Charlie talks wealthy farmer's daughter Tillie into eloping with him (and taking her father's money). In the city Tillie gets drunk and lands in jail while Charlie runs off with her money ... See full summary »
Charlie has trouble with actors' luggage and conflicts over who gets the star's dressing room. There are further difficulties with frequent scene changes, wrong entries and a fireman's hose... See full summary »
Charlie is trying to get a job in a movie. After causing difficulty on the set he is told to help the carpenter. When one of the actors doesn't show, Charlie is given a chance to act but ... See full summary »
Edna's father wants her to marry wealthy Count He-Ha. Charlie, Edna's true love, impersonates the Count at dinner, but the real Count shows up and Charlie is thrown out. Later on Charlie ... See full summary »
The plot is a satire derived from Hugh Antoine D'Arcy's poem of the same title. The painter courts Madeleine but loses to the wealthy client who sits for his portrait. The despairing artist... See full summary »
Charlie talks wealthy farmer's daughter Tillie into eloping with him (and taking her father's money). In the city Tillie gets drunk and lands in jail while Charlie runs off with her money and his old girlfriend Mabel. Later Charlie reads that Tillie (now working as a waitress) has inherited the estate of her multi-millionaire uncle. Charlie dumps Mabel and talks Tillie into moving into her uncle's villa, and Mabel arranges to become a housemaid there. The uncle (never really dead) returns and summons the police to have them all thrown out. Written by
Ed Stephan <firstname.lastname@example.org>
The first feature-length comedy ever made. See more »
When they are pulling Tillie out of the water with the rope, the rope in the close-ups is dragging directly over the edge of the wharf, but in the medium shots from another viewpoint, the rope is clearly being run through a block pulley system on a spar suspended over the water. See more »
The comedy in "Tillie's Punctured Romance" is admittedly mediocre, but many who love classic cinema will still find this feature worth seeing once just for its cast. Besides Mabel Normand, it has Charlie Chaplin and Marie Dressler in some of their earliest film roles, plus Edgar Kennedy and Mack Swain in smaller roles, and of course the Keystone Cops. Most of these wonderful performers are not shown to their best advantage here, but it is still a rare chance to see them all together.
The film in itself is only fair. The story-line had possibilities, but Mack Sennett's disjointed, knockabout style just doesn't work very well in a full-length feature. Most of the material is quite predictable after a while, and except for the "Cops", who have a few funny moments, the cast members do not have roles that give them a chance to do what they do best. There are a handful of decent gags amongst the routine physical humor, and a film-within-a-film sequence that comes off all right, but in general there just was not enough worthwhile material to fill up a running time of this length. With this cast, though, it might have made a very good two- or three-reeler.
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