Gussle’s Day of Rest (1915)
This Mack Sennett “park comedy” stars Charlie Chaplin’s brother Sydney in a role about as close to the “Little Tramp” as possible. Although by 1915, Charlie had begun making more sympathetic movies about his character, Syd is still definitely in the earlier mode of funny-because-he’s-so-bad.
The movie begins with Gussle (Syd) and his wife (Phyllis Allen) at the boardwalk, looking out into the ocean. A boy approaches Gussle and offers to sell him a newspaper. Gussle agrees, but has no money on him, so he cadges some from his wife. He sees that she keeps her change in a stocking, and sticks the end of it (the part with the coins) into his pocket, then uses a pair of scissors to snip off the part that is in her hand. When Nancy sees this, he tries to accuse the salesboy, but she is onto him. They then pass by a bar, and Gussle tries to go in, but wifey stops him. The go into a park, standing on the road, and squabble for a while until Gussle is suddenly hit from behind by a car and knocked over. The driver of that car (Slim Summerville) was distracted by his passenger (Cecile Arnold), and soon Gussle is, too. Now, Gussle and his wife squabble with Slim and Gussle pushes the car back with his foot a couple of times, causing it to careen wildly in reverse, but Slim drives back to the scene each time. Phyliis faints from all the exertion, but somehow manages to wake up to hit Gussle each time he shows too much interest in Cecile or takes a swig of the whiskey offered to help wake her up.
Gussle and Phyllis continue their day in the park, eventually snoozing under a tree together. Gussle wakes up first and blows cigar smoke into her open mouth, then puts a balloon in it. He distracts her when she awakes, annoyed, by calling her attention to the birds singing, then takes out a slingshot and starts trying to shoot them down. His aim is apparently poor, however; both he and his wife wind up getting a round in the eye when they return to earth. Slim and Cecile, meanwhile, have set up a picnic, which Gussle crashes, evidently with Cecile’s approval. Gussle somehow gets a fork stuck in his behind, which takes a good deal of effort on the part of Slim and Cecile to withdraw.
Annoyed by Gussle’s interloping, Slim tries to enlist the aid of Gussle’s wife, but she thinks he’s a masher when he wakes her up, and she knocks him down. Soon, Gussle and Slim are fighting, and Cecile takes a powder. Then Phyllis joins in and soon is fighting Cecile as well. Phyllis chases Gussle, who knocks a zookeeper into the pen with a leopard. This gives Gussle the good idea of doing the same thing with his wife, then going back to collect Cecile. A cop (Edward F. Cline) takes an interest, and Gussle sends Cecile away, then distracts him by sashaying around the well until he can hit him with his own billy club. With Phyllis and Slim in pursuit, Gussle puts Cecile in the car, but he can’t get it to start. Finally, it starts just in time to run over the cop, who hits Slim when he gets up again. The end is a high-speed chase with Gussle and Cecile in the car and the others on foot. Cecile’s gestures show us the car is out of control and Gussle swerves all over the road. They crash into a construction site where dynamite is being used, and an explosion dumps dirt all over the car. Gussle pokes his head out of the dirt, but there’s no sign of Cecile. He digs down until he finds her hair, then tugs at it and it comes off – revealing itself as a wig and the top of her head as bald. Gussle puts the wig back and pushes the dirt over it. The end.
It’s typical enough of the genre, but without whatever the magic was that made Charlie transcend it. Certain scenes, such as the cigar-smoke sequence and the fork in the behind, have the feeling of being ad-libbed comedy of the sort Charlie excelled at, but which just falls flat in Syd’s hands. There are more close-ups than you might expect for a 1915 movie, but the quality of the existing prints makes it hard to appreciate. Syd seems to play “innocent” a lot, fluttering his eyelashes and tilting his head to the side, but his cuteness doesn’t make up for the unlikability of his character. It was funny to spot Buster Keaton‘s future co-director, Edward Cline, in the role of the cop. Here, he’s a typical hot-headed Keystone Kop, which is kind of needed to distract us from Syd’s performance. Like a lot of two-reelers, the movie is divided into a “part one” and “part two,” but without any clear division between them. On the whole, it seems to me that cutting it down to a single reel would have been the best way to make it funnier.
Director: F. Richard Jones
Starring: Sydney Chaplin, Phyllis Allen, Slim Summerville, Cecile Arnold, Edward F. Cline
Run Time: 20 Min, 30 secs