KnotMissPriceless Why so much hype?

VividSimon Simply Perfect

SunnyHello Nice effects though.

Pacionsbo Absolutely Fantastic

SnoopyStyle Charlie Chaplin escapes from prison as he steals a preacher's clothes. There is a $1000 reward for him. A couple of elopers mistake him for the real thing and try to get him to marry them before the arrival of the father. He gets on the train. When it arrives at the Texas town of Devil's Gulch, he tries to surrender to Sheriff Bryan. Only the town was expecting the arrival of reverend Pim and the sheriff assumes that Charlie was their reverend. It turns out that the real Pim is delayed a week. He fakes a sermon and then he is recognized by an old cell mate.I didn't love the fake sermon or David and Goliath. Playing with the kid is loads of fun. That part is so reminiscent of 'The Kid' including having Edna Purviance around. The kid eating the frosting off the hat hit me hard on the funny bone. That's the part I love the best.

Spondonman I've only seen this as the 40 minute reissue with Matt Monroe warbling Chaplin's song 'Bound for Texas' all the way through it. There's nothing at all wrong with the tune or the singing, except that it comes on too often and makes you realise just how ordinary the rest of the score is. Maybe the DVD's better - maybe!The film itself is a pleasure, not a joy, but it does have some typically wonderful Chaplin moments in it: The jig with the collection-boxes, the cake/hat, the sticking on his chin of the little 'beard' to make him look tough (what an expression he put on as well!) The reissue moves swiftly along, and you're borne with it until you sadly realise that it's over - too fast. Personally, the storyline is too thin and the gags though numerous are just too disparate and inconsequential to put this amongst his very best, but on a good second level. Charlie's maturer and lesser efforts like this are still towering achievements in comparison with most of his contemporaries and successors best.

rsyung I consider The Pilgrim one of Chaplin's weaker efforts, in no small part because of the odd running time; somewhere between a short and a feature, it suffers from too much padding considering its slight story, and it's too short to fully develop the inter-relationships of the characters and plumb the depths of social satire that Chaplin's later features did so adeptly. I also found the character strangely at odds with Chaplin's persona-- someone who is forced to stifle his anti-social tendencies in service to his disguise as a clergyman. I could picture more of a misanthrope in the role, perhaps someone like W.C. Fields, especially in the scenes with the bothersome little kid. It somehow didn't work as well with Chaplin, whose own child-like ego would seem more akin, rather than counterpoint, to the little brat. And with the characters apparent sense of innate honesty, one wonders what he was incarcerated for in the first place. Some amusing set pieces but overall it seemed more of an experiment which Chaplin felt license to indulge in at the end of his First National contract.

Ed in St. Louis The Pilgrim is an outstanding example of Charlie Chaplin at work. So much of what Chaplin did was based on his physical ability to move like a dancer, and this film shows off his agility to the maximum. Charlie tumbles and jumps, turns on a dime, and makes every graceful movement funny. The plot is your basic silent movie plot, with a lot of mistaken identities and a love interest that leads to a plot climax and a happy ending for Charlie--but without the girl. (Charlie almost never got the girl at the end of his films. It was one of his enduring charms.) The difference between this and a typical silent film is the charisma of Charlie Chaplin. There is simply nothing else like it in film history.