WORK is one of the early silent shorts that Charlie Chaplin made before he'd quite got to grips with his famous 'little tramp' character. In this one he plays a painter and decorater who gets put upon by his boss before wreaking havoc in a typical house. Despite the short length I found this film dragged a little, with lots of scenarios featuring repetitive slapstick gags and jokes which go on and on and on. Saying that, there are some fun incidents involving a bucket of wallpaper glue and an explosive stove, and Chaplin works hard at all the pratfalls and jokes, so it's still enjoyable.

"Work" is a black-and-white silent short film from 1915, so this one is another work directed by and starring Charlie Chaplin from over a century already. You won't find too many of his regular cast members in here this time. The version I watched ran for 25 minutes roughly, but I see here on imdb that versions of 31 and even 41 minutes exist apparently too. Not sure if some scenes were lost, but I think it's rather all about the frames per second. Anyway, it's not important anyway as regardless of how long it is, simply too much happens in here for the film to feel authentic and realistic and more than shoving us one (not so) funny scene in the face. In this one Charlie's shenanigans, but also the other characters' messing up in their rage mostly have an impact on that and maybe a guilt too. It's a long and (in the truest sense of the word) messy road to that as a lot of dirty stuff happens in here (but not in the sexual sense obviously, hey these are the 10s, kissing was controversial back then already). Overall, I think the script was the main problem here as Chaplin and also others are far better actors and the constant shots at comedy made it difficult for the cast to shine or the movie to deliver in any genre as the chance was definitely there, but it almost seemed like they did not want it to happen. The slapstick just gets too much at some point, which is no surprise really as the mere quantity of jokes almost rules out that all, or even most, of them could have been convincing. One of the more known Chaplin shorts, not most known probably, but definitely not one of the best. Only watch if you really love Him (then you will also understand the capitalized H). I give this one a thumbs-down though.

Work is a rather messy Chaplin short but feels overlong as some of the situations drag on.Chaplin plays a workman on his way to decorate a house, we see him pulling his boss on a cart who also whips him, there are several scenes where he crosses a train track just before the train passes through and then he struggles to get up a hill. In one scene the boss invites a friend to hop on the cart. You can see Chaplin is already taking a stand against exploitative capitalism already!Once they arrive at the middle class house, there is all kinds of slapstick as they try to wallpaper the house, there is an exploding stove, Chaplin takes a shine to the maid, and the householder's wife is visited by her secret lover.This is the first Chaplin short I have seen in some years, they just do not get repeated as often as they used to be on television. In Work Chaplin has not found his 'tramp' persona but there is some good skills used to for the slapstick but it gets too repetitive.

The short films Charlie Chaplin made for the Essanay company during 1915 mark a transitional stage in his development as the world's favorite comedian: they're generally better than the chaotic slapstick comedies he cranked out for Keystone during his apprenticeship in 1914, but not as good as the first-rate films he would produce for the Mutual Company within a couple of years. Judged on their own merits the Essanay films are a mixed lot, although a few of them (such as The Bank and Police) are quite impressive. This particular ode to knockabout comedy, simply titled "Work," ranks somewhere in the middle range of Chaplin's Essanay output: no great shakes in itself, but generally enjoyable with some good gags and amusing sequences, especially in the first reel.A key element that distinguishes these Essanay films from the earlier ones is that Chaplin started taking pains at this point to influence viewer sympathy. In the Keystone comedies Charlie was often belligerent, drunk, rude to women and generally nasty. In one infamous Keystone release called The Property Man he works backstage at a theater, and is downright cruel to his elderly assistant. In Work, however, the tables have properly turned, and it's Charlie who is the lowly assistant, working as a household contractor and slaving away under a sadistic supervisor. In the opening sequence we see him pulling his boss and all their equipment through the streets in a rickshaw- like cart, hauling the obviously heavy load for miles, uphill and across train tracks, all the way to the mansion they've been hired to fix up. Thus, from the very outset we're rooting for Charlie and hope to see him avenge himself on his heartless boss.Chaplin the maturing filmmaker is also careful to establish that the rich couple who've hired the workmen are not such pleasant people themselves, so, naturally, when their house gets trashed we aren't especially sympathetic. When we first see the husband he's demanding breakfast from the maid, shouting and fuming. His haughty wife is no better: as soon as the workmen arrive she issues a series of fussy demands, then insults them by ostentatiously locking away her valuables. Charlie retaliates by tucking his own "valuables" into an inside pocket -- one of my favorite gags in the film. Back in Keystone days Charlie would do anything for a laugh and didn't care whether we liked him or not, but here we see the stirrings of a more sophisticated sensibility, with just a touch of social commentary. The maid, surprisingly, is played by Chaplin's longtime leading lady Edna Purviance, who was more often cast as patrician types. But Edna is a working girl this time around, almost as downtrodden as Charlie, and as soon as Charlie arrives they strike sparks and bond instantly. Their sweet, playful scenes together are a highlight of this short.Work speeds up and turns pretty silly in its latter portions, when a highly unlikely (but amusing) farcical twist involving the haughty wife's secret lover is abruptly introduced into the mix. Before long everyone is getting spattered with paste and running around at high speed as the kitchen stove blows up repeatedly. Things get strenuously wacky by the end, but in a good-humored sort of way, as if Charlie and the gang were giving us a big wink and saying "Isn't this ridiculous?" It certainly is, and quite entertaining, too.