Charlie and Ben pay a visit to a pub, then decide to visit a swanky restaurant. Now intoxicated, they come into conflict with a French dandy and his ladyfriend. The large head waiter violently ejects Ben, and later ejects Charlie also. The pair pay another visit to a pub, then make their way to their hotel. They become interested in a pretty young woman staying in the room across the hall, but when Charlie spies on her through the keyhole a bellboy makes him stop. Charlie is taken aback to realize that the young woman's husband is the head waiter from the restaurant. He promptly checks out and moves to another hotel. Meanwhile, the head waiter and his wife, dissatisfied with the service, also decide to move to another hotel-- and, unfortunately, choose the same one Charlie has chosen, and once more wind up in the room across the hall from him. When the young woman's dog runs into Charlie's room she follows in her pajamas. Her husband returns to find his wife with Charlie in an ...Written by
A Night Out (1915) has been restored by Fondazione Cineteca di Bologna and Lobster Films in collaboration with Film Preservation Associates, from a nitrate dupe negative in the Lobster Films Collection preserved at the Academy of Motion Picture Arts and Sciences.
Some fragments were added from two nitrate prints preserved at the Archives françaises du film (CNC), a nitrate print preserved at the Cinemathèque Royale de Belgique and a safety reissue print in the Lobster Film Collection. See more »
The hotel number for Reveller (Charlie Chaplin) and Fellow Reveller changes. When Fellow Reveller first enters the room the number on the door is clearly visible as 3. When Reveller is followed into the room by Headwaiter the room number changes to 2. It changes back to 3 when Fellow Reveller leaves the room for the final time. See more »
Charlie Chaplin's second film for Essanay saw him move production to their Californian studios for the first time. Chaplin and Ben Turpin are on a night out and end up getting very drunk. They go to a nice restaurant where they cause trouble for a smartly dressed gentleman. The head waiter arrives and throws the pair out but not before Chaplin has caught sight of the waiter's girlfriend Edna Purviance. Back at their hotel Chaplin and Turpin bump into Purviance once more and again cause trouble for themselves and get thrown out of their hotel. Onto another hotel and Chaplin alone this time meets Purviance again, but will the waiter get in the way of his affections?
This film is a bit of a mess, though it isn't easy to say to what extent this is Chaplin's fault and how much time is to blame. The version I saw seems to have been made up of three or four different copies and as a result it changes from black and white to sepia and back quite often. The editing is also pretty poor, often cutting away in the middle of a gag. The story also makes little sense and Turpin just disappeared altogether half way through the film. Most of the gags are simple door in face or fist in face sort of things which is a shame.
It isn't all bad though. There are a couple of genius gags in there. While drunk, Chaplin is getting ready for bed and puts his famous cane to bed first, fluffing its pillows and tucking it in. Earlier, he tries feeling up an attractive woman only to discover that it is in fact a man in drag. This is quite a bold joke for the times. Chaplin and Turpin also work very well as a double act and are even better here than in His New Job. I've said it before but I wish they'd worked together more. The film also features the sort of over the top fake facial hair and deep, dark eye makeup that I love to see in films of this period. It's the type of thing that Adele Black Sec got down to a tee.
This film is perhaps most famous for being the first Chaplin picture to feature Edna Purviance. Chaplin discovered her in a restaurant in San Francisco shortly before making the film and this is her screen debut. The two went on to make over thirty films together including Chaplin's 1921 masterpiece The Kid and were also romantically involved. Chaplin felt such a strong bond with Purviance that despite ending their relationship in 1917 and making their last film together in 1921, Chaplin kept Purviance on the payroll until her death in 1958.
Overall this film is a bit poor by Chaplin's high standards. It is plagued by a mixture of lazy jokes, bad script and the bad luck to have been partially lost for so long. Despite this there are still a few good jokes and it introduced Chaplin to Purviance so it isn't a total disaster.
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