Caught in a Cabaret

Charlie's Tramp is working as a waiter, but cons a naïve society girl (Mabel Normand) into believing he is the Ambassador for Greece. Co-written (with Chaplin) and directed by Normand, this is notably less violent than most of the films Chaplin was churning out for Keystone (until the last few minutes, that is, when he causes a brawl in a bar). His character is much less abrasive than he usually was in these early shorts, even when under the influence of alcohol. Unfortunately, while it's good to see Chaplin moving away from Keystone's brand of repetitive violent slapstick, the rest of the material isn't quite strong enough to cover.

This is another two reel comedy manufactured in Mack Sennett's comical factory out in Californy state. It caused so much laughter you couldn't hear what the actors was talkin'. Charles Chaplin was the leading fun maker. Mabel Normand, with several of the actors finished the show artistically. Sennett must have been behind the camera. Continuous laughter greeted the offering. - The Moving Picture World, May 9, 1914

It's rather chaotic (at least in the form in which it has survived), but "Caught in a Cabaret" includes some good material. It is also interesting to see some of the plot themes (identity mix-ups, interplay between different classes) that Chaplin would use in more refined ways in his later comedies. Finally, having Mabel Normand in the cast is always a plus.

While a good portion of the film is just simple knockabout slapstick, it also has an interesting setup, with Charlie working as a waiter but also trying to pass himself off as someone else so that he can move into high society. The complications that follow may not be unexpected, but they are amusing enough. Both Chaplin and other silent comedians soon learned to get much more out of this kind of premise, but this one is not bad, and it makes pretty good use of the two stars. There is more than enough to make it worth seeing for any fan of silent comedies.

'Caught in a Cabaret' is directed and written by Mabel Normand but she allows Chaplin to shine. She is the leading lady, but this movie is purely Chaplin's show. I don't know how much creative control Chaplin had over his stunts or in this film overall but his performance was great. He didn't play simple troublemaker still, his character was quite a swindler.

Charlie works as a waiter in the cheap Cabaret. In his lunch break, he saves Mabel from the mugger who has already chased off her boyfriend (Harry McCoy). Charlie presents himself as a high society man (Prime Minister of Greenland, or Greek Ambassador - I've seen two versions). Mabel invites him to her party. Charlie goes back to work, and after finishing his shift, he goes to the party. In there he gets trunk and makes somewhat of a fool of himself. Mabel's bitter boyfriend leads Mabel and the party company at Charlie's workplace where his true identity is revealed.

The plot is very coherent. Many of the jokes and gags are reused but they work well. The film doesn't offer many surprises or belly laughs but it is funny and entertaining. Besides quite a well-developed plot (well, compared to some other Keystone comedies from that era) the movie is not very memorable.

"Caught In A Cabaret" marks one of the first teamings of Mabel Normand and Charlie Chaplin, two of the titans of film comedy! Their playing is far subtler and wittier than that of their contemporaries at Keystone or at the other comedy studios.

Their chemistry is great together. Now that it is out that Mabel Normand directed several of her own and others' comedies at Keystone, what a treat to have been on the set and story conferences where she and Chaplin worked.

"Caught in A Cabaret" is also noteworthy for the teaming of Chaplin and Fatty Arbuckle. Comedy heaven! As if that weren't enough, Arbuckle's then-wife, Minta Durfee (a formidable light comedienne in her own right) rounds out the cast. Her scenes with Arbuckle are light and playful while her chemistry with Mabel Normand would've warranted an all-female comedy team.

While the film's pictorial quality has obviously aged, it shows a Victorian-era Los Angeles.

A fun, enjoyable two-reeler with a cast unmatched since "Libeled Lady" (1936)!