This short from Charlie Chaplin’s days at Keystone has a number of elements that we would expect to see in his later work – including a coherent plot and a sympathetic portrayal of his protagonist. Clearly by this point, Charlie was ready to go in some new directions.
The movie begins with Charlie in a somewhat more working-class version of his “Little Tramp” outfit in the lobby of a large urban building, chatting with elevator operator Al St. John. When a passenger gets into Al’s elevator, he quickly goes aboard and closes the doors in Charlie’s face, forcing him to walk up to the top floor, 13 flights above. Meanwhile, in one of the offices on that floor, a clerk (John T. Dillon) reads a note threatening him for gambling debts. Charlie goes in to clean that office, and there are some humorous exchanges between them as Charlie keeps spilling the wastebasket. Then Charlie goes in to clean the president’s office, where there is a large wall safe (and, oddly, a spittoon). While he’s in there the secretary arrives for work and Charlie shyly tries to flirt with her, but she seems barely aware of his existence (how most people treat janitors). The thug (Glen Cavender) arrives, and the clerk promises to have is money later that day, but the secretary hears some of their conversation and becomes concerned. Charlie attempts washing the windows, and has several near-miss falls out the window, due to his clumsiness. He does manage to drop his bucket, which falls on the head of the president (Jess Dandy) as he arrives. This results in his being fired. Once again, Al refuses him a ride and Charlie walks down the steps.
Now the clerk comes into the president’s office and keeps glancing at the safe while giving the president some papers to sign. He waits until the president and the secretary have gone out (perhaps to lunch) and starts rummaging through the safe, but the secretary comes in unexpectedly and is even more suspicious. She tricks him into thinking she’s left again and hides, seeing him take money out of the safe before he notices her and attacks her. She manages to push an emergency button – the one to summon the janitor! Charlie is just about ready to leave when the call comes, but he slowly makes his way up the stairs again, perhaps hoping that the president has had a change of heart. By the time he arrives, the clerk is holding a gun on the secretary and she is passed out on the floor. He overpowers the clerk with a few quick slapstick moves and manages to cover him with the gun, making the larger man pick up the secretary and then discovering that he has cut the phone line. Now he shoots out the window to summon help and a nearby policeman hears the shooting. The president and the policeman arrive to see the janitor holding up the clerk, but the secretary has revived now and explains what really happened. Charlie is exonerated, the clerk is arrested, and the president gives him a sizable cash reward that makes Charlie swoon a bit.
There are obvious similarities between this movie and some of Charlie’s later work, most obviously “The Bank” in which he also plays a janitor who foils a robbery, but also “The Floorwalker” in which there is an embezzlement plot. No doubt he wanted to return to this story line as it was one of the few “original” stories he made at Keystone and he wanted to see what he could add to it with the greater resources and experience he had as his career progressed. The biggest comedy sequence is really the window-washing scene, which reminded me of the work of Harold Lloyd, who would hang from similar buildings in several films, most famously “Safety Last.” In the shot where Charlie is hanging out of the window, I noticed several people on lower floors looking up at the camera, perhaps Chaplin fans hoping to get a glimpse of the star, or else just bored office workers fascinated by the movie-making process. This shot is somewhat unusual for a Keystone movie, as it required the camera to be fixed to the side of the building and presumably the cameraman, Frank D. Williams, had to be hanging out of a window or standing on a ledge in order to hand-crank the film. The movie also makes good use of cross-cutting to build suspense throughout the robbery sequence, both as the secretary figures out what is going on and as Charlie comes to the rescue. Cross-cutting was hardly unknown at Keystone, of course, we saw it put to comedic effect as early as “A Little Hero” and “Bangville Police,” but it doesn’t show up in many of Chaplin’s “park” comedies and is rarely used this well when it does. It’s interesting also that Charlie didn’t try to deepen the romantic subplot between himself and the secretary – I think wisely, because it would have been hard to develop convincingly in a single reel – where his interest in Edna Purviance is central to “The Bank.” That secretary is a bit of a mystery – imdb lists her as Peggy Page, Wikipedia claims it is Helen Carruthers, and both The Silent Era and the Chaplin Film by Film blog say it’s Minta Durfee. Usually I’d regard them as the more authoritative, but it doesn’t look like Minta to me (look at the nose!), so I’m stumped.
Director: Charlie Chaplin
Camera: Frank D. Williams
Starring: Charlie Chaplin, Al St. John, Glen Cavender, Jess Dandy, John T. Dillon, Frank Hayes, and an unidentified woman.
Run Time: 12 Min