A con man from the city dupes a wealthy country girl into marriage.A con man from the city dupes a wealthy country girl into marriage.A con man from the city dupes a wealthy country girl into marriage.
- Directors
- Mack Sennett
- Charles Bennett(uncredited)
- Writers
- Hampton Del Ruth(uncredited)
- Craig Hutchinson(uncredited)
- Mack Sennett(uncredited)
- Stars
Top credits
- Directors
- Mack Sennett
- Charles Bennett(uncredited)
- Writers
- Hampton Del Ruth(uncredited)
- Craig Hutchinson(uncredited)
- Mack Sennett(uncredited)
- Stars
Dan Albert
- Party Guest
- (uncredited)
- …
Phyllis Allen
- Prison Matron
- (uncredited)
- …
Billie Bennett
- Maid
- (uncredited)
- …
Joe Bordeaux
- Policeman
- (uncredited)
Helen Carruthers
- Maid and Waitress
- (uncredited)
Glen Cavender
- First Pianist in Restaurant
- (uncredited)
- …
Charley Chase
- Detective in Movie Theatre
- (uncredited)
Dixie Chene
- Party Guest
- (uncredited)
Nick Cogley
- Police Chief
- (uncredited)
Alice Davenport
- Party Guest
- (uncredited)
- Directors
- Mack Sennett
- Charles Bennett(uncredited)
- Writers
- Hampton Del Ruth(uncredited)
- Craig Hutchinson(uncredited)
- Mack Sennett(uncredited)
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaThe first feature-length comedy ever made.
- GoofsWhen 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.
- Quotes
Police Chief: Have you a niece built like a battleship who calls herself Tillie?
- Alternate versionsRe-released in the 1950s with a organ score and narration. The narration, though, was being read while the title cards were seen.
- ConnectionsFeatured in The Movies March On (1939)
- SoundtracksNew Orleans Bump
(used as a music insert in later public domain sound copies)
Written and performed by Ferdinand 'Jelly Roll' Morton
Top review
Chaplin and Normand at the movies
Forget the Marie Dressler main plot, elephantine and lumbering as the star (on this occasion: she was great when movies finally allowed her to talk and properly preserve her theatrical identity). Throw out almost everything else, especially the usual Mack Sennett hash joint/beanery-with-continental-pretensions which holds the action and us captive for roughly half the running time, tricking the film out to feature length.
The claustrophobia and boredom these stage-bound scenes induce have the positive effect of making us fully appreciate everything that happens outdoors in lovely underdeveloped 1914 Southern California. The scenes with rascal Chaplin and his lovely accomplice Normand (a beautiful team) hiding out together from the rest of the movie in real locations provide delicious escape and a very different, carefree, style of acting and film-making, which can be reduced to the one wonderful scene (throw the rest away if only five minutes can be preserved) where Charlie and Mabel go to the movies only to find an on screen version of the very scam they've haplessly set into motion and have ducked into the dark to escape. It's valuable documentation of what movie-going looked like in 1914, fascinating in itself, but the comedy raises it higher. Mabel is the kind of audience member who emotes and comments as she watches. The fellow sitting next to her is the stern sort who gets annoyed and says "Shush!" As Chaplin and girlfriend watch further they realize they're seeing themselves, and Mabel can't help but notice and say it out loud (yet silently). As she does so, she and Chaplin, increasingly self-conscious about talking in the theater, notice that the shush-er beside them reveals a sheriff's star as he adjusts his waistcoat. Paranoia sets in and from this moment on klassic Keystone Kops seem to be lurking in the edges of everywhere they dream of transgressing. A lovely vignette and accompanying good bits and pieces.
The claustrophobia and boredom these stage-bound scenes induce have the positive effect of making us fully appreciate everything that happens outdoors in lovely underdeveloped 1914 Southern California. The scenes with rascal Chaplin and his lovely accomplice Normand (a beautiful team) hiding out together from the rest of the movie in real locations provide delicious escape and a very different, carefree, style of acting and film-making, which can be reduced to the one wonderful scene (throw the rest away if only five minutes can be preserved) where Charlie and Mabel go to the movies only to find an on screen version of the very scam they've haplessly set into motion and have ducked into the dark to escape. It's valuable documentation of what movie-going looked like in 1914, fascinating in itself, but the comedy raises it higher. Mabel is the kind of audience member who emotes and comments as she watches. The fellow sitting next to her is the stern sort who gets annoyed and says "Shush!" As Chaplin and girlfriend watch further they realize they're seeing themselves, and Mabel can't help but notice and say it out loud (yet silently). As she does so, she and Chaplin, increasingly self-conscious about talking in the theater, notice that the shush-er beside them reveals a sheriff's star as he adjusts his waistcoat. Paranoia sets in and from this moment on klassic Keystone Kops seem to be lurking in the edges of everywhere they dream of transgressing. A lovely vignette and accompanying good bits and pieces.
helpful•43
- tenco
- Nov 1, 2009
Details
Box office
- Budget
- $50,000 (estimated)
- Runtime1 hour 22 minutes
- Color
- Sound mix
- Aspect ratio
- 1.33 : 1
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Top Gap
By what name was Tillie's Punctured Romance (1914) officially released in Canada in English?
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