IMDb > A Day's Pleasure (1919)

A Day's Pleasure (1919) More at IMDbPro »

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Charles Chaplin (written by)
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Release Date:
15 December 1919 (USA) See more »
His Own fourth Million Dollar Comedy See more »
Father takes his family for a drive in their falling-apart Model T Ford, gets in trouble in traffic... See more » | Add synopsis »
Plot Keywords:
User Reviews:
"Three minds with but a single thought" See more (17 total) »


  (in credits order) (verified as complete)

Charles Chaplin ... Father (as Charlie Chaplin)

Edna Purviance ... Mother
rest of cast listed alphabetically:
C. Allen ... Jazz Musician (uncredited)
Naomi Bailey ... Boat Passenger (uncredited)
Sallie Barr ... Boat Passenger (uncredited)
Henry Bergman ... Captain / Man in Car / Heavy Policeman (uncredited)
True Boardman ... Man on Boat (uncredited)
James Bryson ... Boat Passenger (uncredited)

Jackie Coogan ... Smallest Boy (uncredited)
Dixie Doll ... Woman on Boat (uncredited)
Charles S. Drew ... Boat Passenger (uncredited)
Elmer Ellsworth ... Man in Street Scene (uncredited)
Marion Feducha ... Small Boy (uncredited)
Leroy Finnegan ... Boat Passenger (uncredited)
Mrs. Fowler ... Boat Passenger (uncredited)
Warren Gilbert ... Boat Passenger (uncredited)
J.A. Irvin ... Jazz Musician (uncredited)
Bob Kelly ... Small Boy (uncredited)
Toraichi Kono ... Chauffeur in Street Scene (uncredited)
Raymond Lee ... Man on Boat (uncredited)

Babe London ... Large Husband's Seasick Wife (uncredited)
Nancy Mix ... Boat Passenger (uncredited)
Louise Muma ... Boat Passenger (uncredited)
Dorothy Oliver ... Boat Passenger (uncredited)
Granville Redmond ... Boat Passenger (uncredited)
Alfred Reeves ... Man in Street Scene (uncredited)
Charles Reisner ... Man in Street Scene (uncredited)
Jean Riley ... Boat Passenger (uncredited)
Mrs. Roos ... Boat Passenger (uncredited)
Sylvia Sarto ... Boat Passenger (uncredited)
Elsie Sindora ... Boat Passenger (uncredited)
E. Sorral ... Jazz Musician (uncredited)
Arthur Thalasso ... Man in Street Scene (uncredited)

Loyal Underwood ... Angry Little Man in Street (uncredited)
Jessalyn Van Trump ... Woman in Street (uncredited)
John Williams ... Jazz Musician (uncredited)
Tom Wilson ... Large Husband on Boat (uncredited)
Tom Wood ... Man Used as Gangplank (uncredited)
Elsie Young ... Boat Passenger (uncredited)
K. Zimmerman ... Man on Boat (uncredited)

Directed by
Charles Chaplin  (as Charlie Chaplin)
Writing credits
Charles Chaplin (written by) (as Charlie Chaplin)

Produced by
Charles Chaplin .... producer (as Charlie Chaplin)
Original Music by
Charles Chaplin (1973) (as Charlie Chaplin)
Cinematography by
Roland Totheroh (uncredited)
Film Editing by
Charles Chaplin (uncredited)
Production Design by
Charles D. Hall (uncredited)
Second Unit Director or Assistant Director
Charles Reisner .... assistant director (uncredited)
Camera and Electrical Department
H. Wenger .... camera operator (uncredited)
Jack Wilson .... second camera operator (uncredited)
Costume and Wardrobe Department
Mother Vinot .... seamstress (uncredited)
Music Department
Eric Jones .... music associate (1973)
Eric Rogers .... conductor (1973)
Eric Rogers .... orchestrator (1973)
Transportation Department
Toraichi Kono .... driver: Mr. Chaplin (uncredited)
Other crew
Nellie Bly Baker .... secretary: Mr. Chaplin (uncredited)
Elsie Codd .... unit publicist (uncredited)
Tom Harrington .... assistant: Mr. Chaplin (uncredited)
Crew believed to be complete

Production CompaniesDistributorsOther Companies

Additional Details

Also Known As:
"A Ford Story" - USA (alternative title)
See more »
24 min (26.3 fps) | 18 min (18.9 fps) | USA:17 min (TCM print)
Aspect Ratio:
1.33 : 1 See more »
Sound Mix:
Mono (Westrex Recording System) (re-issue) | Silent
Argentina:Atp | Canada:G (Ontario) | Germany:0 | UK:U | USA:TV-G (TV rating)

Did You Know?

While Charles Chaplin is having trouble with the automobile at the beginning, a man across the street in the background walks by and stops, then walks back. This man was most probably a studio employee.See more »
Continuity: At one point while Charlie Chaplin is stuck in the tar, he has lost his hat. He's still without a hat when the second policeman gets stuck in the tar, but after Chaplin steps out of his shoe and climbs over the two policemen, his hat has returned to the top of his head.See more »
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2 out of 3 people found the following review useful.
"Three minds with but a single thought", 28 July 2010
Author: Steffi_P from Ruritania

Charlie Chaplin's pictures at First National studios vary immensely in quality. He was at the peak of his comic professionalism, and by and large his output at the time reflects that. And yet, he was also making preparations for his debut full-length feature, and as a result a handful of his shorts appear to be simple potboilers, rough compilations of whatever material he had left over.

A Day's Pleasure is a case in point. The story could not be really described as a plot, more a mere sequence of events. While the various little episodes all relate to a day trip of Charlie and his family, they could really be cut-offs from a longer picture. And while Chaplin is inventive and distinctive as always, this lack of focus means the gags never really get to build to anything or have the of kind of wider relation to story and character that would make them screamingly funny. For some reason, perhaps in compensation, there are far too many "witty" title cards – verbal humour always having been Chaplin's Achilles Heel.

Neither does A Day's Pleasure make the most of Chaplin's regular crew of supporting players. Edna Purviance is introduced as Charlie's wife, not a love interest to be won over, and as such she becomes little more than a human prop, never centre stage for a second. There is no main antagonist for Charlie to play off, and so the gags of him winding up some pompous adversary are a bit thin on the ground.

And yet, A Day's Pleasure is still an example of Chaplin's care and craftsmanship in constructing a comedy picture. During the hold up at the crossroads, easily the funniest segment, there's a great use of space. We have the traffic cop in the foreground, while all the business with Charlie's car is going on in a far corner. So why not the other way round? Because it is important we keep our eye on the cop as well as the car. Chaplin is effectively balancing out our levels of interest. If the traffic cop was in the background we would ignore him, whereas Chaplin knows he can safely put himself in the background as we will focus on him wherever he is on screen. This is intelligent comedy direction.

And so to the all-important statistic – Number of kicks up the arse: 8 (8 for – pity poor Tom Wilson)

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