Chester Conklin plays a typical Keystone tramp in this Mack Sennett comedy from the year after Charlie Chaplin left the studio. He brings none of the sympathy Chaplin did (although Chaplin’s Keystone roles were his least sympathetic as well), and the movie hinges on increasingly madcap action for laughs.
The movie begins with Conklin listening to the piano playing of Vivian Edwards, standing outside her window, dubiously trespassing on her property and peeping in at her. He is so moved by her playing that he starts to sing along, which causes her to come and speak with him, apparently unconcerned about his creepy behavior and odd appearance. Her music teacher (Charles Arling) now arrives and a rivalry is established. Arling quite reasonably takes offense at Conklin’s behavior, and drives him away with threats. He then remonstrates with Vivian not to encourage unhoused individuals to hang about her window making moony eyes at her, but soon engages in a bit of his own sexual harassment toward his pupil. Conklin wanders into the park, and sees an organ-grinder (Harry Booker) with his monkey attracting a crowd. This gives him the good idea to steal the organ and monkey for himself. The organ grinder is understandably upset by this, and being a swarthy foreigner in a Keystone film, naturally avails himself of an anarchist bomb. Conklin attempts to serenade his ostensible sweetie outside her window with the organ, which results in Arling coming out and giving him what for. Arling wins the fight and chucks Conklin into a trash can, where the foreigner tosses his bomb. Luckily, it has quite a long fuse and Conklin is able to put it out in time.
Now armed with the bomb himself, Conklin gets a new idea and follows the music teacher back to his hotel. Despite behaving an a very conspicuous manner and being asked to leave by the desk clerk, he is able to sneak up to Arling’s room and gain entry while he is out. He has the clever idea to hide the bomb inside his piano, rigged to ignite when certain notes are played. However, before he can effect an escape, Arling returns with Vivian and they sit down to another lesson. Conklin, trapped behind the piano, can do nothing but gesture in a panic. Now the monkey climbs up to the window, perhaps seeking Conklin who was his last owner. He jumps on the piano and it starts to smoke, now Conklin jumps out and tells them a bomb is inside. Together, they all push the piano out the window, but Conklin falls out with it and soon he and the monkey are barreling down the street on top of a runaway piano while the fuse grows shorter and shorter. The organ grinder sees them and gives chase, perhaps demanding the return of his monkey (or his bomb), while Arling and Vivian watch from the window. The bomb explodes, apparently resolving the issue and the survivors kiss.
Watching something like this today, I can sympathize with critics of the day who called the movies “vulgar.” That’s not the word I would choose, but this is certainly pretty low-brow and low in production value. There’s little effort at characterization or story, just escalating zaniness and social cliché. There’s really no one to identify with here, except maybe the monkey – the two rivals are equally violent and inappropriate, one just happens to be in poorer clothing than the other, the foreigner is the worst kind of stereotype, and the woman is completely objectified and apparently has no will of her own. Despite a lack of credits, I’ve gone ahead and named her as Vivian Edwards based on a picture from “The Silent Era,” which is usually more reliable than the imdb, which credits her as “Girl in Hotel Lobby.” She was a busy comedienne of the day, and had worked with Chaplin in his time at Keystone, including on “His Prehistoric Past” and “The Masquerader.”
Director: Walter Wright
Run Time: 11 Min, 40 secs
You can watch it for free: here.