IMDb RATING
7.3/10
7.6K
YOUR RATING
Charlie is a boot camp private who has a dream of being a hero who goes on a daring mission behind enemy lines.Charlie is a boot camp private who has a dream of being a hero who goes on a daring mission behind enemy lines.Charlie is a boot camp private who has a dream of being a hero who goes on a daring mission behind enemy lines.
Charles Chaplin
- Doughboy
- (as Charlie Chaplin)
Syd Chaplin
- Charlie's Comrade
- (as Sydney Chaplin)
- …
W.J. Allen
- Motorcyclist
- (uncredited)
L.A. Blaisdell
- Motorcyclist
- (uncredited)
Alva D. Blake
- U.S. Soldier
- (uncredited)
- …
Cliff Brouwer
- Soldier
- (uncredited)
E. Brucker
- Bit Part in Street Scene
- (uncredited)
F.S. Colby
- Soldier
- (uncredited)
Wellington Cross
- Motorcyclist
- (uncredited)
E.H. Devere
- Bit Part in Street Scene
- (uncredited)
C.L. Dice
- Motorcyclist
- (uncredited)
- Director
- Writer
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaMany in Hollywood were nervous that one of their most famous peers was going to tackle the subject of WWI. It was released shortly before the Armistice, so it did not help boost national morale, but it did end up as one of Charles Chaplin's most popular films and it was particularly popular with returning doughboys.
- GoofsCharlie, disguised as a tree, enters a pipe to escape a German. When the German tries to pull Charlie out, he separates the lower part of the tree costume along with Charlie's shoes. When Charlie emerges from the other end of the pipe, he is still wearing shoes.
- Crazy creditsThe short opens with a title card showing a caricature of Chaplin dressed as a World War I soldier, and text reading "Shoulder Arms Written and Produced by" followed by a blank space. A live action hand appears and points to the title, then the drawing, then uses a piece of white chalk to sign "Charles Chaplin" in the blank space, then points to the caricature one more time.
- ConnectionsEdited into The Chaplin Revue (1959)
Featured review
One of the prices of superstardom is that you have to become adaptable. When the US joined the World War in 1917 Charlie Chaplin was at the height of his popularity. Naturally, he was expected to make some sort of contribution. Chaplin had already set his short films in all sorts of locations, even at different time periods, and had given his little tramp all manner of occupations, so soldiering in the trenches shouldn't have been too big a step. However, Shoulder Arms is, if not a propaganda piece (it was released a bit late for that), at least one that had to have a certain outlook. As a result Chaplin was constrained somewhat, and it shows.
The first half of the picture, which is set during Charlie's training and among his comrades in the trench seems a little muted compared to other Chaplin pictures of this period. The reason for this is clear – it wouldn't have had the right effect if there were seen to be too much antagonism between soldiers. Characters like the burly drill sergeant or Charlie's buddy (played his brother Syd) would make ideal bugbears in any other picture, but here all we get is a bit of appropriately brotherly tussling between Charlie and Syd. When you see how weak these opening ten minutes are you realise how much of Chaplin's comedy depended upon playing off others and pricking pomposity.
Fortunately, Chaplin gets to make up for all this when his little tramp goes out to face the German foe. Here he can go all out with making his enemies look ridiculous, getting the most out of his varyingly-sized supporting players. We have Henry Bergman as a roly-poly German, Albert Austin as a gangly one, and best of all Loyal Underwood as a short but self-important German officer. This is Underwood's finest moment, and he really puts a lot of energy and spirit into the part. And Chaplin gets to set up some great routines, with some ingenious ways of defeating foes, not to mention one of his best ever entrances when he appears out of the landscape in his tree disguise.
And Chaplin was clearly savvy enough to realise that the beginning of the picture contained some fairly poor material. Consequently he edits in a handful of shots of antics in the German trench (with Underwood at his most animated), which serve as nothing more than a little touch of uproar, and a promise of things to come.
And now we must have that all-important statistic – Number of kicks up the arse: 7 (1 for, 0 against, 6 other)
The first half of the picture, which is set during Charlie's training and among his comrades in the trench seems a little muted compared to other Chaplin pictures of this period. The reason for this is clear – it wouldn't have had the right effect if there were seen to be too much antagonism between soldiers. Characters like the burly drill sergeant or Charlie's buddy (played his brother Syd) would make ideal bugbears in any other picture, but here all we get is a bit of appropriately brotherly tussling between Charlie and Syd. When you see how weak these opening ten minutes are you realise how much of Chaplin's comedy depended upon playing off others and pricking pomposity.
Fortunately, Chaplin gets to make up for all this when his little tramp goes out to face the German foe. Here he can go all out with making his enemies look ridiculous, getting the most out of his varyingly-sized supporting players. We have Henry Bergman as a roly-poly German, Albert Austin as a gangly one, and best of all Loyal Underwood as a short but self-important German officer. This is Underwood's finest moment, and he really puts a lot of energy and spirit into the part. And Chaplin gets to set up some great routines, with some ingenious ways of defeating foes, not to mention one of his best ever entrances when he appears out of the landscape in his tree disguise.
And Chaplin was clearly savvy enough to realise that the beginning of the picture contained some fairly poor material. Consequently he edits in a handful of shots of antics in the German trench (with Underwood at his most animated), which serve as nothing more than a little touch of uproar, and a promise of things to come.
And now we must have that all-important statistic – Number of kicks up the arse: 7 (1 for, 0 against, 6 other)
Details
- Release date
- Country of origin
- Official sites
- Languages
- Also known as
- Camouflage
- Filming locations
- 7th Street and Broadway, Downtown, Los Angeles, California, USA(traffic cop trouble in front of Bullock's Department Store.)
- Production company
- See more company credits at IMDbPro
- Runtime36 minutes
- Color
- Sound mix
- Aspect ratio
- 1.33 : 1
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