TheLittleSongbird 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. From his Essanay period after leaving Keystone, 'Work' is not one of his very best or even among the best of this particular period. It shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career, from 1914, The Essanay period is something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in the more than worthwhile 'Work'. 'Work' is not one of his all-time funniest or most memorable, other efforts also have more pathos and a balance of that and the comedy. The story is still a little flimsy, there are times where it struggles to sustain the short length, and could have had more variety and less more of the same repeition.On the other hand, 'Work' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work (even when deadlines were still tight) and not churning out as many 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.While not one of his funniest or original, 'Work' is still very entertaining with some clever, entertaining and well-timed slapstick. It moves quickly and there is no dullness in sight. Chaplin directs more than competently, if not quite cinematic genius standard yet. He also, as usual, gives an amusing and expressive performance and at clear ease with the physicality of the role. The supporting cast acquit themselves well, particularly Billy Armstrong.In conclusion, pretty good. 7/10 Bethany Cox

Horst in Translation ([email protected]) "Work" is a black-and-white silent short film from 1915, so this one is another work directed by and starring Charlie Chaplin from over a century already. You won't find too many of his regular cast members in here this time. The version I watched ran for 25 minutes roughly, but I see here on imdb that versions of 31 and even 41 minutes exist apparently too. Not sure if some scenes were lost, but I think it's rather all about the frames per second. Anyway, it's not important anyway as regardless of how long it is, simply too much happens in here for the film to feel authentic and realistic and more than shoving us one (not so) funny scene in the face. In this one Charlie's shenanigans, but also the other characters' messing up in their rage mostly have an impact on that and maybe a guilt too. It's a long and (in the truest sense of the word) messy road to that as a lot of dirty stuff happens in here (but not in the sexual sense obviously, hey these are the 10s, kissing was controversial back then already). Overall, I think the script was the main problem here as Chaplin and also others are far better actors and the constant shots at comedy made it difficult for the cast to shine or the movie to deliver in any genre as the chance was definitely there, but it almost seemed like they did not want it to happen. The slapstick just gets too much at some point, which is no surprise really as the mere quantity of jokes almost rules out that all, or even most, of them could have been convincing. One of the more known Chaplin shorts, not most known probably, but definitely not one of the best. Only watch if you really love Him (then you will also understand the capitalized H). I give this one a thumbs-down though.

Steffi_P Charlie Chaplin, in what was probably his most anarchic phase, was now basing many of his short comedies around a normal, "straight" setting, into which his little tramp character could blunder, causing mayhem as he went. Work is probably the most carefully constructed and effective in this respect.The picture begins with a couple of extremely regular shots establishing the house in which most of the action is going to take place, and introducing us to its prim middle-class residents. Everything appears very formal, all composed of straight lines and neat areas of black and white. We then suddenly cut to Charlie chugging down the street with his boss's cart behind him. Everything in this shot has to do with disorder, with wonky telegraph poles, extras cutting across the frame, not to mention the ramshackle contraption the tramp is pulling. When we arrive at the harmonious household, the camera set-ups from the opening shots remain the same, but gradually the tramp's chaos begins to spread. The neatness and formality disappear while the mess and clutter builds up as, one by one, the rooms (and their occupants) are thrown into disarray.Of course, Chaplin's popularity was not just founded on his comical capers. His satirical streak, here in full swing, would have struck a chord with many in his audience. I have certainly had a fair few employers who take after Chaplin's boss, and it's great fun to see this kind of character lampooned. And as in most of Chaplin's shorts there is a heart amidst the havoc, here in the form of the "sad story" scene. Even then, Chaplin wisely keeps the comedy going and stops the moment from getting too serious and saccharine.Work is by no means the most hilarious of the Essanays, and certainly not the best developed in storyline, but on its own terms it is a pure work of genius, and positive proof that Charlie Chaplin was not just a funny little man. When it came to film-making, he knew exactly what he was doing.And last but not least, the all-important statistic – Number of kicks up the arse: 2 (2 against)

CitizenCaine Chaplin again edited, wrote, directed, and starred in this film where Chaplin plays a put upon paper hanger. Chaplin has fun poking jabs at authority figures and upper-crust hypocrisy in a film more heavily plotted than his other films of the era. The film opens with visual gags of Chaplin pulling a work cart with his boss literally cracking the whip and the difficulties he faces. They arrive at a home of a snobby husband bossing his wife around. Once the wall-hanging paste is mixed, Chaplin plays with it like a musical instrument, creating havoc in the house while taking a shine to the maid (played by Edna Purviance). Chaplin's boss is literally up to his ears with wall-hanging paste (which appears more like plaster), the stove explodes several times, and the wife's secret lover (hilariously played by Leo White), dressed like a 19th century dandy, arrives much to the chagrin of the snobby husband. More chaos ensues as Chaplin, his boss, the lover, and the couple participate in a melange of slapstick punctuated by the husband firing shots, the stove exploding, and the house's interior reduced to rubble. The film is well edited, paced, and directed with a balance of plot and slapstick. **1/2 of 4 stars.