His Musical Career (1914)
Fans of classic comedy will find something familiar in this early short from Keystone Studios starring Charlie Chaplin. Chaplin plays a worker in a piano shop who must make a difficult delivery, but gets the addresses confused…
The movie begins with Chaplin, in his “Little Tramp” getup, applying for a job from store manager Mack Swain. Swain seems a bit concerned at Chaplin’s slight build, but puts him to the test by having him hoist a growler of beer over his head. Charlie succeeds, but spits out the beer when Mack smacks him on the back. Then Charlie lines up the can of beer next to an identical can of varnish while Swain’s back is turned, and of course Mack takes a sip from the wrong one. Charlie helps relieve his distress by splashing the rest of the beer on him. Meanwhile, salesman Charley Chase is selling a piano in the front room to “Mr. Rich” (Fritz Schade) and informs “Mr. Poor” (Frank Hayes) who has fallen behind on his payments, that his piano will be repossessed. Hayes really hams things up as the music-loving Mr. Poor. Charlie tries to nap on a piano keyboard while Mack is out speaking with Chase. It turns out that the two customers have very similar addresses.
Mack and Charlie now go to work on trying to deliver the piano. Although it is on wheels, they try to attach a length of rope. Charlie hoists the piano briefly while Mack gets under it to tie the rope on, but then he just lowers it on top of Mack and takes his time in removing it. Eventually, they push it over to a rickety old cart attached to a mule, then hoist it aboard. Charlie gets into the driver’s seat and Mack climbs on next to him, cradling another beer growler. Swain naps during the drive and Charlie spoons out some beer with his pipe. When they stop for a moment so that Mack can check the piano, the weight of the piano lifts the mule’s feet off the ground. He has to put his weight back onto the front of the cart before the mule can proceed. They pull up to the address of Mr. Poor, thinking it is Mr. Rich. Of course, there is a long staircase they have to climb with the piano, Mack pulling in front, Charlie lifting and pushing from behind. Of course, the piano tumbles down on top of Charlie before they can reach the top. Finally, they bring it into the house, to the delight of Mr. Poor and his daughter, and Charlie has it strapped to his back, moving from one part of the small room to another while they make up their minds where it should go. Once it has been placed, Charlie cannot straighten his back. Mack yanks him several times, but then fixes the problem by laying Charlie on the floor and pushing on his backside with his foot.
Now they head over to the other address, a beautiful California house, and spend a good deal of time rearranging the furniture in order to get the piano they find there out. Mrs. Rich (Cecile Arnold) comes out to find what they are doing. Charlie and Mack both vie for her attention, and she seems quite put out by them. She summons a liveried servant, whom Mack pushes to the ground before they remove the piano. Charlie does several pratfalls before Mr. Rich walks up, indignant, and accuses them of stealing it. He gives Mack a boot in the pants, which sends him, the piano, and Charlie rolling down the long hill in front of his house. All three land in the lake used in the finales of so many other Keystone shorts.
Laurel and Hardy fans are most likely familiar with a 1932 movie called “The Music Box,” in which Stan & Ollie have to deliver a piano to a house at the top of a long stairwell. In fact, variations on this theme have been made a number of times in cinema, but so far as I know this is the first. In comparison, Laurel and Hardy milked that situation for a lot more laughs than Charlie did, but in fairness they had many more years of experience with film comedy at that time, as well as the benefit of all the developments of film technique and technology that happened in between. It does seem that this movie demonstrates a bit more of Charlie realizing his own potential, and that of his character, here towards the end of his contract with Keystone. We also see evidence of his growing popularity. Quite a number of pedestrians are visible in a crowd, staring at Swain and Chaplin as they hoist the piano onto the cart, and even men from a passing streetcar turn to stare. Evidently it was getting harder to shoot a Chaplin film without drawing a crowd. Swain and Chaplin seem to have really found their groove working together as well, with the contrast between the big man and the little one emphasized to comedic effect. Chaplin makes good use of simple editing techniques to tell the story, such as cross-cutting from the salesroom to the shop, and editing together the precipitous fall down the hill at the end. There’s an interesting shot during the drive as well, where the camera has been placed on top of the mule’s back to give a two-shot of the stars, while we watch the street go by on the sides. This wouldn’t have been easy to set up at a time when the camera had to be hand-cranked, but cinematographer Frank D. Williams must have made it work somehow, possibly by dragging the cart behind a truck so that he had a platform to stand on.
Director: Charlie Chaplin
Camera: Frank D. Williams
Run Time: 13 Min