Gehetzte Unschuld

As was now his tradition when leaving a studio, Charlie Chaplin here begins his final short feature for First National with an escape from prison. It also appears he was vengefully trying to bankrupt the studio, with lots of fancy sets, costumes and location shooting in what is one of his larger scale short pictures.

But what really makes The Pilgrim stand out is that, like his earliest works for First National, A Dog's Life and Shoulder Arms, it is really a concerted effort, with all the breadth, sincerity and care in production of his full-length features. After some experimentation in The Idle Class and Pay Day the comic now returns to his roots, pushing pure pantomime to its limits. Sequences like his acting out of the story of David and Goliath or little asides such as his gestures describing features of people in a photo album demand the intention and intelligence of the audience, and are very rewarding gags as a result. The business with the hat in the cake is also a great routine, a classic Chaplin situation of the chaos caused by the little tramp becoming bigger than the tramp himself.

Chaplin regulars such as Henry Bergman make only fleeting appearances in The Pilgrim. One time stalwart Albert Austin, now busy as a director, does not feature at all. Making up for this deficit however is one of the more substantial appearances by Charlie's brother Syd Chaplin. His pompous husband makes a great counter-foil for the tramp – his looks of horror and indignant gestures are priceless – and he was really strong enough to have become a recurring character in his own right. Sadly this was Syd's last appearance in one of his brother's films.

The nicest thing about The Pilgrim is that it is a great return to stories driven by the little tramp's character – something that had been wavering in the last couple of Chaplin shorts. Many of the gags stem from his status as a plucky fugitive, and his complete inappropriateness – yet clever bluffing – in the role of a preacher. Once again we have a rounded yet unfulfilled love for Edna Purviance, and his redemption for her sake is given a credible build-up. With his last ever short, Chaplin demonstrates that these little movies where he had honed his craft were far from idle throwaways.

We end with the all-important statistic – Number of kicks up the arse: 2 (2 for).

Two words: "WATCH IT!"

Throughout this last of Charlie's short(er) films, he puts on a clinic of amazing pantomime that could never be as funny if it were a talking picture! He makes you believe it's all for real - whether on screen it appears to be "real" or is obviously pantomime as part of the story in and of itself. Think about this while watching it - really think how Chaplin makes it look easy, whereas if one of us average Joes tried it, we'd probably come off looking histrionic and ridiculous! ;-) lol

There are also some great sight gags, one of which involves Charlie on the back of a man, trying to close a drawer with his feet, while the man tries opening the same drawer with his hands; and back and forth they furiously go! I just mention this one in particular as I'd not yet seen any other reviewers do so, but it's just one great scene amidst many others!

Anyway, even without the Little Tramp in his familiar costume, you can still see him shining through as I think this film presents many of the same type of story elements and character qualities that led to the Little Fellow becoming an immortal icon. :-)

(9 out of 10 stars for not enough romantic interaction between Charlie & Edna, but that's strictly just my personal preference. Except for "Burlesque on Carmen", I would probably say that about nearly every picture they made together. ;-) lol)

Chaplin originally planned "The Pilgrim" as a two-reel short, but it expanded to a four-reel feature. When comparing it to his films at Mutual or before, it's evident how far Chaplin had come with his First National pictures: he took his time elaborating and extending fewer gags and set pieces and in developing the plot and characters. His First National films may not always be as continually uproarious as his Mutual ones, but they are, I think, more satisfying and affecting.

"The Kid", deservedly his most beloved First National release, greatly strained Chaplin's relationship with the distributors. He would leave yet another company to continue in his evermore-ambitious efforts. Jeffrey Vance, in "Chaplin: Genius of the Cinema", makes an interesting observation: he points out that Chaplin plays an escaped prisoner in both his last Mutual film, "The Adventurer", and in this film, his last First National release. They both reflect the filmmaker's escape from confining contracts.

There's some light satire on a religious community and parody of Westerns, and Chaplin gets plenty of mileage out of the common mistaken identity device. I didn't find any of the gags particularly memorable, but the hilarity is sustained throughout the film. "The Pilgrim" is, as religion can be, uplifting.

I've only seen this as the 40 minute reissue with Matt Monroe warbling Chaplin's song 'Bound for Texas' all the way through it. There's nothing at all wrong with the tune or the singing, except that it comes on too often and makes you realise just how ordinary the rest of the score is. Maybe the DVD's better - maybe!

The film itself is a pleasure, not a joy, but it does have some typically wonderful Chaplin moments in it: The jig with the collection-boxes, the cake/hat, the sticking on his chin of the little 'beard' to make him look tough (what an expression he put on as well!) The reissue moves swiftly along, and you're borne with it until you sadly realise that it's over - too fast. Personally, the storyline is too thin and the gags though numerous are just too disparate and inconsequential to put this amongst his very best, but on a good second level. Charlie's maturer and lesser efforts like this are still towering achievements in comparison with most of his contemporaries and successors best.

Having escaped from prison for a crime that is never mentioned, The Tramp disguises himself as a pastor as he heads for Texas. Arriving from train, he is quickly mistaken as the new curator / priest that the small town is expecting. The Tramp is once again placed into a situation that he was act his way out of. Finding himself in the middle of a sermon, The Tramp must perform is way off stage to convince the town that he a priest. The ending, although meant to be funny, is more political that humor. The 1920's outlook on Mexico was the same as it was since the end of the Mexican American War in the 1840's. The audience laughs as we see Mexico and its people as savage and unpredictable as ever. Although the Tramp survives to fight another day, he manages to throw a political message out to the audience before the end of the movie.