly in terms of visual gags and Chaplins amazing physicality. It has lots of great gags and fine technical moments in its short running time, but for many it still has the sentimentality towards romance that borders on the cloying.
Chaplins little tramp is mistaken for a pickpocket by the police the real thief plants a wallet in his pocket, but to be strictly accurate the tramp is complicit as he does try and spend the cash he knows is not his. Chased by the police he runs into a live circus, where the crowd think his various means of escaping the copper is a hilarious part of the act. The circus owner believes he has found the answer to dwindling crowds and signs the tramp up. He then falls for the cruel circus owners daughter, and faces a dilemma does he carry on bringing in the crowds or does he try and help her escape?
In the films 69 minutes there are some of Chaplins best routines one where he runs away from a chasing policeman on a carousel is truly brilliant. He also enjoys an extended tightrope scene where his attempt to cross the rope is hampered by some primates this sequence, brilliant though it is, had to be reshot after the negative was scratched, and Chaplin believed it was not as good as the first shoot. This probably led to Chaplins nervous breakdown two-thirds of the way through filming, added to by his studio burning down during editing, but none of that shows in the final movie.
This was the final silent film from Chaplin, who started to use sound gags in his next two films, if no actual dialogue. Its a fascinating part of Chaplins canon, well worth adding to the collection, and probably stands more repeated viewings than some of his better-known films. Its also interesting for the ending, where unusually he has a rival for the affections of the girl.
Special Features:
Documentary
Introduction by David Robinson
Out-takes
Photo gallery
Reviewer: Mike Martin