Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

Nonureva Really Surprised!

PodBill Just what I expected

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

romanorum1 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.

Steffi_P 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)

Petri Pelkonen 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!

Snow Leopard 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.