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, the emotional violinist, flees to a gipsy camp, only to find himself playing for an abducted girl. Soon, a unique birthmark will pave the way for an unexpected rescue and a marvellous new life. But, will she forget him so easily?
Charlie is an expert bricklayer. He has lots of fun and work and enjoys himself greatly while at the saloon. As he leaves work his wife takes the pay he has hidden in his hat. But he steals her purse so he can go out for the evening. He has a terrible time getting home on a very rainy night. When he does so he finds his wife waiting for him with a rolling pin.Written by
Ed Stephan <email@example.com>
Generally funny and enjoyable short with Chaplin on inventive good form
Arriving late for work on the construction site is not a good idea when you're trying to earn enough money to keep some back from your domineering wife. That is just the situation our hero finds himself in though, but it doesn't stop him enough a drink or five from night through to early morning.
An afternoon of Charlie Chaplin shorts and features was mine recently as I tried to catch up on some things I had not seen before. Pay Day was one of those short films and while being roundly good, it is still an affair of two halves. The first half has some great bits in it, the reverse filmed bricklaying sequence being my favourite but the service elevator stuff is as good but in different ways. The second half is nearly as good but is too dominated by the device of drunkenness for my liking. That said it does still have some laugh-out-loud moments in there but for sure the first half is the strongest.
Chaplin delivers with strength as usual. Whether it be his work with his face or his ability to work in reverse on the brick sequence, he is quite brilliant and you can see here some of the reasons that his name is mentioned when discussing genius. The support cast is not as important here as in some other films, as Chaplin tends to play off things more than people here. Still, regulars Swain, Perviance, Bergman and others are all here.
Overall then a generally funny and enjoyable short film with Chaplin on inventive good form even if the second half is not quite up to the level of the first.
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