Charlot macchinista

"Behind the Screen" is an excellent Charlie Chaplin short feature, with plenty of good slapstick and much more. The setting, with Charlie working as a hired hand in a movie-making operation, lends itself to a lot of good comedy, and there are plenty of standard gags plus a lot of material that creatively uses the props and situations of the setting. It also works very well as a self-satire of the industry (as suggested by the title), making some subtle and other not so subtle points. Finally, there is some nice interplay between Charlie's character and his superiors, especially his burly, brutish immediate supervisor, played by Eric Campbell, an amusing actor who was one of Chaplin's best supporting players.

Most of these earlier Chaplin films (referring to 1914-1916, the years when he made the majority of his short features, making ten or more each year) do not get very high ratings. It's true that some of them are mostly routine slapstick, but there are also a few gems like this one that combine slapstick with substance. Most of the movies from these years can be rather hard to watch, because the film often survives in poor condition, and so it's understandable that even the best ones might not always stand out as clearly from the rest. But this one is a fine film, and definitely recommended for Chaplin fans.

Charlie has various misadventures while working in the property department of a movie studio. For some reason, this film turned out to be the last of Chaplin's twelve Mutual shorts that I saw. I really looked forward to seeing it, thinking that Charlie would make the most of the studio ___location.

Sadly, if only because of my sense of anticipation, I was a bit disappointed. I didn't find it as funny as the bulk of the other Mutual shorts. Despite a ___location rich in potential, I found the funniest moments in this film to be some of the smallest – like Charlie trying to steal bites from Albert Austin's lunch. Still, the film retains interest as a behind the screen view of motion picture production circa 1916. (A superior and more concise view of the world of producing silent films can be found in 'Singing in the Rain' as Gene Kelly walks through a silent studio with the head of the studio.) To me, the most interesting thing about this film is Chaplin's hostile attitude toward the striking union workers. If he had made this film later in his career, the radical unionists might have been the good guys!

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 post-Essanay period after leaving Keystone, 'Behind the Screen' is not one of his very best but is one of his best early efforts and among the better short films of his. 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 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 the more than worthwhile 'Behind the Screen'.

The story is more discernible than usual and is never dull, in fact it is quite eventful without being too busy. The romance is sweet enough and the chemistry is definitely there, part of me felt though that it was not needed.

On the other hand, 'Behind the Screen' 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.

While not one of his most hilarious or touching, 'Behind the Screen' is still very funny with some clever, entertaining and well-timed slapstick, didn't mind that the pathos wasn't there as it was not the right kind of story. It moves quickly and there is no dullness in sight. The ending is one of the best and funniest ones of Chaplin's early work.

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 Eric Campbell. Edna Purviance is charming and her chemistry with Chaplin is beautiful, even if it did feel she was there to provide the "obligatory" love interest.

Overall, very enjoyable. 8/10 Bethany Cox

Chaplin plays the part of David, the lowly assistant to the oafish stage hand Goliath, and as is to be expected, everything goes wrong in the most hilarious ways. Being an early short Chaplin comedy, a good portion of the comedy is slapstick, with such elaborately acted scenes as the one with the stage pillar prop that just would not seem to stand up.

Poor David works like a slave for the lazy Goliath, but at first, he just keeps messing things up - he just can't seem to do anything right. But later, when he starts working really hard and doing things right, his boss always walks in just as he sits down to rest, and he gets into trouble for loafing on the job, and Goliath, who spends most of his time sleeping, gets all of the credit for David's work.

Not only does this film satirize the falsity of film and stage, but it also goes into actual filming, in the surprisingly effective pie throwing scene. Eventually, all of the workers go on strike, leaving only David and Goliath on stage and, as is common in Chaplin's films, he ends up the victor as a result of some inadvertent events concerning a trap door and a lot of guys fighting. The ending of this film is unusually violent for a generally light Chaplin comedy, but the comedic value is never diminished.

BEHIND THE SCREEN (Mutual Studios, 1916), Written and Directed by Charlie Chaplin, stars the legendary comedian with a new profession of employment, that of a stagehand at a movie set where everything goes wrong, thanks to you know who. Produced more in the Mack Sennett slapstick tradition where gags are essence over story, Chaplin's eighth comedy short for the Mutual Company does have enough comedy material to go around for its twenty minutes. Edna Purviance, Chaplin's most frequent co-star, returns, as does his most notable advisory, the giant size Eric Campbell, sans beard. For a change from their previous efforts, Chaplin and Campbell assume character names best describing their physical beings, David and Goliath. Though no such antics of David and Goliath can be found in the Bible, this is the Bible according to Chaplin.

The slight story set in a single day revolves around a stagehand named David (Charlie Chaplin), working as an assistant under Goliath (Eric Campbell). For the most part, David does all the work, ranging from carrying a dozen chairs at one time to moving heavy props while Goliath sits back, smoking his cigar, eating a dozen pies at once and getting credit for his partner's work. In fact, whenever David takes time to rest, he's accused of loafing by one of the bosses. After the workers go on strike for being awaken after having lunch, David and Goliath remain loyal to their jobs. Also in the studio is a young hopeful (Edna Purviance), wanting to become an actress. Unable to become one, she disguises herself as a carpenter instead. Further confusion arises as the strikers plot to disrupt film production, unaware that David is doing so in his own unintentional way.

BEHIND THE SCREEN is one of those little comedies that needs to be seen more than once to fully appreciate the material provided, ranging from running gags of falling through trap doors to pie throwing on the set. As usual, Chaplin and Campbell make a wonderful pair of opposites: Chaplin being a work slave; Campbell seated, relaxing, snoozing while "supervising." The lunch break sequence has Goliath eating his large assortment of pies while David sneaks in his bites from a fellow worker's (Albert Austin) meal. Although Chaplin has played "fag" on screen in other comedies, this time he passes on the big moment to Eric, and hilariously so, after mistaking Charlie's encounter with the "male" carpenter, Edna. Purviance, whose character in Mary Pickford-type appearance, is introduced in the very first scene asking a director, "Can I be an actress, please?" actually has little to do with the plot until the film's second half. The opening scenes belong to Charlie and Eric on their usual day of work on the movie set, with Charlie upsetting things as the director (Henry Bergman) attempts the impossible, getting his movie finished on schedule.

Music accompaniment differs from various prints from BEHIND THE SCREEN, ranging from piano, orchestration or no scoring at all. Most circulated copies that appeared on public television in the sixties and seventies consisted of ragtime music and sound effects lifted from 1930s reissues. Available on video cassette dating back to the 1980s, and later onto the DVD format, BEHIND THE SCREEN is also one of the many Chaplin short comedies that turns up occasionally on Turner Classic Movies (TCM premiere: December 6, 1999). Aside from the comedy interludes, BEHIND THE SCREEN offers a look back at movie directing back in the early days of motion picture making and the type of humor most commonly found that had audiences in 1916 roaring with laughter, forgetting what the plot is all about in the first place. Next Chaplin Mutual short: THE RINK (1916). (***)