A Night Out (1915)
This is one of the early films Charlie Chaplin made at Essanay Studios during his year there after he left Keystone. It has many of the familiar elements from Keystone – men with silly facial hair, women who seem to enjoy flirting with transients, a dull-witted policeman, a large jealous husband, hotels and bar rooms, and a world populated with people with a propensity for solving problems with physical violence – but has more measured timing and use of the individual gags, plus a much longer run time than most of the shorts he did there.
To the degree that there is a plot, it concerns Charlie and his drinking buddy Ben Turpin, who apparently are out on the town for a while before the movie starts because by the time it does they are both staggering drunk. They make their way to a restaurant, where they get into fights with various patrons and ultimately are thrown out by the large headwaiter (played by Bud Jamison, who is doing his best to be Mack Swain). The two pals decide to get a room and sleep it off, and, after multiple pratfalls, Ben Turpin winds up in his bed, and Charlie winds up in a room with Edna Purviance (this was her first appearance in a Chaplin film, but they would work and sleep together for the next eight years). Then her husband comes home, and, of course, it’s Bud Jamison! So, Charlie packs up his pajamas and goes to another hotel, but he’s too drunk to sign the register and winds up on a park bench. Turpin wakes up alone and the desk clerk insists he pay since Charlie already left. He finds Charlie on the park bench, who replies to his request for rent money with several blows to the head with a brick. Meanwhile, some issue has come up at the original hotel with the headwaiter that involves holes being cut in his handkerchiefs, so they move to the second hotel. Now, Charlie heads back there and goes through an elaborate getting-ready-for-bed ritual that involves throwing his trousers out the window and spreading toothpaste on his slippers. Meanwhile, Edna has been playing with a dog in her room (across from Charlie’s, of course) and the dog runs under Charlie’s bed, where she follows it. Charlie comes out and discovers a girl under his bed, to some apparent glee, until she says something about her husband coming back and he looks out the door and sees Jamison again. They try to sneak her back into the room, but it’s no good, Charlie is caught and chased, and winds up going out a window. Ultimately, Turpin finds him again and they fight, ending with Charlie getting drenched in a bathtub.
I’m not sure if it was just me or if Charlie was still getting used to the longer format, but this movie felt more like three or four short movies stitched together than like a cohesive longer plot. At about six minutes in, I had laughed at least as many times as I have at any Keystone, but I was already feeling like it could wrap up and be fine. At fourteen minutes in (the length of the average one-reeler), I was really ready for it to be done. By the end, it seemed actually too long, even though the gags and the falls were entirely up to snuff. One thing Charlie did do was take the time to elaborate some of his gags, which he wouldn’t have done at the faster pace. For example there’s a sequence in the hotel room where Charlie has drunkenly confused the phone with a water dispenser, and keeps trying to pour into his cup from it. That’s the sort of little touch that rarely made it into a Keystone. On the whole, though, it isn’t up to the level of later “feature-length” work like “Burlesque on Carmen,” nor even the sustained zaniness of “The Tramp.” If you like Keystone Chaplin well enough to sit still for half an hour, then this will work for you, maybe even better than watching three Keystones would, but it still seemed to me to be a bit rough around the edges.
Camera: Harry Ensign
Starring: Charlie Chaplin, Ben Turpin, Edna Purviance, Bud Jamison, Leo White
Run Time: 33 Min
You can watch it for free: here.