An out-of-work swindler takes a job as a reporter. After witnessing a car go over cliff, he grabs a rival reporter's camera and races to the newspaper office to enter the photo as his own. ...
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In a hotel lobby an inebriated Charlie runs into an elegant lady, gets tied hup in her dog's leash, and falls down. He later runs into her in the hotel corridor, locked out of her room. ... See full summary »
Charlie and another man compete in trying to help a young lady cross a muddy street. The rival finds a wooden plank which Charlie takes from him. They fight over an umbrella belonging to ... See full summary »
Charlie, competing with his rival's race car, offers Mabel a ride on his motorcycle but drops her in a puddle. He next joins some dubious characters in abduction of his rival just before ... See full summary »
Charlie is a clumsy waiter in a cheap cabaret and must endure the strict orders from his boss. He meets a pretty girl in the park and pretends to be a fancy ambassador but must contend with the jealousy of her fiancé.
Charlie is hanging around in the park, finding problems with a jealous suitor, a man who thinks that Charlie has robbed him a watch, a policeman and even a little boy, all because our friend can't stop snooping.
An out-of-work swindler takes a job as a reporter. After witnessing a car go over cliff, he grabs a rival reporter's camera and races to the newspaper office to enter the photo as his own. His rival is delayed when he gets caught in a woman's bedroom by her jealous husband. The swindler follows the distribution of the paper containing his 'scoop' around town where he is once again chased by the rival reporter. Both end up on the cow-catcher of a streetcar. Written by
Ed Stephan <email@example.com>
It's clear from the disjointed and awkward "Making a Living" that Keystone studios and Mack Sennett didn't know what to do with their newly discovered comic import from Britain. Playing a leering, evil-looking character, Chaplin flounders in front of the camera, overacting terribly.
As a comedy, it fails to elicit a single chuckle. And the only interesting bit of filmmaking comes at the very end when we see Chaplin and another actor jumping onto the front of a moving streetcar. The plot thickens no further!
Cinema buffs and Chaplin fans will find this film of interest as the debut of one of cinema's finest talents, but casual fans, and particularly fans of the Little Tramp, are better served skipping this one and watching Chaplin's second effort, Kid Races at Venice (1914), which is a far more successful comedy and features the Tramp's debut.
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