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In the Park (1915)

GENRESShort,Comedy
LANGNone,English
ACTOR
Charles ChaplinLeona AndersonBilly ArmstrongLloyd Bacon
DIRECTOR
Charles Chaplin

SYNOPSICS

In the Park (1915) is a None,English movie. Charles Chaplin has directed this movie. Charles Chaplin,Leona Anderson,Billy Armstrong,Lloyd Bacon are the starring of this movie. It was released in 1915. In the Park (1915) is considered one of the best Short,Comedy movie in India and around the world.

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 goes to throw himself in the lake in despair. Charlies helps him.

In the Park (1915) Reviews

  • The Essanay short by this title is one of Chaplin's best "park" comedies

    wmorrow592002-12-05

    At one point in the 1930s, a period when Charles Chaplin would spend years making a single feature film, he remarked to a friend that in his early days all he needed was a cop, a park bench, and a pretty girl, and -- Presto! -- he and his crew could crank out a new comedy in a day or two. And indeed, he made so many films that way in 1914 (his year of apprenticeship with Keystone) they're practically interchangeable. Unfortunately, however, he had no control over the handling of these films after he left the company, and most were re-edited, retitled, and mixed up in dizzying ways by distributors out to make a buck. Thus, there are two Chaplin movies known as "In the Park." One is a reissue of a 1914 Keystone comedy originally titled Caught in the Rain, and the other is an Essanay release of the following year. Very little of the Keystone film actually takes place in a park: it's a marital farce involving sleepwalking and drunken bedroom-hopping, set mostly in a hotel. The "real" In the Park is appropriately named, for it has no interior scenes at all. In his films of 1915 Chaplin begins to demonstrate a little more finesse, and his Tramp character is more sympathetic. Even in such a brief and simple film as the Essanay version of In the Park we find a coherent through-line (albeit no plot as such), touches of whimsy, and some cleanly executed physical comedy. The tempo is fairly relaxed and slapstick violence is kept to a minimum, at least compared to the earlier films. While the Tramp is of course the central character, Chaplin also deftly choreographs the movements of his supporting players: a nursemaid, a thief, courting couples, a cop, etc. Charlie has plenty of colorful characters to react to, flirt with, or fight, as the occasion demands. I love Charlie's first scene with Edna the nursemaid, the way he leers at her, plays with his hat, and casually (Harpo-like) plops his leg into her lap. Along with the Keystone style brick-hurling and head-bopping we have Charlie playing with a string of sausages just for the fun of it, while portly Bud Jamison skips about the park like Baby Huey. I like the fact that Edna is given a brief comic moment of her own: she is first seen sitting on a bench, reading a book mysteriously titled "Why They Married." (Well hey, why not?) The other players still wear heavy makeup and emote vigorously, but Chaplin himself is more nuanced and self-assured as a performer, and less frenzied than in some of the earlier films. In the Park is no masterwork, but it does serve to showcase Chaplin's development from diamond-in-the-rough to the supreme comic artist and filmmaker he would soon become.

  • "The Biter Bit"

    Steffi_P2009-09-27

    This one-reeler from Charlie Chaplin's Essanay era harks back to his Keystone days in terms of setting and set-up, being a cheeky romantic farce taking place in a park, as so much of the Keystone output did. However in terms of pacing, gags and shooting style it shows off the development he has made since then. In the Park opens with a handful of shots introducing the supporting players before the tramp himself even comes on the scene. This is Edna Purviance's most well-defined role so far. From her costume we can guess she is a maid (and therefore unmarried and from a working-class background), and the book she is reading quickly gives us a clue as to her personality. You didn't get that level of characterisation in a Keystone picture. Chaplin allows the comedy to build with various routines in long takes, before stepping up the pace of the editing as things become more chaotic in the last few minutes. In the Park doesn't really have a plot as such, being simply a series of gags as Charlie wanders around playing off one character after another. Chaplin would make only one more single reel comedy (By the Sea), and would from now on concentrate on building up more sophisticated story lines for his tramp character. Still, this is an entertaining little effort, certainly good for a giggle. And lastly, that all-important statistic – Number of kicks up the arse: 8 (3 for, 5 against)

  • Pretty funny

    TheOtherFool2004-11-26

    Charlie as the tramp is having a stroll to the park, where he meets some interesting characters. There are 2 couples, a policeman, a sausage seller and a pickpocket. Furthermore, there are stones laying around to be thrown and some butts to be kicked. You know, the usual. There are some great scenes in this early short, in particular when Charlie tries to eat sausages dangling from his chest pocket and Charlie kicking a (drunk?) guy into the water. That scene is hilarious. Come to think of it: is there anyone out there who can kick a butt as well as Charlie? A good, fun Chaplin to be seen by all his fans, though people not really into Charlie probably should start elsewhere to get to know his work better.

  • Thanks for the gag, Charlie

    SnorrSm19892008-07-17

    It is easy to dismiss IN THE PARK as yet another footnote in Chaplin's admittedly long list of rather casual products early on in his career; the comedian himself would probably be the first one to do so. Indeed, the apparent reversion to the Keystone-days (days which were in fact not so far behind at this time) is not accidental. The film had more or less been forced upon Chaplin, in order to meet the demands of schedule as he had, in the eyes of the Essanay Company, spent an intolerable amount of time on his previous effort. Like the later film BY THE SEA, this not quite coherent chronology of fast-paced gags serves as little more than a so-called "program-filler," even if added into a cavalcade of Chaplin-shorts. That being said, IN THE PARK has its moments --moments within a moment, you may say-- and does undeniably possess potential as a fun flick. Without time to develop his character, the occasional glimpses of complexity that Chaplin had attributed the Tramp (I suppose it's that way around?) in some previous Essanay-films are here non-existent. Charlie is brought back to his carefree days, when he regarded anything and everything as intuitive and mechanical as himself (and it usually was). He is not very appealing, in other words; he intervenes in the affairs of two lovers, throws bricks at innocent by-passers, and makes awful grimaces at leading lady Edna Purviance for no apparent reason whatsoever. When Charlie helps a man to commit suicide by kicking him out in a lake, whereupon he gallantly lifts his hat and leaves, we are presented with an obvious but nonetheless fascinating contrast to the Tramp's far more likable personality of the mature years; how different would he not react when a certain drunken millionaire tried the same thing in CITY LIGHTS? In short, the best advice I can give anyone eager to enjoy this comedy is to stay as neutral as possible, and try to avoid any comparison to Chaplin's later work. Just lean back and wait for the good bits to turn up. Charlie's slick, impulsive satyr dance following Edna's granted kiss is often referred to, but my favorite moment occurs early on: a rather dazzling-looking pickpocket searches Charlie's pockets, unaware that the victim has noticed him and does in fact search HIS pockets in the meantime. Quite matter-of-factly, Charlie snaps a cigarette out of the thief's pocket and lights it with finesse. While in high school, I 'borrowed' this bit into a stage act in which I performed and received belly laughs. While comic performers usually feel most satisfied when they get applause for their own material, I must admit I found it just as thrilling to earn laughs for a gag taken from a Chaplin-film, proving (once again) that his comedy lives on; and no less so when taken from such an obscure and neglected piece as IN THE PARK.

  • Some Good Moments, But Only Fair Overall

    Snow Leopard2004-03-30

    This short feature was apparently thrown together pretty quickly, or at least more quickly than were most of Chaplin's features at this point in his career, and it shows. "In the Park" is generally muddled, and despite a couple of good moments, overall it is rather mediocre or at best only fair. The story, such as it is, has Chaplin wandering around in the park and getting involved in a series of scrapes with a variety of characters, including a policeman and some romantic couples. While most of it is connected together in one way or another, however implausibly, too much of the action makes little sense, and it just looks kind of clumsy. There was enough basic material to work with here, and they might have been able to make a better picture if they had taken more time on it. As it is, there are only a couple of real highlights. It's worth watching for these, but overall it's just not all that good.

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