A Jitney Elopement

In this early short comedy which Charlie Chaplin made for the Essanay company, he reworks a premise employed twice at Keystone the previous year, one which he would continue to revisit in later works: humble Charlie masquerades as a member of the nobility. His motivation varies depending on the situation, but usually he's courting a pretty girl, most often Edna Purviance. In A Jitney Elopement Charlie and Edna are secret sweethearts, but her father insists she marry a count whom he has never seen; since he hasn't seen Charlie either, the way is clear for our hero to impersonate this gentleman and win the girl. When the real count arrives the expected complications erupt. Eventually Charlie and Edna attempt to flee in a "jitney," that is, a Ford automobile which happens to belong to the count.

Even Chaplin's most ardent fans will be hard pressed to find much to enjoy in this rather uninspired short, but while watching it again recently I found three points of interest. First, there is a piece of comic business Charlie executes during a lunch with Edna and her father that is expertly rendered. While chatting away, seemingly unaware of what he's doing, Charlie slices the bread he's holding into a perfect coil, then briefly "plays" it like a concertina, i.e. one of those musical instruments that looks like a big Slinky. It's a brief gag, practically a throwaway, but beautifully performed. It also suits the moment, for Charlie is nervous, and this gives him something to do with his hands. Next, a sequence in a park shortly thereafter features a very rare instance of Edna Purviance taking part in knockabout comedy: she's sitting on a tree branch, and tumbles to the ground twice. For Mabel Normand at Keystone this would have been all in a day's work, but Edna is usually more demure, and was very seldom put in this sort of situation. Lastly, the movie concludes with an extended car chase, which is also a rarity in Chaplin's work. We almost never see Charlie at the wheel of a car. In later years he wrote in his autobiography that he didn't like chases because the player's personality is lost; on those occasions when he did employ chase sequences, they usually occur on foot. For what it's worth, the automobile chase in A Jitney Elopement is well filmed and well edited, with a cute gag or two along the way and a nice wrap-up.

Beyond these minor points, admittedly, there isn't much to see here that Chaplin didn't do better elsewhere, but for viewers interested in studying the work of this uniquely gifted comedian I'd say the "bread gag" and the chase finale make this film worth a look. And for fans of the beautiful, underrated Miss Purviance, this may be your only opportunity to see her fall out of a tree, not once but twice!

Doesn't bog down with repetitive gags; Edna Purviance shows why she belongs in frame.

A few novel choices from Chaplin here:

(1) we find his character in a place of advantage -- he's already 'got the girl,' and has a more meaningful motivation behind his actions besides being a vaudevillian 'faun' archetype

(2) because he's initially masquerading as a different character, a whole new layer of humor is unlocked as he tries to play a role for which he's clearly out of his depth

(3) The brick throwing set pieces feel cut even shorter than usual, removing 'flight' and 'impact' frames -- only revealing the victims' reaction after being struck (perhaps removing the need to be 'accurate' while aiming the projectiles, or to soften the vulgarity of the action?)

Enjoyed:

-- "Iona Lott"

-- Edna Purviance's dynamic performance and range of expression (key to buying that she actually loves Charlie)

-- the continuity of the 'cigars under the hat' gag

-- the car chase sequence (the undercranking makes everything feel so intense)

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

A Charlie Chaplin film that starts with a chuckle and ends with a roar. The funny business leading up to the elopement is excellent preparation for the flight of the couple in their jitney auto. Two reels of genuine "touch-and-go" farce. - The Moving Picture World, April 17, 1915

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.