Charlie Chaplin Complete Film List A Dog's Life - April 14, 1918 Shoulder Arms - October 20, 1918 The Bond - December 16, 1918 Sunnyside - June 15, 1919 A Day's Pleasure - December 15, 1919 Other English Titles: The Kid - February 6, 1921 The Idle Class - September 25, 1921 Other English Titles: Pay Day - April 2, 1922 The Pilgrim - February 26, 1923 United Artist Films - 1924 - 1952 All Films Directed by Charles Chaplin The Gold Rush - June 21, 1925 The Circus - January 6, 1928 City Lights - January 30, 1931 Modern Times - February 5, 1936 The Great Dictator - October 15, 1940 The Gold Rush - 1942 (re-release) (Chaplin replaced title slides with comments) Monsieur Verdoux - April 

11, 1947 Limelight - October 23, 1952 All Films Directed by Charles Chaplin A King in New York September 12, 1957 Last film Charles Chaplin starred in A Countess From Hong Kong January 2, 1967 Triple Trouble August 11, 1918 (Created from out-takes from Chaplin film work at Essanay.

Chaplin did sue to stop release, but lost) Chase Me Charlie (Created from out-takes by Essanay. Not an official Chaplin film.) The Chaplin Revue - 1959 Chaplin First National Collection (Three films including scenes from 'How to Make Movies' with Chaplin as himself in and out of make-up) Films Chaplin Appeared 1915 - Essanay Broncho Billy film How to Make Movies (Never released - available Chaplin DVD Collection ) The Nut Ranked: Charlie Chaplin's Feature Films - MTV mtv Jake Cole 11/12/2013 George Bernard Shaw once referred to Charlie Chaplin as “the only genius to ever come out of the film industry,” and the compliment could apply equally to the artist’s unprecedented popularity as to the exacting control he exerted over nearly every means of production. Chaplin wrote, directed, edited, produced, starred in, even scored his films, and his improvisational, sketch-based approach to his features (at least until he finally switched to talkies) helped ensure that he dictated the nature of each individual scene.

To look at the results, though, is to be unable to deny that, whether he was truly the only genius to work in Hollywood, he certainly was a genius, a master craftsman whose simplicity disguised an ability to work a crowd as effectively as (and with far more grace than) Hitchcock ever could. And where Chaplin rose to international superstardom through his shorts [ see Charlie Chaplin's 10 Best Shorts here ] it was his feature-length films that truly delivered on his promise. That places Chaplin in sharp contrast to peers like Lloyd, Keaton and Laurel and Hardy, who, despite their handful of essential features, were best served by the concise, joke-driven format of short films rather than the complexities demanded of longer works. Certainly none of them handled the transition to talkies as well as Chaplin, first by ignoring the new fashion altogether, then acquiescing with a spate of films that, far from revealing Chaplin as a has-been, were startlingly ahead of their time, including a vicious postwar satire and an ostensibly fuddy-duddied rant against ‘50s America that found one of its most vocal champions in modernist du jour Roberto Rossellini.

Taken as a whole, the arc from “The Kid’s” harrowing social-realist comedy through the wistful, imperfect but elegant drawing-room farce of “A Countess from Hong Kong” represent one of the great canons of any filmmaker, charting artistic growth and evolution along a paradoxical tonal shift backwards from vaudeville into even more ancient comedy of manners, as well as an increasingly bold foregrounding of political, then personal beliefs. If this list, like all lists, is a perfunctory and unnecessary method of arbitrarily rating a filmography that deserves to be processed in whole, it is done in the hopes that those who haven’t seen some of Chaplin’s greatest yet most neglected work, as well as those who perhaps have and judged it wanting, may give some of the best films ever made a chance. There is no film here that a filmmaker should not be envious of not making, nor one that will waste the time of anyone who watches it. In honor of The Criterion Collection's beautiful new dual-format DVD / Blu-ray release of "City Lights" , we rank all 11 of Chaplin's features, from great to greatest.

(Note: an earlier version of this piece ran here ) 11.) THE CIRCUS (1928) In terms of straight gag execution, this may be Chaplin's funniest feature, yet it is also the least ambitious and resonant. It shows off the least ambition of any of Chaplin's full-length films, content to remain in a single area and to play harmless jokes that do not even stretch the possibilities of circus performance, much less comment upon it. Chaplin does not put much pathos into “The Circus,” but what is there plays like a lazy parody of Chaplin’s perceived schmaltz. The mistreatment of the ringleader's daughter marks a sub-Dickensian misstep for an artist who elsewhere made himself Dickens' equal, and it is amusing that those who pooh-pooh Chaplin's sentiment tend to favor this, the worst example of it.

Nevertheless, the slapstick bits mark the highpoint of Chaplin's physical comedy, from the marvelous early chase through a funhouse (complete with an extended hall of mirrors bit that forecasts the finale of “The Lady from Shanghai”) to all the acrobatic stunts in the circus, which Chaplin miraculously performs with precision while making everything look like a freak accident. 10.) THE KID (1921) Chaplin's first feature shows off the filmmaker's talents at their rawest. Its setup is thin, and its emotions exist at the surface, a bundle of nerve endings exposed to the wind. The climactic chase, of the Tramp ambling over rooftops to catch up to the truck taking his adoptive urchin to an orphanage, is one of Chaplin's most basic yet most thrilling setpieces and an early showcase for the emotional power of cinema. Elsewhere, Chaplin is buoyed by Jackie Coogan, who gives one of the great child performances. Their rapport is natural, harmonious, and hilarious.

If the climax points toward Chaplin's later, more refined emotional peaks, the underplayed comedy between Chaplin and Coogan also points toward the great strides the director would later make with even subtler acting. Also a treat for the sly recurring gag of the father and son's con game, effectively creating work for themselves through mischief (a joke repeated more benignly in The Gold Rush and far, far more viciously in Monsieur Verdoux). 9. A WOMAN OF PARIS (1923) Chaplin suffered his first flop when he stayed completely behind the camera for this 1923 drama about a woman unable to be with her lover because of his parents' disapproval, a separation that eventually turns the woman into the sort of low trash they always considered her. This grim staging of self-fulfilling prejudice marks a tremendous leap in storytelling ability for Chaplin, and Edna Purviance, his friend, ex-lover and trusted colleague, gives a nuanced, layered performance that may not have brought in crowds but was a watershed for other filmmakers.

Chaplin, though depressed by the poor commercial reception, did not forget what it taught him, and his later features all benefit from the subtlety and depth he explored in this downbeat work. 8. LIMELIGHT (1952) At face value, this is Chaplin's most self-pitying work, the tale of a has-been superstar trying to have one last bite of the cherry before fading away. To be sure, the climax of Chaplin and Buster Keaton performing a glorious travesty of a show-stopper, is as devastating as it is thrilling, a reminder of what and who audiences allowed ourselves to forget. Yet the rich layer of irony under everything lends even the most heartbreaking moments an air of defiance. In embodying an outdated, miserable clown, Chaplin paradoxically rejuvenates himself, and when Calvero goes out the way he wanted, he does not represent Chaplin's own departure but the expulsion of all the things that could weigh him down. Granted, he only made two more films after this, but Chaplin freed himself with “Limelight.” 7.

MODERN TIMES (1936) Nearly a decade after “The Jazz Singer” hit theaters, Chaplin was still clinging stubbornly to the silent form, and “Modern Times” deftly combines his anxieties over sociopolitical realities in the Depression (a period he largely sat out despite presaging it with his Tramp character) with his fear of obsolescence as a filmmaker. These dual fears converge best in the early, iconic image of the Tramp being passed through the inside of industrial machinery as just another cog or, conversely, as a strip of film through a projector. Viewed through either thematic prism, Chaplin is being used and spit out unceremoniously, and the combination of populist zeal and self-pity is never matched anywhere else in the film, which shows the worn seams in the director’s sketch-based approach in its uneven pacing. A great benediction for the Tramp as social underdog, but also the film that shows it was high time for Chaplin to move on. 6.

A COUNTESS FROM HONG KONG (1967) Chaplin's final feature is also the one that most routinely comes in for a beating, uniting the casual admirers and die-hard fans in dismissal. Yet this much-maligned piece, featuring Marlon Brando at his most modulated and manipulated and Sophia Loren as, essentially, the Tramp, is a beautiful farewell for the artist (the mise-en-scène is among Chaplin's most vibrant) and his most purely comedic work since “Modern Times.” But to call it a return to form—his or anyone else's—would be inaccurate. As Richard Brody has said, Chaplin revises his interpretation of slapstick to be the result of "efforts to conform to bourgeois propriety." That shows a fundamental growth on Chaplin's part even at the end—this is at least the second major thematic overhaul of his love of physical comedy in his film career. It also, when one considers how similarly Tati employed slapstick in that year's “Playtime,” proves that Chaplin, who turned to both color and widescreen for the first time at the end, was modern to the last frame. 5.

THE GREAT DICTATOR (1940) Chaplin’s belated move into talkies balanced his tardy technological progression with an ahead-of-the-curve diatribe against the Hitler regime then tearing through Europe with no U.S. intervention. Forced to at last write a script straight through, Chaplin delivers one of the cinema’s most accomplished satires, its narrative progression from WWI through the razing of Jewish ghettos sneaking in a contemporary European history class to Americans still living in blissful isolation. Further, by grounding Hynkel/Hitler’s rise to power, one can see how he became attractive and fearsome—Chaplin turns cod German from comedy to horror in a close-up of his spittle-filled mouth calling for the destruction of the ghetto—while also deflating him at every turn as an opportunistic, immoral fool. And when Chaplin finally delivers on the “Prince and the Pauper” story teased by his dual role as a Jewish barber, the implications of a Jew passing credibly for the King of the Aryans are devastating.

That much-contested final speech delivered by the barber-as-Hynkel (and really, as everyone admits, just as Chaplin) may be didactic, but the criticism it spares for America’s own history of intolerance and genocide runs deeper than a mere call to arms. 4. A KING IN NEW YORK (1957) “A King in New York” builds off the deceptive self-justification of “Limelight,” swapping the departing (or departed, rather) for the returning, defaced royal who suffers further indignities back in America. But really, the "return" merely sets the stage for Chaplin's own counterattack, an attack on contemporary American culture dated in some spots and disturbingly timeless in others. His gags at the expense of teen music and CinemaScope do have a “Man yells at cloud” nature to them, but his jabs at a country in thrall to paranoia find solid traction. Chaplin's own son, Michael, even gives Jackie Coogan a run for his money, playing a radical child who parodies Chaplin's tendencies for preaching by annoyingly spouting off Marxist rhetoric without provocation.

But he also features in one of Chaplin's most agonizing scenes when the lad returns late in the film having sold out and named names to protect his parents, shuffling around as if lobotomized and barely able to inhale without breaking into fresh sobs of self-loathing. The only counterpoint to such darkness is Chaplin's slapstick, presented as a weapon against fascistic thought control in America as it was for Germany in “The Great Dictator.” 3. CITY LIGHTS (1931) God knows the Pre-Code era of early talkies is perhaps the pinnacle of Hollywood’s edginess, but compare their contemporary technological accomplishment to the "obsolete" “City Lights” and tell me which is timeless. If Chaplin remains silent (barring a few ingenious uses of sound that show more cleverness than any other sound film of 1931 save “M”), he nevertheless refines its image to its clearest and most evocative.

The forthright sociopolitical content of Chaplin’s work remains foregrounded but also suggestive, so that the contrast of the Tramp and Harry Myers’ drunken millionaire is laced with the implication that the millionaire’s suicidal thoughts are a luxury of the rich as the Tramp perseveres under far harsher conditions. But if “City Lights” is often one of Chaplin’s most barbed and political works, it also marks the apex of his sweetness on film, with the Tramp giving wholly of himself for the Virginia Cherrill’s flower girl. Then there's the finale, perhaps the greatest in cinema, a masterfully acted swell of apprehension and romantic hope that could cause flash flooding from the onslaught of tears it elicits. 2. THE GOLD RUSH (1925) Mixing the raw sentiment of “The Kid” with the subtle dramatic refinement of “A Woman in Paris,” “The Gold Rush” attains a level of emotional control that threatens to turn its spate of classic gags into a secondary pleasure. But to consider one without the other would rob the film of its immaculate construction, with every gag—no matter how separate from the narrative at hand—joined seamlessly to the rest of the film as soon as it concludes.

Everyone remembers the reverie of the roll dance, that most delicate display of physical acting that cannot be reproduced no matter how often people copy it. But how many recall that immediately after this wonderful moment, Chaplin crushes the Tramp back to reality with the realization of abandonment and loneliness? Chaplin’s skill, both as a performer and a director who facilitates his performance, has always been finding the grace in slapstick, and nowhere is Chaplin more elegant than here. 1. MONSIEUR VERDOUX (1947) Chaplin’s post-war satire bowed to intense critical savagery and commercial failure, yet none of his films has aged so well. Made at a peak of social self-satisfaction, “Verdoux” does not simply discard the Tramp as turn him inside out, replacing the peevish but good-natured poor man with a venal, middle-class monster clinging to his privilege and station, willing to kill to turn a profit. Verdoux’s self-justification takes capitalism to its dark extremity, but James Agee was right to note the effectiveness with which Chaplin moves beyond mere commentary to craft a more complex psychological portrait of the bourgeoisie.

It’s satire as character study, an exaggeration of economic ambition that reveals the dark impulses embedded in the products of a society that mistakes monetary value for the moral sort. Verdoux's speech to the judgmental crowd at his trial, in which he notes the way that higher numbers always "sanctify" in murder, is both pathetic, hollow apologia and a chilling glimpse into the machine that spat him out. The social climate has since allowed anti-capitalist thought to rise to the mainstream in America, but no filmmaker has ever picked up the gauntlet Chaplin threw down with this and met its challenge. 65 Free Charlie Chaplin Films Online 65 Free Charlie Chaplin Films Online in Film | December 26th, 2011 47 Comments 170.4k Subscribe Google Whatsapp Pinterest Digg Linkedin Stumbleupon Vk Print Delicious Buffer Pocket Xing Tumblr Mail Yummly Telegram Flipboard A few things to know about Charlie Chaplin. He starred in over 80 films, reeling off most during the silent film era. In 1914 alone, he acted in 40 films, then another 15 in 1915.

By the 1920s, Chaplin had emerged as the first larger-than-life movie star and director, if not the most recognizable person in the world. The film icon died on Christmas Day in 1977 , and we’re commemorating this just-passed anniversary by highlighting 65 Chaplin films available on the web. Above, you will find a Chaplin mini-film festival that brings together four movies shot in 1917: The Adventurer, The Cure, Easy Street and The Immigrant. And then below you’ll find 60+ other films arranged in a neat list. Many can be otherwise found in our collection of 700 Free Movies Collection . A Burlesque On Carmen – Free – Original two-reel parody of Bizet’s Carmen by Charlie Chaplin. Also stars Leo White & Edna Purviance. (1915) A Busy Day – Free – Chaplin plays a wife jealous of her husband’s interest in another woman, played by Phyllis Allen. On her way to attack the couple, the wife interrupts the set of a film, knocking over a film director, played by Mack Sennett, and a policeman, played by Billy Gilbert.

(1914) A Day’s Pleasure – Free – “Chaplin’s fourth film for First National Films. It was created at the Chaplin Studio. It was a quickly made two-reeler to help fill a gap while working on his first feature The Kid. It is about a day outing with his wife and the kids and things don’t go smoothly.” (1919) A Dog’s Life – Free – This endearing short Chaplin film tells the story of underdogs, human and canine, succeeding despite the odds. (1918) A Fair Exchange – Free – Originally released as Getting Acquainted, the film’s plot has been summarized as follows: “Charlie and his wife are walking in the park when they encounter Ambrose and his wife. The partners become fond of their counterparts and begin chasing each other around. A policeman looking for a professional Don Juan becomes involved, as does a Turk.” (1914) A Film Johnnie – Free – Charlie goes to the movie and falls in love with a girl on the screen. (1914) A Night in the Show – Free – Chaplin played two roles: one as Mr. Pest and one as Mr. Rowdy.

The film was created from Chaplin’s stage work from a play called Mumming Birds. (1915) All Night Out – Free – “After a visit to a pub, Charlie and Ben cause a ruckus at a posh restaurant. Charlie later finds himself in a compromising position at a hotel with the head waiter’s wife.” (1915) A Woman – Free – This Chaplin film starts with Charlie meeting Edna ( Edna Purviance ) and her parents in a park; the mother is played by Marta Golden and the father by Charles Insley. (1915) Behind the Screen – Free – A short film written and directed by Chaplin, the film is long on slapstick, but it also gets into themes dealing with gender bending and homosexuality. (1916) Between Showers – Free – A short Keystone film from 1914 starring Charlie Chaplin, Ford Sterling, and Emma Bell Clifton. By the Sea – Free – “It is windy at a bathing resort. After fighting with one of the two husbands, Charlie approaches Edna while the two husbands themselves fight over ice cream.

Driven away by her husband, Charlie turns to the other’s wife.” (1915) Caught in a Cabaret – Free – Charlie is a clumsy waiter in a cheap cabaret, suffering the strict orders from his boss. He’ll meet a pretty girl in the park, pretending to be a fancy ambassador, despite the jealousy of her fiancée. (1914) Charlie Shanghaied – Free – Charlie Chaplin and his Tramp character gets shanghaied by crooks. (1915) Charlie’s Recreation – Free – Out of costume, Charlie is a clean-shaven dandy who, somewhat drunk, visits a dance hall. There the wardrobe girl has three rival admirers: the band leader, one of the musicians, and now Charlie.

(1914)Charlotte et Le Mannequin Charlotte et Le Mannequin – Free – Also known as Mabel’s Married Life, the film’s plot is summarized as follows: “Accosted by a masher in the park and unable to motivate husband Charlie into taking action, Mabel gets him a boxing mannequin to sharpen his fighting skills.” (1914) Cruel Cruel Love – Free – Chaplin plays a rich, upper-class gentleman whose romance is endangered when his girlfriend oversees him being embraced by a maid. (1914) Face on a Barroom Floor – Free – “The plot is a satire derived from Hugh Antoine D’Arcy’s poem of the same title. The painter courts Madeleine but loses to the wealthy client who sits for his portrait. The despairing artist draws the girl’s portrait on the barroom floor and gets tossed out. Years later he sees her, her husband and their horde of children. Unrecognized by her, Charlie shakes off his troubles and walks off into the future.” (1914) Gentlemen of Nerve – Free – “Mabel and her beau go to an auto race and are joined by Charlie and his friend.

As Charlie’s friend is attempting to enter the raceway through a hole, the friend gets stuck and a policeman shows up. Charlie sprays the policeman with soda until he friends makes it through the hole. In the grandstand, Mabel abandons her beau for Charlie. Both Charlie’s friend and Mabel’s are arrested and hauled away.” (1914) His Favorite Pastime – Free – Charlie gets drunk in the bar. He steps outside, meets a pretty woman, tries to flirt with her, only to retreat after the woman’s father returns. (1914) His New Job – Free – “Charlie is trying to get a job in a movie. After causing difficulty on the set he is told to help the carpenter. When one of the actors doesn’t show, Charlie is given a chance to act but instead enters a dice game. When he does finally act he ruins the scene, wrecks the set and tears the skirt from the star.” (1915 His Prehistoric Past – Free – “Charlie dreams he is in the stone age. There King Low-Brow rules a harem of wives.

Charlie, in skins and a bowler, falls in love with the king’s favorite wife, Sum-Babee. During a hunting trip the king is pushed over a cliff. Charlie proclaims himself king, but Ku-Ku discovers the real king alive. They return to find Charlie and Sum- Babee together.” (1914) His Trysting Place – Free – “Charlie’s wife sends him to the store for a baby bottle with milk. Elsewhere, Ambrose offers to post a love letter for a woman in his boarding house. The two men meet at a restaurant and each takes the other’s coat by mistake. Charlie’s wife thinks he has a lover; Ambrose’s believes he has an illegitimate child.” (1914) In the Park – Free – “A tramp steals a girl’s handbag, but when he tries to pick Charlie’s pocket loses his cigarettes and matches. He rescues a hot dog man from a thug, but takes a few with his walking stick. When the thief tries to take some of Charlie’s sausages, Charlie gets the handbag.

The handbag makes its way from person to person to its owner, who is angry with her boyfriend who didn’t protect her in the first place. The boyfriend decides to throw himself in the lake in despair, so Charlie helps him out.” (1915) Kid Auto Races at Venice – Free – It’s the first film in which Charlie Chaplin’s iconic “ Little Tramp ” character makes his appearance. (1914) Laughing Gas – Free – Film starring Chaplin is sometimes known as “Busy Little Dentist”, “Down and Out”, “Laffing Gas”, “The Dentist”, and “Tuning His Ivories”. Mabel’s Busy Day – Free – “A hotdog girl gives one to a policeman who then allows her into a race track. While other customers swipe her hotdogs, Charlie runs off with the whole box, pretending to sell them while actually giving them away. She calls her policeman who battles Charlie.” (1914) Mabel’s Strange Predicament – Free – Watch lots of lots of high jinks go down in a hotel.

(1914) Making a Living – Free – Premiering on February 2, 1914, Making a Living marks the first film appearance by Charlie Chaplin. Musical Tramps – Free – “Charlie and his partner are to deliver a piano to 666 Prospect St. and repossess one from 999 Prospect St. They confuse the addresses. The difficulties of delivering the piano by mule cart, and most of the specific gags, appeared later in Laurel and Hardy’s ‘The Music Box’.” (1914) One A.M. – Free – The first silent film Charlie Chaplin starred in alone. (1916) Police – Free – “Police was Charlie Chaplin’s 14th released film from Essanay. It was made at the Majestic Studio in Los Angeles. Charlie playing an ex-convict finds life on the outside not to his liking and leads him to breaking into a home with another thief (Wesley Ruggles).

Edna Purviance plays the girl living in the home who tries to change him.” (1916) Shoulder Arms – Free – Charlie is a boot camp private who has a dream of being a hero who goes on a daring mission behind enemy lines. (1918) Sunnyside – Free – “Charlie works on a farm from 4am to late at night. He gets his food on the run (milking a cow into his coffee, holding an chicken over the frying pan to get fried eggs). He loves the neighbor’s daughter Edna but is disliked by her father. He rides a cow into a stream and is kicked off. Unconscious, he dreams of a nymph dance. Back in reality a city slicker is hurt in a car crash and is being cared for by Edna. When Charlie is rejected after attempting to imitate the slicker, the result is ambiguous–either tragic or a happy ending. Critics have long argued as to whether the final scene is real or a dream.” (1919) The Bank – Free – “Charlie does everything but an efficient job as janitor. Edna buys her fiance, the cashier, a birthday present.

Charlie thinks “To Charles with Love” is for him. He presents her a rose which she throws in the garbage. Depressed, Charlie dreams of a bank robbery and his heroic role in saving he manager and Edna … but it is only a dream.” The Bond – Free – A propaganda film created and funded by Chaplin for theatrical release to help sell U.S. Liberty Bonds during World War I. (1918) The Champion – Free – “Walking along with his bulldog, Charlie finds a “good luck” horseshoe just as he passes a training camp advertising for a boxing partner “who can take a beating.” After watching others lose, Charlie puts the horseshoe in his glove and wins. The trainer prepares Charlie to fight the world champion. A gambler wants Charlie to throw the fight. He and the trainer’s daughter fall in love.” (1915) The Count – Free – The Count was Charlie Chaplin’s 5th film for Mutual Films. Co-starring Eric Campbell and Edna Purviance, it is a story about Charlie and his boss finding an invitation to a party from a real Count.

(1916) The Fatal Mallet – Free – Three man will fight for the love of a charming girl. Charlie will play dirty, throwing bricks to his contender, and using a huge hammer to hurt one of them. But a precocious kid will be the fourth suitor in discord. (1914) The Fireman – Free – Charlie Chaplin’s second short for Mutual continued his focus on gags and situations—as the title suggests, Chaplin plays the role of an inept firefighter. (1916) The Floorwalker – Free – “The Floorwalker was Charlie Chaplin’s first Mutual Film Company made in 1916. It starred Chaplin as a customer in a department store who finds out the manager is stealing money from the store. It was noted for the first ‘running staircase’ used in films.” (1916) The Gold Rush – Free – Charlie Chaplin wrote, produced, directed and starred in The Gold Rush. Chaplin repeatedly said that this is the film he most wanted to be remembered for. (1925) The Good for Nothing – Free – Made at the Keystone Studios, the film involves Chaplin taking care of a man in a wheelchair.

(1914) The Immigrant – Free – Chaplin, in the role of the Tramp character, plays an immigrant coming to the United States. He gets accused of theft while on a voyage across the Atlantic Ocean. (1917) The Kid – Free – This was Charlie Chaplin’s first full-length film as a director, and it is still considered one of his best. (1921) The Knockout – Free – Charlie Chaplin’s seventeenth film for Keystone Studios. Chaplin only has a small role, and Fatty Arbuckle takes up the main role. (1914) The Landlady’s Pet – Free – Otherwise known as The Star Boarder, the film turns around this theme: A brat’s magic lantern show exposes an indiscreet moment between a landlady and her star boarder. (1914) The Masquerader – Free – “Charlie is an actor in a film studio. He messes up several scenes and is tossed out. Returning dressed as a lady, he charms the director.

Even so, Charlie never makes it into film, winding up at the bottom of a well.” (1914) The New Janitor – Free – “Charlie is janitor for a firm the manager of which receives a threatening note about his gambling debts. He throws a bucket of water out the window which lands on his boss and costs him his job. The boss, attempting to steal the money heeds from the office safe, is caught by his secretary and Charlie comes to save her and the money. He is briefly accused of being the thief but ultimately triumphs.” (1914) The Pawnshop – Free – Rich in slapstick, The Pawnshop was one of Chaplin’s more popular movies for Mutual Film, the producer of many fine Chaplin comedies. (1916) The Property Man – Free – “Charlie has trouble with actors’ luggage and conflicts over who gets the star’s dressing room. There are further difficulties with frequent scene changes, wrong entries and a fireman’s hose. At one point he juggles an athlete’s supposed weights.

The humor is still rough: he kicks an older assistant in the face and allows him to be run over by a truck.” (1914) The Rink – Free – The Rink, Chaplin’s 8th film for Mutual Films, showcases the actor’s roller skating abilities. (1916) The Rival Mashers – Free – “Charlie and a rival vie for the favors of their landlady. In the park they each fall different girls, though Charlie’s has a male friend already. Charlie considers suicide, is talked out of it by a policeman, and later throws his girl’s friend into the lake. Frightened, the girls go off to a movie. Charlie shows up there and flirts with them. Later both rivals substitute themselves for the girls and attack the unwitting Charlie. In an audience-wide fight, Charlie is tossed from the screen.” (1914) The Rounders – Free – Writes IMDB: “Two drunks live in the same hotel. One beats his wife, the other is beaten by his. They go off and get drunk together. They try to sleep in a restaurant using tables as beds and are thrown out.

They lie down in a row boat which fills with water, drowning them (a fate apparently better than going home to their wives).” (1914) The Tramp – Free – The film made Chaplin’s great Tramp character famous. (1915) The Vagabond – Free – A silent film by Charlie Chaplin that co-starred Edna Purviance, Eric Campbell, Leo White and Lloyd Bacon, with Chaplin appearing as The Tramp. The British Film Institute calls it the “pivotal work” of his Mutual period – “and his most touching.” (1916) Tillie’s Punctured Romance – Free – Among other things, the film is notable for being the last film that Chaplin didn’t write or direct by himself. (1914) Triple Trouble – Free – “As Colonel Nutt is experimenting with explosives, a new janitor is joining his household. The inept janitor proceeds to make life difficult for the rest of staff. Meanwhile, a foreign agent arrives at the house in hopes of getting Col. Nutt’s latest invention. The inventor throws him out, so the agent then employs a thug to get the formula.

When police head to the Nutt home to start an investigation, a complicated fracas ensues.” (1918) Twenty Minutes of Love – Free – IMDB summarizes thusly: “Charlie is hanging around in the park, finding problems with a jealous suitor, a man who thinks that Charlie has robbed him a watch, a policeman and even a little boy, all because our friend can’t stop snooping.” (1914) Work – Free – “Charlie and his boss have difficulties just getting to the house they are going to wallpaper. The householder is angry because he can’t get breakfast and his wife is screaming at the maid as they arrive. The kitchen gas stove explodes, and Charlie offers to fix it. The wife’s secret lover arrives and is passed off as the workers’ supervisor, but the husband doesn’t buy this and fires shots. The stove explodes violently, destroying the house.” (1915) Most of the quoted summaries above were written by Ed Stephan on IMDB. Related Content: Charlie Chaplin 'The Kid' 1921 Full Movie HD - YouTube Charlie Chaplin 'The Kid' 1921 Full Movie HD Want to watch this again later?

Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jun 27, 2015 Chaplin's first full-length feature is a silent masterpiece about a little tramp who discovers a little orphan and brings him up but is left desolate when the orphanage reclaims him. The little boy was played by Jackie Coogan. In his adult life, Jackie Coogan played the legendry character of Uncle Fester in the iconic television series, The Adams Family. Coogan's turbulent life as a child actor was the catalyst for todays laws protecting child actors in Hollywood. Chaplin directed, produced and starred in the film, as well as composed the score. The opening title reads: "A comedy with a smile--and perhaps a tear". As she leaves the charity hospital and passes a church wedding, Edna deposits her new baby with a pleading note in a limousine and goes off to commit suicide. The limo is stolen by thieves who dump the baby by a garbage can. Charlie the Tramp finds the baby and makes a home for him.

Five years later Edna has become an opera star but does charity work for slum youngsters in hope of finding her boy. A doctor called by Edna discovers the note with the truth about the Kid and reports it to the authorities who come to take him away from Charlie. Before he arrives at the Orphan Asylum Charlie steals him back and takes him to a flophouse. The proprietor reads of a reward for the Kid and takes him to Edna. Charlie is later awakened by a kind policeman who reunites him with the Kid at Edna's mansion. Release date: February 6, 1921 (USA) Director: Charlie Chaplin Screenplay: Charlie Chaplin Film History Milestones - 1914 Event and Significance 1914 Young Cecil B. De Mille's first motion picture was The Squaw Man (1914) - it was the first feature-length film produced in Hollywood by a major film studio (it was distributed by Famous Players-Lasky Corporation). It was the first film to use an art director. However, it wasn't the first film to be made in Los Angeles.

1914 The start of the Great War (WWI) interrupted European motion-picture production and eventually brought it to a halt when there were signficant shortages of power and supplies. It never recovered its dominance in the marketplace. The American motion-picture industry thrived on business and viewership in the European market, using their profits to produce even bigger and better motion pictures. 1914 Lois Weber became the first woman to direct a full-length feature film in the US - the Rex production of The Merchant of Venice (1914), in which she also played the role of Portia. She co-directed with her husband Phillips Smalley (who played the part of Shylock). 1914 The first professional film stuntwoman was Helen Gibson, who often stunt-doubled for actress Helen Holmes in the early episodes of Kalem Company's serial or series entitled The Hazards of Helen (1914-1917). In 1915, Helen Gibson took over the lead role from Helen Holmes, beginning with episode 49.

There were a total of 119 episodes over four years -- and at a total of 23.8 hours, it was claimed to be the longest film serial ever made. 1914 Author L. Frank Baum's 1913 published book, The Patchwork Girl of Oz, was also released by his own short-lived independent film company, the Oz Film Manufacturing Company, as a feature-length film, titled The Patchwork Girl of Oz (1914). It was the first feature-length film based on one of his many books. Earlier in 1900, Baum had published the children's novel The Wonderful Wizard of Oz, adapted as a Broadway play in 1902 and later made into the classic film The Wizard of Oz (1939) . 1914 Charlie Chaplin, a silent actor and pantomimist, was recruited to Keystone Studios from an English variety act, and became Mack Sennett's most important discovery. Chaplin made his film debut with the release of the Keystone Cops comedy short Making a Living (1914) - in his first film, he played the part of a "Swindler" (not his "Tramp" character).

It was the 6th of 12 Mack Sennett films featuring the Keystone Cops. 1914 This was the year in which silent comedian Charlie Chaplin made dozens of films and became filmdom's first great star. He made 35 short Keystone films for Mack Sennett in 1914. 1914 The silent comedian Charlie Chaplin debuted his trademark small-mustached, derby-hatted, baggy-pants, bamboo-caned 'Little Tramp' character with oversized shoes in his second picture, the 11-minute Kid Auto Races at Venice (1914), attending a home-made "pushmobiles" race for boys in Venice, California. The head of Keystone Studios, Mack Sennett, had instructed Chaplin to wear something funny ("comedy make-up"), and the costume was debuted in the film. It was the Tramp character's first public appearance. [Note: In fact, the Tramp costume was devised for a film produced a few days earlier, titled Mabel's Strange Predicament (1914), but the film was released two days later.] The gallant Everyman character portrayed by Chaplin would become Keystone Studios' most popular.

It also became Chaplin's most famous, enduring and legendary character, until it was retired at the conclusion of Chaplin's Modern Times (1936) . 1914 At Keystone, Mack Sennett made the first American feature-length comedy - Tillie's Punctured Romance (1914), starring Marie Dressler, Mabel Normand and Charlie Chaplin (in his first feature film). 1914 Director George Pearson's early silent film (a "lost film") was A Study in Scarlet (1914, UK), the first British film to feature Sherlock Holmes (from the Sir Arthur Conan Doyle novels) - although it neglected to portray his assistant Watson. Novice actor James Bragington, who resembled Holmes, took the role of the lead character because of his uncanny likeness to the detective - it was his sole acting performance. 1914 Winsor McCay created his third animated film - Gertie the Dinosaur (1914). It was the first "interactive" animated cartoon and character, and was the earliest example of combined 'live action' and animation. The brontosaurus dinosaur's appearance made Gertie the first animated cartoon star.

1914 Serials regularly added cliffhangers as one of their features, in multi-part serial films such as The Perils of Pauline (1914) with 20 episodes (although a condensed 9-part version is all that exists today), featuring Pearl White as the 'damsel in distress' title character. It was the most famous suspense serial in cinema history, although not the first. 1914 The world's first feature-length color film (Kinemacolor), the crime drama The World, the Flesh, and the Devil (1914, UK), premiered in London. 1914 Grand cinema houses were regularly replacing cheaper nickelodeons. For example, the first 'real' and elaborate movie "palace" built for movies only and without a stage, The Mark Strand Theater, opened at Times Square in New York with seating for 2,800. 1914 Bert Williams appeared as an actor in his first film Darktown Jubilee (1914). It was one of the first movies to use an African-American actor in blackface, rather than using a white person in the same role in blackface.

1914 The influential three-hour (14 reel) Italian silent film from Giovanni Pastrone, Cabiria (1914), was an early example of spectacular and monumental epic film-making. It laid the pattern and groundwork for future big-budget feature-length films (by the likes of D.W. Griffith and Cecil B. DeMille). Its story of 3rd century BC Ancient Rome included sequences of the eruption of Mt. Etna and Hannibal's crossing of the Alps with elephants (with an early example of tracking shots). The landmark film was shot on location in North Africa, Sicily and the Italian Alps, and reportedly contained the first use of dolly-tracking shots (which became known as 'Cabiria' movements). It was also the first film ever to be screened on the White House grounds. Its production cost of 1 million lira made it the most expensive film of its day. Many claimed it was the first feature-length film, although The Story of the Kelly Gang (1906, Aust) took that claim.

1914 Paramount Pictures was founded in Los Angeles as a start-up company in order to release the films of Jesse Lasky and Adolph Zukor's Famous Players Film Company. It soon became the first successful nation-wide film distributor. 1914 The Photo-Drama of Creation (aka the Eureka-Drama in its abbreviated version), a 1912 religious production by Charles Taze Russell through the auspices of the Watchtower Bible and Tract Society (representing the Bible Student Movement), was the first major screenplay which incorporated synchronized sound (recorded speech), moving film, and magic lantern color slides. Since its run-time was 8 hours (480 minutes), the b/w show (with some hand-colored slides), providing a religious survey from the time of Creation to the end of the Millenium (the 1,000 year reign of Jesus Christ), was divided into 4-part sets. Multiple copies of sets were made so that it could conceivably be shown in 80 different locations at the same time. It was introduced at a premiere in January of 1914 in New York, and was later screened that summer in Germany.

By the end of the year, it was estimated that 9 million people had seen the production in North America, Europe, and Australia. Charles Chaplin - IMDb IMDb Writer | Actor | Soundtrack Charlie Chaplin, considered to be one of the most pivotal stars of the early days of Hollywood, lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular "Little Tramp" character; the man with the toothbrush mustache, bowler hat, bamboo cane, and a ... See full bio » Born: a list of 23 people created 05 Dec 2010 a list of 47 people created 24 May 2011 a list of 34 people created 26 Mar 2012 a list of 42 people created 08 Dec 2013 a list of 28 people created 11 Feb 2014 Do you have a demo reel? Add it to your IMDbPage How much of Charles Chaplin's work have you seen? User Polls Won 1 Oscar. Another 19 wins & 6 nominations.

See more awards » Known For 1952 Limelight (original story and screenplay) 1947 Monsieur Verdoux (an original story written by) 1931 City Lights (written by) 1928 The Circus (written by - as Charlie Chaplin) 1923 The Pilgrim (written by) 1922/I Pay Day (Short) (as Charlie Chaplin) 1921 The Idle Class (Short) (written by - as Charlie Chaplin) 1921 The Kid (written by - as Charlie Chaplin) 1919 The Professor (Short) (uncredited) 1919 A Day's Pleasure (Short) (written by - as Charlie Chaplin) 1919 Sunnyside (Short) (written by - as Charlie Chaplin) 1918 The Bond (Short) (writer) 1918 Triple Trouble (Short) (screenplay - uncredited) / (story - uncredited) 1917 The Immigrant (Short) (written by) 1917 The Cure (Short) (screenplay - uncredited) / (story

 - uncredited) 1917 Easy Street (Short) (screenplay - uncredited) / (story - uncredited) 1915 A Woman (Short) (uncredited) 1915 Work (Short) (uncredited) - Episode #2.34 (2012) ...

(music: "Smile") 2012 Brazil Avenue (TV Series) (performer: "Smile") / (writer: "Smile") 2011 The Silence of Pelesjan (Documentary) (writer: "Theme from 'Limelight'" - uncredited) 2011 Mr.

Popper's Penguins (music: "CUES FROM THE CHAPLIN FILM tt0018773", "CUES FROM THE CHAPLIN FILM tt0015864", "CUES FROM THE CHAPLIN FILM tt0009611", "CUES FROM THE CHAPLIN FILM tt0027977") / (writer: "CUES FROM THE CHAPLIN FILM tt0018773", "CUES FROM THE CHAPLIN FILM tt0015864", "CUES FROM THE CHAPLIN FILM tt0009611", "CUES FROM THE CHAPLIN FILM tt0027977") 2011 The 83rd Annual Academy Awards (TV Special) (writer: "Smile") The X Factor (TV Series) (music - 1 episode, 2010) (writer - 1 episode, 2004) - Live Final (2004) ...

(writer: "Smile") 2010 Brazilian Beats (TV Series) (writer - 1 episode) - Braguinha (2010) ... (writer: "Sorri", "Luzes da Ribalta") - Episode #1.2 (2010) ... (writer: "Smile") 2010 Prozhektorperiskhilton (TV Series) (music - 1 episode) - Cary-Hiroyuki Tagawa/Mikhail Shvydkoy/Aleksandr Gradskiy/Lolita Milyavskaya (2010) ... (music: "Smile" - uncredited) Diva (TV Series) (lyrics - 1 episode, 2010) (music - 1 episode, 2010) - Singin' in the Rain (2010) ... (lyrics: "Smile") / (music: "Smile") 2009 Glee (TV Series) (writer - 1 episode) - Mattress (2009) ...

(writer: "Smile" - uncredited) The Top 8 Charlie Chaplin Films of All Time | Film Misery The Top 8 Charlie Chaplin Films of All Time By Alex Carlson on Saturday, June 13, 2009 in Movie Lists , Movie Marathons The month to appreciate the career of Charlie Chaplin has overstayed its welcome, but its finally time to wrap things up. I am with the majority of people who believe that Chaplin hit his peak at the end of the silent era. Everybody has their own Chaplin favorite and you can vote for yours after the jump. Here are my top 8 Charlie Chaplin films: 8) A Woman of Paris (1923) A rare dramatic film from Chaplin’s early days that was badly received when initially released, but gained new life when rediscovered decades later. The acting is superb from leading lady Edna Purviance in this moral tale about the conflict between love and money. The rest after the jump… 7) Monsieur Verdoux (1947) Often described as a film that was way ahead of its time, it is also the film that caused Chaplin to leave America.

Its brilliant satire and clever approach to a risky subject proved that Chaplin is smarter than your average filmmaker. ( Full Review ) 6) The Great Dictator (1940) Perhaps the best example of how forward thinking Chaplin was with this pre-World War II film that is as poignant as many holocaust films that were released decades later. He masterfully manages to portray the real-life tragedy with humor and pathos. 5) The Gold Rush (1925) Chaplin at his most lovable as the tramp who earnestly attempts to gain a fortune. It features some heartbreaking moments between his tramp character and the leading lady played by Georgia Hale. It is many people’s favorite Chaplin movie of all time, but I think the experience was slightly ruined for me because I saw the 1942 version where Chaplin removed the title cards and inserted awkward narration. 4) The Circus (1928) It’s not one of Chaplin’s most complex narratives, but easily one of his top 2 0r 3 funniest films. This comes right at the end of the silent era and has some of this best bits ever put on film as well as his own critique on what makes great comedy.

( Full Review ) 3) The Kid (1921) Charlie Chaplin’s first feature length film remains one of his best. The hapless tramp mistakenly adopts a baby and raises it to the best of his ability. The film features one of the greatest on-screen duos of all time between Chaplin and child star Jackie Coogan leading up to an emotional separation and rescue. ( Full Review ) 2) City Lights (1931) One of the greatest romances in film history between Chaplin’s tramp and the blind flower seller. Right from the tramp’s hilarious introduction, there is never a boring moment in this silent story of indiscriminate love. It features great bits including the boxing scene and the role reversal rescue between Chaplin and the drunk businessman. 1) Modern Times (1936) The boldness that it must have taken to make an essentially silent film almost a decade after sound was introduced to movies, combined with the brilliant social commentary, and some of the best slapstick gags ever seen on film are what make this film my favorite Chaplin movie of all time.

The realism of a job that is being overwhelmed with technology transforms into pure escapism as Chaplin and actress Paulette Godard roller skate through a department store. There may not be a better film that sums up Chaplin’s attitude toward life – that things move to fast and there is true beauty in simplicity. Those are my favorites, which ones are yours? Post your top 8 (or so) in the comments and vote for your favorite on the poll below! About Alex Carlson Alex started Film Misery in early 2009 after living the site’s title for many years. His film obsession began in high school when he and his friends would see all of the Oscar Best Picture nominees and try to make predictions... Full Bio .

Question: What is the title of Charlie Chaplin’s first full-length feature film?
Answer: The Kid