A Jitney Elopement

Now well into his tenure at Essanay studios, this is the point where Charlie Chaplin really starts to gain confidence and build a blueprint for his short features. What's significant about a Jitney Elopement is that it represents the most serious thought he has put so far into developing a story, and trying his hand at straight dramatic direction.

The picture opens, not with the tramp, but with a scene establishing the set-up and a background story for the action to take place in. Chaplin here demonstrates what he has learnt from DW Griffith, with some neat, functional shots, and making nice use of tree branches to frame Edna Purviance. As his little tramp character has developed, he is giving him more attention-grabbing entrances, this time appearing from an iris in an iconic pose, framed starkly against a brick wall.

However, a Jitney Elopement is often thought as one of Chaplin's weakest Essanay efforts, and it's not hard to see why. In spite of this promising opening, Chaplin seems to have skimped on good comedy. The dining-table routine is a bit lifeless, and we then descend into a Keystone-ish farce-in-the-park and car chase. There also seem to have been some problems with editing, as a few two-shot gags are poorly timed looking very unprofessional. Great supporting players like Leo White and Bud Jamison are underused. Chaplin would make a more successful job of blending gags with a romantic storyline in his next appearance – The Tramp.

And now, the all-important statistic –

Number of kicks up the arse: 2 (1 for, 1 against)

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.

From his Essanay period after leaving Keystone, 'A Jitney Elopement' is not one of his very best or even among the best of this particular period. It shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career, from 1914, The Essanay period is something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in the more than worthwhile 'In the Park'.

'The Jitney Elopement' is not one of his all-time funniest or most memorable, other efforts also have more pathos and a balance of that and the comedy. The story is still a little flimsy and is also rather disjointed with tonally it feeling like two different films, the second half being rather too frenetic on the whole.

On the other hand, 'A Jitney Elopement' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work (even when deadlines were still tight) and not churning out as many countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.

While not one of his funniest or original, 'A Jitney Elopement' is still very entertaining with some clever, entertaining and well-timed slapstick. It moves quickly and there is no dullness in sight.

It is notable, as mentioned, for Chaplin's musical instrument playing, Edna in knockabout comedy mode (not seen before) and the exciting car chase sequence (a first for Chaplin).

Chaplin directs more than competently, if not quite cinematic genius standard yet. He also, as usual, gives an amusing and expressive performance and at clear ease with the physicality of the role. The supporting cast acquit themselves well, with charming Edna Purviance.

Summing up, worth a look though Chaplin did better. 7/10 Bethany Cox

This is one of 5 Chaplin that are on the first DVD of Chaplin's Essanay Comedies. In general, compared to volume 2, the shorts on volume 1 aren't as well-made--because the DVDs are arranged chronologically. Chaplin's skill as a film maker and actor appeared to improve through his stay with Essanay Studios.

The first half of this film consists of Charlie trying to rescue his love from a forced marriage to a rich swell. He impersonates the swell and the film runs smoothly--especially since there is a real plot--something many of the Keystone and early Essanay shorts lack. However, after Charlie's ruse is discovered, the film becomes standard slapstick--with chases and violence, etc. It's like two very different shorts fused together without regard to the whole.

Chaplin at Essany Studios, the one he was at before moving to Mutual studios had Chaplin creating his love for spoofing the upper classes. In this movie, he does not play the tramp. Instead a working class fellow who is in love with a upper class girl but problems ensue when a Count asks for hand in marriage. His beloved asks to be saved and Chaplin comes in to impersonate the Count. The Count arrives while he is there and Mayhem ensues. I cannot pan a Chaplin movie or short. The worst rating I have ever given a Chaplin movie is an 8/10. This is because of his inventive slapstick and physical grueling and innovative comedy routines. In this one, we get a great car chase and a scene where Chaplin holds the camera still while the cars go round and round in circles recalling a scene from the first Pink Panther movie, A Shot in the Dark. Though not perfect, great fun, none the less.

In this film, Charlie Chaplin must break up an undesired arranged marriage for his beloved girlfriend in San Francisco.

Her father wants her to marry a well-to-do count who has requested he make the arrangement for them.

However, she is attracted to Charlie's wit and antics, and asks him to be her knight in shining armour, by whisking her away from this unhappy fate.

At first, Charlie pretends to be the count, wooing both her and her father in the process...that is, until the count shows up and exposes his attempted con.

Run out of the house, Charlie must resort to his back up plan...which involves stealing her away from the count when they go to visit Golden Gate Park.

He puts his plan into action, and it results in a hilarious slapstick chase, as the count, her father and a couple police officers who get caught up in the ordeal, begin to pursue the two lovers as they try to escape through the park.

Culminating with the first filmed car chase sequence in the history of San Francisco...beginning, first, on the speedway, in front of the iconic windmill, and eventually ending up on the Great Highway.

All in all, it's a simple, yet effective, silent romantic comedy...and one of the first films shot in San Francisco, which would later become an iconic filming location for many films to come.

A bit of a prcedent setter, one might argue.

6 out of 10.