Mabel's Married Life

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.

He did do better than 'Mabel's Married Life', still made very early on in his career where he was still finding his feet and not fully formed what he became famous for. Can understand why the Keystone period suffered from not being as best remembered or highly remembered than his later efforts, but they are mainly decent and important in their own right. 'Mabel's Married Life' is a long way from a career high, but has a lot of nice things about it and is to me one of the better efforts in the 1914 Keystone batch and one of Chaplin and Mabel Normand's collaborations.

'Mabel's Married Life' is not as hilarious, charming or touching as his later work and some other shorts in the same period. The story is flimsy and the production values not as audacious. Occasionally, things feel a little scrappy and confused.

For someone who was still relatively new to the film industry and had literally just moved on from their stage background, 'Mabel's Married Life' is not bad at all.

While not audacious, the film hardly looks ugly, is more than competently directed and is appealingly played. Chaplin looks comfortable for so early on and shows his stage expertise while opening it up that it doesn't become stagy or repetitive shtick. Mabel Normand is charming and has good comic timing, working well with Chaplin.

Although the humour, charm and emotion was done even better and became more refined later, 'Mabel's Married Life' is humorous, sweet and easy to like, though the emotion is not quite there. It moves quickly and doesn't feel too long or short.

Overall, far from one of Chaplin's best but pretty good and perhaps one of his better efforts from the early Keystone period. 7/10 Bethany Cox

This short feature is a nice chance to see Charlie Chaplin and Mabel Normand together, and it's a decent comedy as well. Charlie and Mabel play a married couple, with the wife receiving a lot of unwanted attention from an annoying brute played by Mack Swain. As you would expect, Mabel is charming, and Charlie is a rather ineffective but generally sympathetic husband. Some of the comedy is a bit routine, especially towards the beginning, but there is a very good sequence later on that gets good mileage out of some amusing props. Take a look if you like these old Keystone comedies.

A man (Charles Chaplin) can do little when a masher starts moving in on his wife Mabel. She buys a boxing dummy to toughen him up. Meanwhile, he's in a bar drinking his blues away. The masher shows up and taunts him. In a drunken state, he actually fights back and knocks everyone down. He goes home and mistakes the boxing dummy with a real person.

Chaplin fighting a dummy is pretty funny but not unexpected. The biggest laugh happens with Mabel doing a Tramp impersonation. I don't like the split second when Chaplin starts choking Mabel and the short should always end with the couple stumbling out of the room and crashing into the nosy neighbors.

Once you've seen a few Keystone comedies made before Charlie Chaplin arrived on the scene you get a sense of the impact he had on contemporary viewers. Sure, the best of the 1912-13 Keystones have a gritty vitality, but they take a little getting used to. They're sometimes haphazardly constructed, and often quite violent. This is not to say that Chaplin's arrival brought about an instant change in approach, for his earliest directorial efforts such as A Busy Day or The Property Man are easily as rough as the studio's typical output, but in his best Keystones we can see Chaplin begin to find his style. As a director he smoothed out the stories and slowed down the pace, while as an actor he showed more finesse than most of his colleagues, and also influenced them to temper their mugging and gesticulating. Mabel's Married Life is one of the Keystones I enjoy. It tells a coherent if simple story, violence is kept to a minimum, and it builds not to a wild chase but to a genuinely amusing, leisurely paced routine: Charlie's drunken encounter with a boxer's dummy. Compared to Chaplin's own later work this short is still a bit ragged; the routine with the dummy isn't as fully developed as it might have been, and the character Charlie plays is far from admirable, but there are laughs along the way and the tone is agreeably lighthearted, despite the saloon sequences and Charlie's heavy drinking.

Like so many Keystone comedies this one begins in a park. Charlie and wife Mabel Normand sit together on a bench, but Charlie is miserly and only grudgingly shares some of the banana he's eating. When he goes off to drink in a nearby saloon a burly gent played by Mack Swain attempts to make time with Mabel, who is decidedly uninterested. (Swain is clean-shaven here, and rather less cartoon-y than usual.) Charlie returns but finds it difficult to assert himself against the big guy, who treats him as an ineffectual pest. Eventually Swain's wife must intervene and call him off. When Charlie returns to the saloon Mabel, exasperated, purchases a boxing dummy so that her husband can learn self defense. That night when Charlie returns home tipsy he believes the dummy is Swain, and has a hard time ejecting him while Mabel watches in amusement.

Charlie's encounter with the dummy is the comic highlight, but Mabel has some nice moments, too. Whenever I see this film I always enjoy her disgusted impersonation of her husband's waddling walk, and she has her own lively confrontation with the dummy before Charlie returns home. When we watch Chaplin's early films we tend to compare them to his mature work, so of course they tend to come up short, but Mabel's Married Life stands as one of the better comedies he made for Mack Sennett during his apprenticeship.

P.S. I was lucky enough to acquire a Super-8 print of this comedy from Blackhawk Films in the '70s, and when I screened it again recently I appreciated the quality of the musical score they provided, a series of peppy themes played on a Wurlitzer organ. Sometimes I find organ music inappropriate for comedies, but this score really works, and definitely enhances the impact of the film. Many thanks, Blackhawk!

I've seen quite a few Chaplin shorts from early in his career and I've noticed that his early stuff (done for Keystone Studios) is pretty dreadful stuff. Unlike his wonderful full-length films from the 20s and 30s, the films from 1914-1915 are incredibly poorly made--having no script but only vague instructions from the director. In most cases, the films had almost no plot and degenerated to people punching and kicking each other.

Well, this film isn't really any better than the rest. Charlie and Mabel Normand spend much of the film slapping or being slapped. Charlie is powerless to stop a tough jerk from making unwanted advances on his wife. So, Mabel buys a punching doll and a drunk Charlie thinks it's real. That's it. No real laughs and no real plot.

FYI--this short was from THE ESSENTIAL CHARLIE CHAPLIN COLLECTION from Delta Entertainment. Like a few of these early shorts, the captions are all in French! Well, lucky for me I have a pretty good understanding of the language. Others might be frustrated at this, but there are only a few captions.