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His New Job (1915) - Video On Demand

  His New Job - Charlie Chaplin - His New Job  

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His New Job - Movie Review

Charlie is trying to get a job in a movie. After causing difficulty on the set he is told to help the carpenter When one of the actors on a movie set doesnt show up, Charlie gets his chance to be on camera and replaces the actor. While waiting, he plays in a dice game and gets on many people's nerves. When he finally gets to act, he ruins his scene, accidentally destroys the set, and tears the skirt of the star of the movie.

Part of Chaplin's creative spurt at this time is no doubt the result of suddenly being endowed with more freedom than he was able to achieve at Keystone, the studio he had recently left. This is Chaplin’s first film for Essanay and "His New Job" is a thinly disguised poke at his old employer, about working as a movie actor in the "Lodestone" Film Company.

This film shows how Chaplin's approach to comedy differs significantly from the Keystone formula -- the pace in the action is noticeably slower. By slowing the pace, Chaplin can better mine each scene for more comic gold, and he characteristically bases the humor more on pantomime than on pure slapstick. Even a simple act such as changing into a costume he wears to shoot a scene in "His New Job" provides a wealth of material for comic invention. In these movies, people and things supply a continuous supply of props for Chaplin's creativity.

His New Job - Cast & Crew

Directed by: Charles Chaplin
Produced by: Jess Robbins
Written by: Charles Chaplin
Starring: Ben Turpin, Charles Chaplin, Charlotte Mineau
Copyright: Public Domain
Format: Silent, Black + White
Duration: 32 mins
Year: 1915
Tags: Chaplin, Pantomime, Slapstick, Vaudville

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His New Job Trivia - Did You Know?

Along with the flurry of new ideas, the character of the tramp is still under development in these early films. This tramp character is still closer to the Keystone tramp -- quite simply, a nuisance. There is no heroism toward the down-trodden, no sense of the hopelessness of poverty, no resentment towards the oppression of authority here. The tramp of these films is driven purely reactively by his senses, flirting with every hour-glass figure he encounters, fighting with anyone who looks at him the wrong way, and willing to do anything, honest or otherwise, for immediate gain.

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Burlesque On Carmen | In the Park | Easy Street | His New Profession | A Jitney Elopement |

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