Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.

The short films that form 'The Chaplin Revue' ('A Dog's Life', 'The Pilgrim' and 'Shoulder Arms'),made when Chaplin had found his groove and building upon it, showed a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career. The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in all three shorts forming 'The Chaplin Revue', hard to decide which is my personal favourite of three of his best short films and three of the best efforts of his relatively early career.

The stories are more discernible than before and are never dull, though sometimes a bit too busy and manic.

On the other hand, 'The Chaplin Revue' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious here in 'The Chaplin Revue'.

While not one of his most hilarious or touching, all three, especially 'Shoulder Arms' are still very funny with some clever, entertaining and well-timed slapstick and has substance and pathos in particularly 'A Dog's Life'. 'The Chaplin Revue' moves quickly and there is no dullness in sight.

Chaplin directs more than competently, if not quite cinematic genius standard yet in this period. He also, as usual, gives amusing and expressive performances and at clear ease with the physicality and substance of the roles. The supporting cast acquit themselves well in all three.

Overall, great as a representation of what Chaplin's appeal was. 9/10 Bethany Cox

Hearkening back to those "Good Old Days" of 1971, we can vividly recall when we were treated with a whole Season of Charles Chaplin at the Cinema. That's what the promotional guy called it when we saw him on somebody's old talk show. (We can't recall just whose it was; either MERV GRIFFIN or WOODY WOODBURY, one or the other!) The guest talked about Sir Charles' career and how his films had been out of circulation ever since the 1952 exclusion of the former "Little Tramp' from Los Estados Unidos on the grounds of his being an "undesirable Alien". (No Schultz, he's NOT from another Planet!)

CHARLIE had been deemed to be a 'subversive' due to his interest and open inquiry into various Political and Economic Systems. Everything from the Anarchist movement from the '20s (and before),the Technocracy craze to Socialism in its various forms were fair game for discussion at Chaplin's Hollywood parties; which of course meant the inclusion of the Soviet style, which we commonly call Communism.

COMPOUNDING Mr. Chaplin's predicament was both confounded by one little detail. He had never become an American Citizen.

ANYHOW, enough of this background already!

SUFFICE it to say that he had become 'Persona Non Gratis' in the United States of America. .It was high time to get the old films out of the mothballs and back out to the Movie Houses. It'd sure be a great gesture by us easily forgiving and quickly forgetting Americanos.

IT would be a fine gesture to the great film making artist; besides, the Academy of Motion Pictures Arts & Sciences was planning to honor Chaplin with a special tribute at the 1972 Oscar Show. This would surely be a tearful yet joyous packaging of pathos a plenty for having America invite Charlie back and have him come and receive a special Academy Lifetime Achievement Award in front of a World-wide Television Audience numbering in the Millions.

BESIDES, that would be a natural for promoting the Chaplin Season at the Theatre! (Remember, the Little Tramp was as astute as a Bu$ine$$ Man as he was as a Film Maker!) THE program consisted of showings of MODERN TIMES, CITY LIGHTS, THE GREAT DICTATOR, MONSEUR VERDOUX, A KING IN NEW YORK and finally THE CHAPLIN REVUE. We remember being very excited in the anticipation of the multi date film fest.

IN our fair city of Chicago, it was booked for the Carnegie Theatre on Rush Street. The festivities lead off with MODERN TIMES and all of the others would be shown one at a time, each staying for whatever period was necessary in order to satisfy the public's desire to view each picture. As we recall, the very last on the schedule was THE CHAPLIN REVUE.

IN RETROSPECT, we look back and wish that they had begun the run with REVUE; as there were undoubtedly legions of moviegoers (much like ourselves) who knew very little about his accomplishments in motion pictures, except for those Keystone, Essanay and Mutual Silent Shorts that were being shown as regular feature on so, so many Kiddy Shows all over the country. Oh well, once again, no one consulted me!

CONCENTRATING on today's honored guest film, THE CHAPLIN REVUE, we found that it was actually three separate pictures; carefully bound together by the use of narration by Chaplin (Himself),some lively Themes and Incidental Music (once again written by Chaplin) and some happy talk and serious narration (Ditto, by Chaplin.) He opens up the proceedings by making use of some home movie-type of film depicting the construction of the Chaplin Studio in Hollywood, as well as some film taken of some rehearsal time, showing Director Chaplin demonstrating just what he wants to a group of actors.

THIS segment was well done and well received by the audience. Both the building humor and the rehearsal were amplified by making them seem accelerated. (The rehearsal naturally, the building by use of speeding up the camera's photographic process. The old trick makes it appear that the buildings were almost building themselves.

THIS amalgam of shorts incorporated three of Chaplin's short comedies from his stint with First National Pictures.; roughly that being 1917 to 1923. The choice was well thought out and gave us a wide variety of subject matter and mood.

FIRST up was SHOULDER ARMS (Charles Chaplin Productions/First National Pictures, 1918). As the title suggests, it is a tale of World War I. Released in October of 1918 with about a month to go before the Armistice Day of November 11, it was a comedy of comical Army gags and a romance between Private Chaplin and a French Girl (Miss Edna Purviance). The levity is fast, physical and in the grand old tradition of ridiculing the Enemy, the German Army.

DISPLAYING an excellent example of the old adage about Children and Dogs bringing folks together, the next film A DOG'S LIFE (Chaplin Productions/First National, 1918) traces the parallel lives of Chaplin's Tramp and a newly adopted stray, Scraps. The movie story involves families, two of them. One Homo Sapiens, one Canine and both supplying us with some big surprises.

AS the finale, we have THE PILGRIM (Chaplin/First National, 1923) was a good choice to have as the finale. It was bright, light and tight. It was an excursion into the area of the Western Spoof, Comedies of such type having been done since by every comedian and team. The "Pilgrim" in the story is not of your standard Thanksgiving Variety; but rather a "dude" or "Tenderfoot", who has ventured out West. The Tramp is not only that guy; but his character is an escaped Convict who is mistakenly thought to be the new Clergyman of a Western town's Church!

OUR Rating (that is Schultz and Me) is ****. (That's Four Derbies)

POODLE SCHNITZ!!

In the late 1940s there was a short film series entitled "Flicker Flashbacks," in which excerpts from silent dramas featuring the likes of Mary Pickford and Blanche Sweet were played for laughs. Scratchy clips from antiquated old movies were rearranged, projected too fast, and given an overlay of jangly music and lame quips. The attitude expressed through this brutal treatment pretty much summed up mid-century Hollywood's view of its early days: silent cinema was considered hokey, florid, a little embarrassing, and only good for a chuckle. During the 1950s this attitude gradually began to change for a number of reasons. James Agee's famous 1949 essay on the silent clowns for Life Magazine was a factor, but television played a major role in reacquainting viewers with silent movies. Admittedly, the TV networks sometimes handled the material almost as crudely as the "Flicker Flashbacks" people, but high-toned series such as "Silents, Please" treated the films with respect. Another milestone was Robert Youngson's compilation feature The Golden Age of Comedy, which proved to be something of a surprise hit when it was released to theaters late in 1957.

I don't know if Charles Chaplin was aware of Youngson's film or its success at the box office, but it was around this time that he decided to launch a theatrical re-release of three of his best short comedies, A Dog's Life, Shoulder Arms (both made in 1918),and The Pilgrim (made in 1922 and released the following year). These three movies happened to work well as a trio since they contrast nicely in plot, theme, and setting. In addition, all three offer familiar faces from Chaplin's stock company, some of whom play multiple roles in each short. At the time of the re-release the films hadn't been publicly screened in many years, so perhaps Chaplin might also have been concerned about maintaining his reputation with a new generation of movie-goers, especially since his best work was seldom shown on television in the new medium's early days.

Unfortunately, Chaplin apparently concluded that the films moved too quickly at the old silent projection speed, so he made the decision to "stretch-print" them, which meant that every other frame was printed twice. Maybe he wanted to avoid the 'Flicker Flashbacks' look, but from posterity's point of view this wasn't the best way to go about it. Aesthetically speaking, the results were awful and practically destroyed the movies' flow of action. Nonetheless, that's how The Chaplin Revue was released to theaters in 1959, and that's the version that was transferred to video and made commercially available by Playhouse Video in the 1980s. I purchased a VHS copy of the movie at the time, and was terribly disappointed with the jerky, stop-and-start rhythm of the films.

It's a relief to find that David Shepard's restoration of Chaplin's compilation (originally produced for the laser-disc format) is an improvement over the Playhouse Video version. The "stretch-printing" has been modified, though not entirely, and the action does seem to lag a bit at times. For example: in A Dog's Life during Edna and Charlie's awkward dance in the Green Lantern Café, Edna's bare arms appear visibly blurred; at another point, during the trench scene in Shoulder Arms when Charlie is relieved from sentry duty, the action appears oddly slowed-down for a few moments, although this may be the result of a maneuver by the film restorers to cover a bit of decomposition. Over all, picture quality is fantastic considering the age of the movies themselves.

Other bonuses: The Revue begins with rare behind-the-scenes footage taken at the Chaplin studio. This includes shots of an obviously staged, jokey rehearsal session where Chaplin throttles diminutive actor Loyal Underwood, as well as scenes of Charlie at his dressing table putting on his makeup and trimming the famous mustache. These scenes are accompanied by Chaplin's narration, delivered at a rapid clip. Chaplin also composed a new musical score for the compilation, and I feel his themes for The Revue rank with his best compositions, especially the pieces used during the café sequence in A Dog's Life. The one exception, in my opinion, is the song written for The Pilgrim, a pseudo Singin' Cowboy number called "Bound for Texas," sung 1950s style by Matt Monro (sounding rather like Gene Autry),which is distractingly anachronistic and out of place. Otherwise, throughout the rest of The Revue, the music is perfectly suited to the action and the atmosphere.

The Image release of The Chaplin Revue is, in a sense, its long postponed debut, presenting these classic comedies in a more watchable and enjoyable form than what audiences saw in 1959 -- though still not, it should be added, the best possible version. Here's hoping that a newly restored edition might some day present these films the way they should be seen.