Charlie Chaplin’s penultimate film for Essanay is regarded
as amongst the best of his output for the company. The film was actually
released after his first film for the Mutual Film Corporation The Floorwalker, over five months after
his previous Essanay film Burlesque on Carmen. Another interesting release related fact is that Police released over two years before
his finally Essanay film Triple Trouble which
was created in part by Chaplin regular Leo White by piecing together unused
shots from other Chaplin films including this and the unfinished feature Life.
Police stars
Chaplin as a recently released convict trying to make it in a cruel and hostile
world. The initial plot follows along the same lines as much of Chaplin’s work.
There were portions of Police that
reminded me of Modern Times and the
idea of the Tramp struggling to survive was used by Chaplin time and time
again. It has been suggested that Chaplin borrowed the plot from Broncho
Billy’s His Regeneration for which he
had an uncredited cameo and I agree that the character development at least is
shared between the two.
Having been swindled by a dodgy God botherer and having no
money to pay for a bed for the night, the ex-con is held up at gunpoint by a
man who turns out to be his ex-cell mate (Wesley Ruggles). The thief convinces
the Tramp to assist him in robbing a nearby house and the two set about
breaking in. Once inside they are confronted by the Daughter of the House (Edna
Purviance) and chased by a number of Cops (Leo White, John Rand & Fred
Goodwins). The Tramp manages to become the hero of the piece late on when he
saves the Daughter of the House from a nasty attack.
Police begins very
promisingly with some wonderful comic business early on. A highlight came when
Chaplin visited a fruit seller and tried numerous apples, taking a bit and
putting them back until he found one to his liking. The first time he put an
apple back I actually snorted with laughter. I also enjoyed the scene in which
Chaplin meets his ex-cell mate and sneakily robs him while the man is searching
Chaplin for money. It’s subtle and clever.
On a technical level the film is very good. I liked the
scene in which Chaplin and Ruggles were shown only in shadow. This isn’t
something I remember seeing from Chaplin before and felt a bit German
expressionist. I also thought that the use of filters was very accomplished.
Filters are one of my least favourite aspects of early cinema but here Chaplin
uses them well, leaving you in no doubt as to the time or setting of a scene.
I felt that the second half didn’t quite live up to the
first and certainly wasn’t as funny. That being said it was actually more
reminiscent of later Chaplin, forsaking jokes in favour of plot and character
development. Unfortunately the romantic element just doesn’t live up to the
likes of City Lights and the film’s
ending is a little flat.
6/10
any idea where I can fine the piano sheet music for police
ReplyDelete