A Jitney Elopement

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)

Edna (Edna Purviance) has been betrothed to a rich Count by her father (Ernest Van Pelt) but she already has a secret love, The Tramp (Charlie Chaplin). Edna persuades her love to save her and he impersonates the Count at tea with Edna and her father. Once the Count (Leo White) turns up with his fantastical facial hair The Tramp is thrown out. Later in a park the foursome come together again and the two young lovers attempt to elope in an act that brings about a prolonged car chase.

There are two very distinct halves to this film and I believe that the first half is amongst Chaplin's best Essanay work to date. Having come off In the Park which was fast and a little bit messy, the first half of A Jitney Elopement was surprisingly slow, calm and more reminiscent of his later feature films. The second half though features a full on frenetic car chase which takes place in and around San Francisco and makes this Chaplin's most sprawling film to date. The title incidentally comes from the type of vehicle that the couple attempt to run away in – a kind of shared taxi.

I have to say that although this is one of Chaplin's less well received Essanay films, I really enjoyed it. It shows the two sides to Chaplin; the slow, methodical craftsman and the fast paced clown and both halves made me laugh. I do prefer the first half however. It's a joy to try and watch The Tramp fit in to unfamiliar circumstances and he gets up to the usual nonsense including using a butler as a cloak stand and dropping sugar cubes into his soup. Later in the chase scene we get to see various parts of San Francisco and its surrounding areas and this is interesting in its own right. The roads are mostly made of mud and the whole are is very sparse. The cars themselves are barely recognisable as cars and Chaplin's especially looks like a cross between a carriage and some sort of 19th century coffee machine.

Although Chaplin was under pressure from Essanay to speed up his output and sometimes the quality of his films suffered I don't think that is the case here. Yes the chase is a little bit too Keystone for Chaplin but he shows that he can still formulate great ideas and execute them well in a short time frame and A Jitney Elopement is a clever and funny effort.

www.attheback.blogspot.com

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.

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

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