This film is pretty typical of the earlier incarnation of The Little Tramp character. Charlie is a hobo and is drawn to helping a lady who is being harassed by bad hobos intent on stealing her money. At first, Charlie is somewhat inclined to do the same thing (something the earlier Tramp shorts might have had Charlie doing and something the later version never would have even thought of doing). But very quickly he realizes this is wrong and devotes much of the movie helping her. The Tramp thinks that the girl is in love with him so he sticks around even after the evil hobos have departed. However, eventually he discovers she actually has a boyfriend and so he excuses himself from her life--leaving a note to that effect. In effect, this script is an early version of Chaplin's full-length film, THE CIRCUS--where Charlie again is in love with a young lady who he helps from danger but he eventually walks away when he realizes she loves another. Nice stuff and a good introduction to this character.
26 Reviews
Famous Film Shows Evolving Tramp
CitizenCaine13 July 2008
Warning: Spoilers
Chaplin edited, wrote, directed, and starred in this film, a milestone for Chaplin and perhaps film comedy. It was not his first appearance as the tramp, but it was certainly his first appearance as the tramp that everyone still recognizes today. Gone is the aggressive Chaplin of old, always scheming and trying to put one over on people. Here he has a chance to do just that early in the film and chooses not to. It's as if Chaplin recognized his chance to branch out in another direction. He saves Edna Purviance from thieves and goes to her father's farm where he is given a job. Comical mishaps ensue with a pitchfork, and the tramp is not cut out to be a farmhand. The thieves return and are run off with the tramp's help, but the tramp is accidentally shot in the confusion. He eventually recovers thinking he'll marry the farmer's daughter, but he finds out she has a beau already(Lloyd Bacon, the Warner Brothers director). The tramp writes a goodbye letter and leaves. The film is consistent in tone and well edited. As in most of Chaplin's better films, the slapstick is reined in in favor of a plot or story. The ending with its simultaneous pathos and optimism is a Chaplin trademark. **1/2 of 4 stars.
Charlie Chaplin starts making his imprint.
ofpsmith24 March 2016
Warning: Spoilers
The Tramp was one of the earliest Charlie Chaplin movies, that adopted a blend of slapstick and heart that he would become so well known for. The Tramp (Chaplin) is just walking down the road, when he saves a girl (Edna Purviance) from some hobos. He goes to work for Purviance's father (and doesn't do so well), and saves the family from hobos again. 1915 was the year that Chaplin started using the tramp character well, and would continue to do so until The Great Dictator. The Tramp's ending is almost sad, but in a way satisfying. Chaplin was really starting to go strong with this film. For Chaplin fans, I can highly recommend this.
THE LITTLE MAN AGAINST THE ODDS
caspian197828 June 2001
Charlie Chaplin's The Tramp will appear in his movies for the next 25 years
as America's favorite movie star. More than just a comical character.
Chaplin creates his own world, but reacts to events. He belongs to the 19th
century in his ideas. But in the early 20th century, in his films, he plays
the little man against the malevolent odds. The outsider fighting
oppressive
villains. He was the comedy of expression, specializing in minute
perfection
and precision. He alternated comedy and evoked pity and compassion.
The Tramp symbolized a certain class in early 20th century society.
The Tramp symbolized a certain class in early 20th century society.
The Tramp Appears
nukisepp28 February 2021
'The Tramp' is Charles Chaplin's first great cinematic achievement. Not only because here we see The Little Tramp first time in the way the audiences love him now but it is a very well put together movie overall. The story is great and the setting up of the scenes is good. While watching Chaplin's works (almost) chronologically it is good to see how he progresses - leaving the rough slapstick out and concentrating more on the storytelling and the subtlety of the visual gags. One can say that 'The Tramp' is a milestone in Charles Chaplin's career.
Chaplin is great
rbverhoef28 April 2003
Charlie Chaplin is a great artist and probably one of the best comedians ever. Watching him always brings a smile on my face. It was not different this time, but the short 'The Tramp' is one of those little films that doesn't work anymore. Some Chaplin short are great because of Chaplin, and some of them are great because of Chaplin and the film. This one, unfortunately, belongs in the first category.
The Transformation of the Tramp
romanorum11 March 2016
Warning: Spoilers
In 1914 Charlie Chaplin originally introduced his famous tramp character in the short "Kid Auto Races at Venice." Later in the same year Chaplin was underscored in the first feature length comedy "Tillie's Punctured Romance." He had already acquainted theater goers with his funny mannerisms, odd walk, baggy pants, cane, and derby. In that feature though, his character was more of a scoundrel than an empathetic gentleman.
In 1915's "The Tramp," Chaplin continued with his character development, this time injecting him with pathos. He is now a good guy. While walking on a narrow road the Tramp is nearly struck by two passing autos. Twice he is knocked down on his back, but quickly and hilariously dusts off himself. Right after, a nearby hobo emerges from the bushes and attempts to steal money from a farmer's daughter (Edna Purviance). The Tramp comes to the rescue and defeats the bad guy, who runs away. Two other hobos try the same dishonest deed individually, but the Tramp winds up on top. The three itinerants flee. As a reward for his kindness the Tramp is taken in at the farm and Edna's father (Ernest Van Pelt) tells him in one of the film's few title cards, "As a reward you can work."
There is slapstick as the Tramp gets into trouble without being very productive. His attempt at cow milking stands out. Meanwhile the three vagrants again appear and offer our hero a split of the take if he helps them steal the money. He pretends to work a deal with them but actually thwarts their second attempt at thievery in a comical manner. The Tramp thinks he has won over the girl and enjoys his victory dinner. Then the girl's well-dressed fiancée arrives. Nothing is left for the dejected Tramp to do but walk away, although his steps at the end show optimism. This short, Chaplin's sixth film for Essanay Studios, represents the beginning of Chaplin's compassionate Tramp.
In 1915's "The Tramp," Chaplin continued with his character development, this time injecting him with pathos. He is now a good guy. While walking on a narrow road the Tramp is nearly struck by two passing autos. Twice he is knocked down on his back, but quickly and hilariously dusts off himself. Right after, a nearby hobo emerges from the bushes and attempts to steal money from a farmer's daughter (Edna Purviance). The Tramp comes to the rescue and defeats the bad guy, who runs away. Two other hobos try the same dishonest deed individually, but the Tramp winds up on top. The three itinerants flee. As a reward for his kindness the Tramp is taken in at the farm and Edna's father (Ernest Van Pelt) tells him in one of the film's few title cards, "As a reward you can work."
There is slapstick as the Tramp gets into trouble without being very productive. His attempt at cow milking stands out. Meanwhile the three vagrants again appear and offer our hero a split of the take if he helps them steal the money. He pretends to work a deal with them but actually thwarts their second attempt at thievery in a comical manner. The Tramp thinks he has won over the girl and enjoys his victory dinner. Then the girl's well-dressed fiancée arrives. Nothing is left for the dejected Tramp to do but walk away, although his steps at the end show optimism. This short, Chaplin's sixth film for Essanay Studios, represents the beginning of Chaplin's compassionate Tramp.
Maybe Chaplin's most famous early short comedy.
Anonymous_Maxine20 April 2008
Of course, Chaplin's early career is over-flowing with famous short comedies, but The Tramp is probably one of the most well-known of the early two-reelers, especially since it is one of the most direct studies of the famous character after whom the film is named. A lot of the Keystone and Essanay films have dated pretty badly, and The Tramp is no exception. Many people may find a lot of the plot confusing or pointless, just random slapstick comedy, although I have a feeling that some of it was not meant to be much more than that.
It starts out with the tramp wandering down a dusty road, soon knocked over by the gusts of wind created by two speeding cars, only to pick himself up and dusts his wildly over-sized pants off with the handy little brush that he carries with him, apparently for just such an occasion. There are some clever an amusing sight gags involving things like a pitchfork and huge bags of flour and lot of mallets to the head, but not much in the slapstick department that is entirely memorable.
What the film is more famous for is certain elements of the tramp's personality that we learn here, such as his efforts to be proper and presentable despite being broke and wearing pants big enough for two or three of him, along with a jacket that's too small. We also see him protecting a young woman from the bullies of several oafish men, each of whom could easily have brained the little fellow (as Chaplin later lovingly called him), except that he is too smart for them.
The film is most memorable for the closing shot, however. Things don't go as planned, we are not given a happily ever after ending, and the movie closes with the tramp again wandering alone down a dusty road, at first seemingly depressed, until after a second or two, he perks up and all but dances down the road. He didn't get what he wanted and he's still poor and lonely, but he faces his life with a smile and seems like he's off to make the best of it. In a lot of ways, that sums up one of the recurring themes that Chaplin espoused throughout his lengthy career.
Smile.
It starts out with the tramp wandering down a dusty road, soon knocked over by the gusts of wind created by two speeding cars, only to pick himself up and dusts his wildly over-sized pants off with the handy little brush that he carries with him, apparently for just such an occasion. There are some clever an amusing sight gags involving things like a pitchfork and huge bags of flour and lot of mallets to the head, but not much in the slapstick department that is entirely memorable.
What the film is more famous for is certain elements of the tramp's personality that we learn here, such as his efforts to be proper and presentable despite being broke and wearing pants big enough for two or three of him, along with a jacket that's too small. We also see him protecting a young woman from the bullies of several oafish men, each of whom could easily have brained the little fellow (as Chaplin later lovingly called him), except that he is too smart for them.
The film is most memorable for the closing shot, however. Things don't go as planned, we are not given a happily ever after ending, and the movie closes with the tramp again wandering alone down a dusty road, at first seemingly depressed, until after a second or two, he perks up and all but dances down the road. He didn't get what he wanted and he's still poor and lonely, but he faces his life with a smile and seems like he's off to make the best of it. In a lot of ways, that sums up one of the recurring themes that Chaplin espoused throughout his lengthy career.
Smile.
The Tramp is formed
tgooderson14 June 2012
Warning: Spoilers
A Tramp (Charlie Chaplin) is on the road when he rescues a farmer's daughter (Edna Purviance) from thieves out to steal her money. As a reward the Tramp is taken in and offered work by Edna's father (Ernest Van Pelt). On the farm the Tramp is asked to halt a second attempt by the criminals and ends up in a love triangle.
This was Chaplin's 6th Essanay film and the first I had seen before watching the studios output in full. It marks the first time that the Tramp is seen fully formed although Chaplin had played the character before. Here the tramp is a much more rounded character and although he still looks out for number one he is more inclined to help others and in fact ends up leaving the farm so that he doesn't get in the way of Edna and her boyfriend. This is a quite different Tramp from say In the Park and The Champion.
The humour is much less slapstick that in previous Essanay films although it is still there. It feels cleverer and more nuanced than the likes of doors opening on people's faces in His New Job. A highlight for me was when Chaplin trips over a kerb and doffs his hat in apology even though the kerb is an inanimate object and it was his fault. Another highlight was Chaplin's attempts at milking a cow. After placing the bucket and turning away thinking the cow needed to 'go to the bathroom' a confused Chaplin tries pumping the tail like at a gas station before stealing a full bucket from elsewhere. Although this comedy is cleverer than some of his previous output there is still slapstick to be found. In the opening scene the Tramp is nearly run over and does a pirouette before falling head over heels and when on the farm a pitchfork comes out which creates numerous forks in bum gags.
Another slight change from his previous form is the constant breaking of the forth wall. This is something that Chaplin did often during his career but is done constantly here. Sometimes it is to let us in on a joke while at other times Chaplin looks at us as if to say "look at this, what am I doing?" or words to that effect. The film is also tinted blue in certain scenes to depict night. This is something which Chaplin hadn't really used before but was very popular during the period.
This is a film which is more story focused than much of Chaplin's previous work and as a result has a slower pace and fewer laughs. I don't think this is a problem though and it shows Chaplin's development as a film maker. He isn't afraid to make us wait for the laughs and is interested in developing a story and characters rather than finding something to fall over or someone to hit in the face. It also features an ending which is not entirely happy and this is something that even today raises eyebrows but works very well and helps to further flesh out the character of The Tramp.
www.attheback.blogspot.com
This was Chaplin's 6th Essanay film and the first I had seen before watching the studios output in full. It marks the first time that the Tramp is seen fully formed although Chaplin had played the character before. Here the tramp is a much more rounded character and although he still looks out for number one he is more inclined to help others and in fact ends up leaving the farm so that he doesn't get in the way of Edna and her boyfriend. This is a quite different Tramp from say In the Park and The Champion.
The humour is much less slapstick that in previous Essanay films although it is still there. It feels cleverer and more nuanced than the likes of doors opening on people's faces in His New Job. A highlight for me was when Chaplin trips over a kerb and doffs his hat in apology even though the kerb is an inanimate object and it was his fault. Another highlight was Chaplin's attempts at milking a cow. After placing the bucket and turning away thinking the cow needed to 'go to the bathroom' a confused Chaplin tries pumping the tail like at a gas station before stealing a full bucket from elsewhere. Although this comedy is cleverer than some of his previous output there is still slapstick to be found. In the opening scene the Tramp is nearly run over and does a pirouette before falling head over heels and when on the farm a pitchfork comes out which creates numerous forks in bum gags.
Another slight change from his previous form is the constant breaking of the forth wall. This is something that Chaplin did often during his career but is done constantly here. Sometimes it is to let us in on a joke while at other times Chaplin looks at us as if to say "look at this, what am I doing?" or words to that effect. The film is also tinted blue in certain scenes to depict night. This is something which Chaplin hadn't really used before but was very popular during the period.
This is a film which is more story focused than much of Chaplin's previous work and as a result has a slower pace and fewer laughs. I don't think this is a problem though and it shows Chaplin's development as a film maker. He isn't afraid to make us wait for the laughs and is interested in developing a story and characters rather than finding something to fall over or someone to hit in the face. It also features an ending which is not entirely happy and this is something that even today raises eyebrows but works very well and helps to further flesh out the character of The Tramp.
www.attheback.blogspot.com
A milestone for Chaplin, if not quite among the best
TheLittleSongbird1 April 2011
I am very fond of Charlie Chaplin, his films and shorts. And I do love The Tramp. I don't consider it the very best of his shorts, but I do understand its importance and significance, being the short to introduce the iconic character The Tramp. I quite like the comedy in the Tramp. While it is not among the most special or funniest of all the comedy in Chaplin's biography, there are some inspired gags especially the ones with the pitchfork and the bags of flour, not to mentions the bashings on the head with the mallet. The Tramp has a lovely and touching comical-love story and moves along quickly. Some might say that the short may have dated slightly, maybe so though if so I think it is part of the charm, but the photography is very nice with a beautiful and perhaps iconic closing shot and the short is very well-edited. Speaking of the ending, it is one of genuine pathos. Edna Purviance is a cute, sweet and charming love interest, but the real jewel in the crown is the performance of Chaplin who down from his appearance to his mannerisms is excellent as the tramp. All in all, maybe not among the best of Chaplin's efforts but still wonderful and a milestone as well. 9/10 Bethany Cox
Charlie Chaplin get a job in a farm
AvionPrince1630 November 2022
Warning: Spoilers
Another story with Chaplin who will saved a woman from burglars and the father of the woman will reward him with a job. A job in the farm. He will help him. We will see also the burglars coming back and get Charlie in trouble. The comedy is still present but i found sometimes the episode pretty repetitive and the comedy can be annoying. I mean its still pleasant visually and have some interesting cuts: the best VFX at this century. Like always the story is pretty simple but the main interest remain the visuals of the short movie. But i guessed it was ok and let us worried about what will happened until the end. And thats a good thing.
A cinematic icon is born!!!
raskimono22 March 2004
Chaplin's favorite character and one of the world's most indelible images is introduced in this movie, The tramp. Chaplin also sets up the theme that recurs in all of his best movies, the thing that man will do for love, whether real or imagined. It is a well known fact, that man is essentially a slave to woman, to her whims, fantasies, and urgings. It is what creates the love that is often opaque in the brusqueness and machoism that beguiles the maturity of man. Chaplin knew this and studied and exacerbated it in his movies, id est to ask the question; What is a man? What is a man without a woman? The yin and yang of the two creates humanity, so to speak. In this movie, he rescues a farmer's daughter from a bunch of thugs, and is brought by the woman home to the farm where he gets a job from her father. He stays because he loves the woman but does she love him? The melancholy of this movie eschews the laughs for the audience and the ordeals that Chaplin endures for her approval. A funny and touching movie.
Chaplin's most famous
Horst_In_Translation30 July 2015
Warning: Spoilers
This, of course, refers to the title character (who appeared already before this one in films) in this 27-minute black-and-white silent short film from over 100 years ago. Chaplin reprised this role several times later, also in his most famous full feature films. The action in this film takes place mostly at a farm. The Tramp helps the farmer and his daughter (Edna Purviance, who is a regular in Chaplin movies) deal with a bunch of crooks who try to burgle the place. Chaplin, at one point, acts as if he would cooperate with them and get 50% of the money the steal, but it's all fake. The truth is that he is madly in love with the farmer's daughter. Unfortunately, at the very end, her fiancé appears and I felt sorry for the Tramp, but also for myself because I sat through this half hour which really wasn't that great. i did not feel that they had enough material for half an hour and the criminals also became a bit repetitive quickly. I usually like it if they include something beyond Chaplin's slapstick comedy routine, but here it wasn't working or I should maybe say it could have worked if they had kept it at 20 minutes max or come up with a better elaborated story with more depth. Not one of Chaplin's best. Not recommended.
An important creative milestone for Chaplin
hausrathman8 May 2004
Charlie plays a tramp, who, after saving a farmer's daughter from thieves, is given a job on the farm as a reward. Charlie later manages to thwart the same bandits who try to rob the farm, but he is accidently shot in the process by the farmer. Charlie basks in the attention of the farmer, and his daughter, until the girl's boyfriend arrives. Knowing he doesn't have a chance with the girl anymore, Charlie leaves, walking down the road alone.
"The Tramp" was made for Essanay, who gave Chaplin his second film contract in as many years and much greater creative freedom than he previously enjoyed under Mack Sennett at Keystone. Despite claims to the contrary, this film was not introduction of Chaplin's famous tramp character. That character was actually born in Chaplin's second film for Keystone "Kid Auto Races in Venice." This film was, however, an important step in the development of the tramp as a character, and for Chaplin as an artist. With his failed attempt to win the girl and his final walk, with his back to us, down the road, Chaplin made his first serious attempt to inject pathos and genuine human emotion into his comedies. In "The Tramp," he was laying the groundwork for future masterpieces like "The Circus."
Sadly, aside from the dramatic elements, this isn't one of Chaplin's best shorts. The comedy isn't very original. He simply takes advantage of various barnyard props for the rough, rather mindless knockabout brand of slapstick he would soon evolve away from. This isn't a terrible comedy by any means, it probably as good if not better than the bulk of the comedies produced that year by his contemporaries. It simply doesn't live up to the standard he would set for himself over the next two years at the Mutual Company.
Fans should definitely watch if they get the chance, but it isn't a good place for the uninitiated to start.
"The Tramp" was made for Essanay, who gave Chaplin his second film contract in as many years and much greater creative freedom than he previously enjoyed under Mack Sennett at Keystone. Despite claims to the contrary, this film was not introduction of Chaplin's famous tramp character. That character was actually born in Chaplin's second film for Keystone "Kid Auto Races in Venice." This film was, however, an important step in the development of the tramp as a character, and for Chaplin as an artist. With his failed attempt to win the girl and his final walk, with his back to us, down the road, Chaplin made his first serious attempt to inject pathos and genuine human emotion into his comedies. In "The Tramp," he was laying the groundwork for future masterpieces like "The Circus."
Sadly, aside from the dramatic elements, this isn't one of Chaplin's best shorts. The comedy isn't very original. He simply takes advantage of various barnyard props for the rough, rather mindless knockabout brand of slapstick he would soon evolve away from. This isn't a terrible comedy by any means, it probably as good if not better than the bulk of the comedies produced that year by his contemporaries. It simply doesn't live up to the standard he would set for himself over the next two years at the Mutual Company.
Fans should definitely watch if they get the chance, but it isn't a good place for the uninitiated to start.
Satire and Wit
perpetuallytreu14 December 2006
Loosely based on Jacob and Rebekkeh from Bible. This is a comical love story where a man gets what he wants in spite of all obstacles. The Tramp delivers humor that bends the rules of his time period. This film influenced many future great comics. It has clever satire about society and pokes good fun at romance. Not his best but still a classic worth watching.
Be sure to watch when your wide awake. Chaplins films obviously lack the sound and picture quality of todays pictures. If you give it a go it won't disappoint.
If your looking to be impressed check out The Great Dictator and for a lot of fun watch Modern Times. Another great film by another director is Metropolis, this is a definite 10!
Be sure to watch when your wide awake. Chaplins films obviously lack the sound and picture quality of todays pictures. If you give it a go it won't disappoint.
If your looking to be impressed check out The Great Dictator and for a lot of fun watch Modern Times. Another great film by another director is Metropolis, this is a definite 10!
The one and only eternal Chaplin!
RodrigAndrisan23 March 2021
Only he could and still can, after over one hundred years, to make you laugh, doing mundane things, which if anyone else did, they wouldn't have the same comic effect. The perfect blend of comedy and melancholy, of which only Chaplin was an expert, still entertaining after 106 years.
Little Man Keeps Pushing Forward
a-capogna30 January 2020
This film is a Chaplin classic in my opinion. He plays a great underdog by not backing down against the villians or the hard work that is laid before him on the farm. He has an inspiring optimism no matter what goes wrong, makes him a relatable and sympathetic heroic character. The sounds that goes along with the film as well as the intercaptions fit perfectly with what you see from the actors. This film is worth the watch.
The Tramp's First Steps
rmax3048232 October 2007
Warning: Spoilers
Not much to be said about this Chaplin short. Charlie was introducing the tramp character, it was early in his career (1915), he had responsibility for everything and was working like a coolie. So it isn't surprising that "The Tramp" lacks the wit, sophistication, sentimentality, and innovative quality of some of his later productions. (The sentimentality could get pretty heavy handed.) The gags are mostly crude here. Charlie hits somebody. Somebody hits Charlie back. Charlie kicks him in the pants, and so forth. Compare this with, say, "The Idle Class" to see what a difference time, intelligence, and talent made. By the way, Chaplin's status in the 1940s as persona non grata in the USA has been attributed to his being a communist/socialist/pinko/subversive/fellow traveling spy (when in fact it probably had more to do with his fondness for young girls), but you'd never know it from this specimen. He takes advantage of just about everyone but Edna Purviance, and he abuses them for the fun of it, even his lessers on the social ladder. At this point, the tramp wasn't exactly a sympathetic figure.
THE LITTLE MAN AGAINST THE ODDS
caspian197828 June 2001
Charlie Chaplin's The Tramp will appear in his movies for the next 25 years as America's favorite movie star. More than just a comical character. Chaplin creates his own world, but reacts to events. He belongs to the 19th century in his ideas. But in the early 20th century, in his films, he plays the little man against the malevolent odds. The outsider fighting oppressive villains. He was the comedy of expression, specializing in minute perfection and precision. He alternated comedy and evoked pity and compassion.
The Tramp symbolized a certain class in early 20th century society.
The Tramp symbolized a certain class in early 20th century society.
Charlie Gives The Tramp a Title Role
PCC092127 May 2021
As the movies moved past their pioneering stage and into the 1910s, the quality in the movies began to rise. The pioneers were learning their craft and getting even better at it. The now, red, hot, silent era was coming into its own. By 1915, the movie business was in it's early 20s and all genres were doing well. That also applied to the comedy genre.
Mack Sennett was the reigning king of the comedy films, but a new guy, who Sennett helped debut, was in his sophomore year in motion pictures and well on his way to legendary status, when he directed a film called The Tramp (1915). In just a couple of years, Charlie Chaplin was pretty much a seasoned veteran in the business, directing, writing and acting in his films. He had put together an impressive resume in just two years. His iconic tramp character was still being worked on and when the time came he gave the Tramp his own title.
The Tramp comes waltzing into town and after a harrowing incident on the road, he sits down to eat, but is interrupted when a young farmer's daughter needs rescuing from a scoundrel of a hobo. She befriends him and between her and her father, they take Charlie in to help around the house and live there. From there, he gets acquainted with his chores and the other farm hands, until he stumbles across a plot by other hobos to rob the farm. The comedy ensues.
Charlie and some of the other characters kept breaking the fourth wall, as a way to help jokes better, by looking at the camera/at the audience to help certain gags. Oliver Hardy did that a lot with Stan Laurel and I remember Alan Hale doing it with Bob Denver on Gilligan's Island (1966-1968), in the 60s. It worked though.
It's a text book silent movie. What makes it special is it seems polished, as polished goes for a silent film. You can see that the art of film-making has been growing for 20 years. It has all the elements found in a silent comedy. The hero. The girl. The bad guys. It includes elements found in Chaplin's legacy, such as depicting destitute people needing food or work, which always helped explain the hobo/tramp plot lines in his stories. It provides laughs, tears and excitement. A basic plot, but something that has a good pace throughout. Not boring, nor is it over-the-top exciting. It's just right.
7.9 (B- MyGrade) = 8 IMDB.
Mack Sennett was the reigning king of the comedy films, but a new guy, who Sennett helped debut, was in his sophomore year in motion pictures and well on his way to legendary status, when he directed a film called The Tramp (1915). In just a couple of years, Charlie Chaplin was pretty much a seasoned veteran in the business, directing, writing and acting in his films. He had put together an impressive resume in just two years. His iconic tramp character was still being worked on and when the time came he gave the Tramp his own title.
The Tramp comes waltzing into town and after a harrowing incident on the road, he sits down to eat, but is interrupted when a young farmer's daughter needs rescuing from a scoundrel of a hobo. She befriends him and between her and her father, they take Charlie in to help around the house and live there. From there, he gets acquainted with his chores and the other farm hands, until he stumbles across a plot by other hobos to rob the farm. The comedy ensues.
Charlie and some of the other characters kept breaking the fourth wall, as a way to help jokes better, by looking at the camera/at the audience to help certain gags. Oliver Hardy did that a lot with Stan Laurel and I remember Alan Hale doing it with Bob Denver on Gilligan's Island (1966-1968), in the 60s. It worked though.
It's a text book silent movie. What makes it special is it seems polished, as polished goes for a silent film. You can see that the art of film-making has been growing for 20 years. It has all the elements found in a silent comedy. The hero. The girl. The bad guys. It includes elements found in Chaplin's legacy, such as depicting destitute people needing food or work, which always helped explain the hobo/tramp plot lines in his stories. It provides laughs, tears and excitement. A basic plot, but something that has a good pace throughout. Not boring, nor is it over-the-top exciting. It's just right.
7.9 (B- MyGrade) = 8 IMDB.
Charlie the Tramp
Petey-1017 April 2009
Charles Chaplin is a tramp who gets in trouble with three hobos.He also saves a girl of his dreams from the hobos, a beautiful farmer's daughter played by Edna Purviance.The girl is grateful at the little tramp and he takes him home with her and he starts working at the family farm.Being a farmhand isn't really his cup of tea and also the hobos show up again causing some trouble.Happiness doesn't often seem to follow the tramp and he notices the girl of his dreams is already taken.Chaplin's The Tramp (1915) marked the beginning of his most known character as we know him today.The difference between this and his more slapstick character in the earlier films was the sad ending and showing he cared for others, rather than just himself.Chaplin works so great together with Edna Purviance, just like he did in so many other films.Ernest Van Pelt plays The Farmer.Paddy McGuire plays Farmhand.Lloyd Bacon is Edna's Fiancé/Second Thief.Leo White is First Thief while Bud Jamison plays Third Thief.The Minister is played by Billy Armstrong.This short comedy holds some funny stuff inside.Charlie walking around with that pitchfork is funny.Or Charlie trying to milk the cow from its tail.Obviously The Little Tramp hasn't spent too much time on a farm.Also using the mallet in the end.Charles Chaplin was born 120 years and one day ago.For his second film, Kid Auto Races at Venice (1914) he wore baggy pants he borrowed from 'Fatty' Arbuckle, size 14 shoes that belonged to Ford Sterling, a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and Mack Swain's mustache trimmed down to toothbrush size.The Tramp was born!
"As a reward you can work"
Steffi_P8 October 2009
Were the films of Charlie Chaplin stagey because he employed long takes and few camera moves? No! There is something else you can have on screen that you can't on stage beside camera-work and edits, and that is the field of depth. From early on Chaplin had learnt how to use depth to give his little tramp character the kind of entrances and exits that you couldn't have in the theatre, ones that stretched off into the distance, allowing him to gradually appear on the scene and make the most of that now-familiar walk. In the Tramp, he created his most iconic image, that of the tramp sauntering up and later plodding away down a winding country lane.
Such a great and memorable entrance is important for the more structured story lines that Chaplin was now starting to build. Whereas most of the Essanay shorts this far had simply taken a setting in which Charlie could run wild, the Tramp seems to have been constructed plot first, with the funny business appearing along the way. Far from diluting the comedy, this actually improves the material. For example, the middle section in which Charlie causes havoc on the farm, might a few months earlier have been the basis for an entire short – "The Farmhand", perhaps – but now Chaplin is able to condense the best gags of the situation down to one segment which can be woven into the overall story.
The Tramp ends on a note of poignancy – something that was unheard of in screen comedy at the time. But all that Chaplin is doing is recognising something that has been established for centuries. Shakespeare knew it, and so did Dickens. Tragedy affects us more when it appears amongst comedy, and the moment that Chaplin creates here is touching and bittersweet. He even throws in one last gag to stop the moment from becoming too strained.
This isn't quite the funniest of Chaplin's Essanay pictures, but it is the first mature and truly beautiful thing he had yet created.
And finally, that all important statistic – Number of kicks up the arse: 5 (2 for, 1 against, 2 other)
Such a great and memorable entrance is important for the more structured story lines that Chaplin was now starting to build. Whereas most of the Essanay shorts this far had simply taken a setting in which Charlie could run wild, the Tramp seems to have been constructed plot first, with the funny business appearing along the way. Far from diluting the comedy, this actually improves the material. For example, the middle section in which Charlie causes havoc on the farm, might a few months earlier have been the basis for an entire short – "The Farmhand", perhaps – but now Chaplin is able to condense the best gags of the situation down to one segment which can be woven into the overall story.
The Tramp ends on a note of poignancy – something that was unheard of in screen comedy at the time. But all that Chaplin is doing is recognising something that has been established for centuries. Shakespeare knew it, and so did Dickens. Tragedy affects us more when it appears amongst comedy, and the moment that Chaplin creates here is touching and bittersweet. He even throws in one last gag to stop the moment from becoming too strained.
This isn't quite the funniest of Chaplin's Essanay pictures, but it is the first mature and truly beautiful thing he had yet created.
And finally, that all important statistic – Number of kicks up the arse: 5 (2 for, 1 against, 2 other)
not funny enough
mmmuconn3 January 2003
`The Tramp' is significant for establishing Chaplin's working-class character in the popular consciousness, but it lacks the ingenuity and surprise of Chaplin's later films. The tramp's trademark appearance and mannerisms became universally beloved, but they are not what made Chaplin great. His genius is in his vision of how to use filmmaking techniques to confound and endear his audience. Here, the closest he comes is when he devises umpteen ways to tell a joke using a pitchfork. Many of them just aren't that funny.
Rating: 5.5
Rating: 5.5
Pretty Good Comedy & the Introduction of a Famous Character
Snow Leopard4 October 2001
This is the short feature in which Chaplin introduced his famous "Tramp" character, and it would be worth watching for that alone. The character is pretty well-defined, and is already recognizable as the one who would appear in many later films. The movie itself is pretty good, although not one of Chaplin's best, and it features the kinds of material that Chaplin would soon afterward learn to film as well as anyone of his time.
The story takes "The Tramp" through a series of events, from his desperate efforts to scratch up some food, to finding a sympathetic family, to facing up to his lot in life. It has some good comic moments, a little bit of excitement, and also some worthwhile thoughtful moments, just as in all of Chaplin's best movies. Here, the main thing keeping it from being better is that the best material is interspersed with some more routine sequences.
On the whole, there's certainly enough to make it worth watching in itself, and it is also one that all Chaplin fans will want to see so that they can watch the origins of Charlie's trademark role.
The story takes "The Tramp" through a series of events, from his desperate efforts to scratch up some food, to finding a sympathetic family, to facing up to his lot in life. It has some good comic moments, a little bit of excitement, and also some worthwhile thoughtful moments, just as in all of Chaplin's best movies. Here, the main thing keeping it from being better is that the best material is interspersed with some more routine sequences.
On the whole, there's certainly enough to make it worth watching in itself, and it is also one that all Chaplin fans will want to see so that they can watch the origins of Charlie's trademark role.
A laugh-getter of the first rank
deickemeyer21 December 2019
A two-reel Charlie Chaplin release, with the famous comic hero a "Knight of the Road" and again rescuing a beauty in distress with the aid of his trusty brick, this latest addition to the Chaplin series is a laugh-getter of the first rank. Nearly all of the situations and bits of business are clean, honest fun, and the few seconds of vulgarity which Mr. Chaplin permits himself should be cut from the film. - The Moving Picture World, May 1, 1915
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