With the year drawing to a close, it seems appropriate to return to a few of the groundbreaking shorts Charlie Chaplin contributed to Essanay in 1915. This one, released in October, represents some of the better work he did that year.
Chaplin’s “Little Tramp” is in love, again. With Edna Purviance, again. Her father (Wesley Ruggles, this time) disapproves, again. The twist this time is that Daddy owns a boat, which he has decided is a liability, so he conspires with the ship’s captain and first mate to blow it up and collect the insurance. Charlie, trying to get a job and make good, is hired to “recruit” sailors for the ship. He hides in a barrel and cold-cocks each person that the mate (Bud Jamison). Once the crew is assembled, Charlie demands his pay, but the captain and the mate pull the same trick on him.
The newly assembled “crew” is told its duties and abused, then thrown into the hold. Charlie tries to avoid this treatment by getting busy right away, but he goofs up and winds up in the hold. Charlie knocks several people, including the captain, into the ocean while trying to direct the crane to load the hold. He gets taken on by the cook as an assistant in the galley and there are a variety of funny sequences with him dropping a sponge in the soup, breaking plates, and generally being unable to serve food in the rolling sea. When it comes time for him to eat, he gets seasick. Now we learn that Edna Purviance has stowed away on board. She and Charlie meet up, but the bad guys have already lit the dynamite. Her father finds a note and races to meet the boat in a motorboat. Charlie throws the bomb into the lifeboat the bad guys are using to get away, then gets into the motorboat with Edna and her father, ultimately kicking the father into the water and speeding away, happy.
This is a fairly violent and perhaps “vulgar” (to use the word critics bandied about at the time) example of Charlie’s slapstick, but it has a number of good laughs and gags that he hadn’t used up to this point. We are getting used to seeing the style of editing Chaplin developed from Keystone and refined in his year at Essanay, and he is now comfortable using close-ups to emphasize reactions and promote sympathy in the audience. Charlie also does a funny bit where he “salutes” the captain, but (seemingly by mistake) puts his thumb to his nose as he does so. This seems to represent his comedic rejection of authority even while bowing to it. I felt that it moved faster than the similar two-reel comedies he released earlier in the year and was a good representation of the higher aspirations he had for his artistry: just getting the boat had to be a major budget item for an Essanay comedy short.
Camera: Harry Ensign
Run Time: 27 Min