Charlie works on a farm from 4am to late at night. He gets his food on the run (milking a cow into his coffee, holding an chicken over the frying pan to get fried eggs). He loves the ... See full summary »
Olive Ann Alcorn
Charlie competes with his fellow shop assistant. He is fired by the pawnbroker and rehired. He nearly destroys everything in the shop and and himself. He helps capture a burglar. He destroys a client's clock while examining it in detail.
The conflict here is between Charlie the wealthy and alcoholic husband and Charlie the Tramp: the idle rich and the idle poor. In the opening scene wealthy Edna descends from a Pullman car while the Tramp crawls out from under another one. At a fancy masquerade ball Edna's husband appears as a knight whose visor is stuck closed. The Tramp shows up, running from the law, and is mistaken for the husband. Edna finds the new "husband" more to her liking than the real one. When true identities are revealed, a fight breaks out and the Tramp is ejected. Written by
Ed Stephan <email@example.com>
Charles Chaplin underwent a bit of a creative block prior to making this film. In an attempt to generate some ideas for a new project, Chaplin strolled through the studio's prop building grabbing and playing with various objects. Ultimately, he stumbled upon a set of golf clubs and envisioned his character, the Tramp, playing golf. The incident sparked the creation of this film. See more »
When the father-in-law smacks Charlie's doppelganger in their room, the feather falls off his armor helmet. When the father-in-law pulls him out of the room into the hall, the feather is back on the helmet. See more »
One of Charlie Chaplin's best short comedies, "The Idle Class" uses some of his favorite themes to very good effect. Charlie has a dual role, playing his usual 'tramp' character and also playing a rich idler. He thus sets up some identity confusion and also the kind of class contrasts that often set up some of Chaplin's best material. There are plenty of good gags in this one, and some memorable scenes, with the hilarious costume party sequence being especially good. This was one of Chaplin's last short comedies, and it is constructed very carefully, with excellent timing in the gags and in the plot. While in a much lighter vein than the full-length pictures he was then starting to make, it has the same level of craftsmanship and is very entertaining.
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