Charlie Chaplin at Keystone [DVD]

This is it folks. 34 painstakingly restored Keystone films showcasing the evolution of Charlie Chaplins early film career. Featuring the films he made at Mack Sennets Keystone studios in 1914. Including 16 films directed by Charlie Chaplin himself. The films have all new musical scores from Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer, The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur. All films fully restored from the best 35mm elements gathered from around the world and painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. A process which has taken 8 years to complete. This set is a must for all Chaplin fans and those interested in silent cinema. Many other stars feature alongside Chaplin such as Roscoe Fatty Arbuckle, Mabel Normand, Mack Swain, Ford Sterling, Chester Conklin, Edgar Kennedy, Billy Gilbert, Charley Chase and Marie Dressler. This BFI 4 dvd release is identical in content to the vastly more expensive region 1 Flicker Alley set. A must buy. The Films - MAKING A LIVING KID AUTO RACES AT VENICE, CAL MABEL'S STRANGE PREDICAMENT BETWEEN SHOWERS A FILM JOHNNIE TANGO TANGLES HIS FAVORITE PASTIME CRUEL, CRUEL LOVE THE STAR BOARDER MABEL AT THE WHEEL TWENTY MINUTES OF LOVE CAUGHT IN A CABARET CAUGHT IN THE RAIN A BUSY DAY THE FATAL MALLET THE KNOCKOUT MABEL'S BUSY DAY MABEL'S MARRIED LIFE LAUGHING GAS THE PROPERTY MAN THE FACE ON THE BAR ROOM FLOOR RECREATION THE MASQUERADER HIS NEW PROFESSION THE ROUNDERS THE NEW JANITOR THOSE LOVE PANGS DOUGH AND DYNAMITE GENTLEMAN OF NERVE HIS MUSICAL CAREER HIS TRYSTING PLACES GETTING ACQUAINTED HIS PREHISTORIC PAST TILLIE'S PUNCTURED ROMANCE (Feature Length) The Extras - * Charlie's White Elephant (1916, 6 minutes): an animation by John Colman Terry and Hugh Shields featuring Chaplin. * Inside the Keystone Project (2010, 10 minutes): a short documentary about international restoration efforts behind the films in this collection * Silent Traces (2010, 12 minutes): historian John Bengston on several of the Keystone locations * Extracts from A Thief Catcher (1914,7 minutes): a film recently rediscovered by Paul E Gierucki, with a cameo of Chaplin as a Keystone Cop * Stills Gallery * Illustrated booklet written by Jeffrey Vance

I must confirm the enthusiasm that other reviewers have expressed for this set of films. One of the discs' extras, about the history of Keystone, sets out quite vividly the careless violence, mutilation and neglect to which the original copies of these films, and their original negatives, were subjected from the very beginning. That they survive at all seems remarkable; to see the second film Chaplin made, "Kid Auto Races", in totally pristine condition, is absolutely astounding. Not all look as good as that, but even a film like "Cruel Cruel Love", covered though it is at times with small blotches, still shows a clear and well-defined picture beneath them. "Recreation", by the booklet's own admission, only exists in fragmentary copies and with terrible picture quality, but as one sits, watches, and sighs, a miracle occurs. For a couple of minutes or so, the picture is, without warning, completely transformed into a beautifully contrasted and perfect scene, in which all of the actors one has already glimpsed through the murk, reappear, so that one can now easily see how they should each have looked earlier, as individuals with their own special characteristics. The print quality throughout the set, is infinitely better than any previous dvd releases of this material, and I own several, that I have seen. It is not just a matter of print degradation, incorrect projection speeds, jumps in action caused by missing frames, and missing footage in these earlier issues on disc. Often they have been released with the extreme left side of the frame missing, resulting in characters being sliced down the middle, to make room for a sound track. On other occasions, it is the top of the frame which is gone, slicing heads in half; or a copy which has zoomed onto the centre of the frame, and incorporated both of these problems together with frequent grotesque close-ups. All of these problems are largely eliminated in this set, and this only because the world's archives have been searched for early nitrate negatives, positives, and in a couple of cases, paper prints. The films are, collectively, unlikely to ever look better than this. Another problem has been with inter-titles. One of the reviewers has commented that it is good here to see so many titles, but in truth the problem in the past has been later additions, at the times of re-release, of titles which either clarify the action, largely by inventing dialogue, with mixed success, or which introduce new "jokes" to describe events, jokes which today seem totally unfunny, patronising, self-conscious and "smart-alecy" All of these subsequent modifications have been removed, and the simplicity of the original Keystone titles, where they still exist, has been returned to. The one major exception seems to be in "The Face on the Barroom Floor", which is itself a pastiche of a pre-existing poem. The original titles made brief use of quotation from the poem, but here the use of quotation has been extended ( and previous faulty editing of events corrected) so that not only does the narrative make more sense than hitherto, but we can now understand jokes which demand some knowledge of the original. Another correction worth mentioning, is to "The Fatal Mallet", parts of which had been printed in reverse on the materials used in some previous dvd releases, but not so here. As other reviewers note, the accompanying music has all been specially composed for each individual film, albeit occasionally utilising well-known tunes, by a number of composers, and this is a real blessing, because earlier incarnations of these films on disc have usually been accompanied by endless repetition of the same 4 or 5 jangly and remorselessly cheery pieces of music from film to film ad nauseam, to the real detriment of the viewing experience. Different approaches to the task have been used; in some cases the music does genuinely react to events on screen, whilst in others, music which conveys only an appropriate overall mood or tempo has been favoured, but of course even in the shorter Keystone films, mood and tempo does change, from moment to moment sometimes, and momentarily the music can seem at odds with this. The restoration of these prints has, for me, had an unexpected outcome. No matter how faded, unfocused, heavily grained and blotched, and degraded earlier dvd copies have been, the men have always been instantly recognisable and identifiable as individuals, partly because the same half dozen or so reappear from film to film, but largely because of the easily distinguished physiques, facial hair, and pantomiming gestures. For the women it has not been so. They have not (with one exception) been easily distinguished by physique, blondes and brunettes have merged into a uniform grey as a result of many generations of duping, and often their performances are characterised, not by pantomime, but by more subtle physical and facial movements and expressions, often lost with image degradation. Moreover, individuals tend to appear prominently, and at times briefly, only in three or four films each, though more often as part of an anonymous background, making recognition in the past quite difficult; I suspect that even Mabel Normand herself would not have been so easily identifiable if so many of her film titles did not announce her name. But these restorations change all that, and several actresses now spring to our attention, their individuality restored. Charlie and Mabel apart however, no actors' names appear on the films themselves ( excepting the feature,"Tillie's Punctured Romance"); there was no star system in 1914 when these films were shot. It is therefore a real pity that the accompanying booklet makes no systematic attempt to identify the supporting cast; there is the occasional naming of a single prominent support in a film, but little more. There is really a case here for giving credits where credit is due! My final comments are, I suppose, designed only for the most fervent Chaplin/Silent enthusiasts, and the first concerns "His New Profession". It baffles me as to why, given the meticulous care which has gone into these discs, the print constructed here has been "topped and tailed", omitting footage which is readily available on other dvd releases. The film should begin with a close-up, filling the screen for just over two seconds, of an amply proportioned and curvaceous bathing beauty, giving us ample time to take in, not ony her evident charms, but also the ironic fact that she fills the front page of the Police Gazette! Then the paper is lowered, and we see that the reader is Charlie; it is only at this point that the current print kicks in. Charlie flicks at a couple of pages, before looking more intently at the front page, a slight look of guilty pleasure as he takes the girl in, then, after he turns the page over, a satisfied smile flickers across his face, followed by the decision to tear the page out and pocket it; he gazes at the camera guiltily, as if afraid of being observed, as he does so. But the absence of those first two seconds makes it much more difficult for the viewer to appreciate all of this, and we seem to have a case of life emulating art, as if someone has snipped out and pocketed the "erotic" footage just as Charlie has removed the page. The film should conclude with Charlie going over to the bogus wheelchaired blind beggar, booting I him out of the frame, and walking off with the girl (an unidentified Peggy Page) and again this scene is readily available on other dvd releases, even referred to in the accompanying booklet, but completely missing here. My next point refers to the booklet, and to "Tango Tangles". At the dance-hall which is the setting for the film, Charlie tries to flirt witha rather statuesque but uninterested hat-check girl, who however later becomes much more responsive when approached by band-leader Ford Sterling, and by Roscoe Arbuckle. She is identified in the BFI booklet, and in other sources, as Minta Durfee, who indeed does appear in several of these films, but it is quite clearly not her here! The same girl appears prominently, and revealing considerable personality, in the opening minutes of "Between Showers" as cop Chester Conklin's girl-friend, and has been identified by others, with varying degrees of confidence, as Sadie Lampe; she can also be glimpsed early in "A Film Johnnie" (in which Minta Durfee does actually appear) as an audience member in the cinema to the left of the central aisle, more prominently as the maid in "The Star Boarder", as a slummer near the end of "Caught in a Cabaret", and as a hotel guest in "Mabel's Strange Predicament". One final point. Those who buy this set might be interested to look at the Arbuckle/Keaton short, "Back Stage"(1919), available on You Tube, to see just how much it borrows from the first half of Chaplin's "The Property Man" (1914, as are all of the 35 films, including part of the recently discovered "A Thief Catcher", in this hugely important set).

In more than 80 years you can view these keystone comedies at their correct speed, there correct composition and much improved contrast. (there a still a few scratch marks on the films, but a 100% improvement on what was available) This set also includes a doco on the restoring efforts that have gone into producing this set, a very pain staking process to restore these films. If you want to see Chaplins early work, this is the set to purchase. A+

Fascinating collection of early slapstick comedy--tastes in comedy have changed, but this is where Chaplin started, and fans of Chaplin (or film history) will find this set very interesting. Quality of film reconstruction is excellent throughout.

Dies sind Charlie Chaplins erste Filme, die 1914 allesamt bei den Keystone-Studios entstanden. Zu sehen sind alle Keystone-Filme. Gegenüber den bisherigen Veröffentlichungen, die nur auf Geldmache von billigen Zusammenstellungen abzielten, finden sich in dieser liebevollen Box die Filme in hoher Qualität. Hinzu kommt, dass die Musik zu den Filmen neu und melodisch mit den Filmen abgestimmt ist. Das lästige Klaviergeglimper entfällt somit. Kaufen Sie sich diese DVD-Box, Sie werden es nicht bereuen!

Good quality!

At last all the "lost chaplin films" compiled in the best quaility and complete form. The best way to have a complete Keystone films collection.

I must say, this is a must have for any Chaplin Fan. This set is very reasonably priced and the quality of film is pretty good. I would like to point out that it is region 2(UK), Which will not work on American DVD players. If you have a region free DVD player it's perfect. There is four discs in the set, which is the same as the American set. The set has 34 of the 35 films that Chaplin made at Keystone, plus special features. Here is a complete listing of all the shorts: MAKING A LIVING KID AUTO RACES IN VENICE BETWEEN SHOWERS A FILM JOHNNIE TANGO TANGLES HIS FAVORITE PASTIME CRUEL, CRUEL LOVE THE STAR BOARDER MABEL AT THE WHEEL (2 reels) TWENTY MINUTES OF LOVE CAUGHT IN THE CABARET (2 reels) A BUSY DAY (split reel released with non Chaplin THE MORNING PAPER) THE FATAL MALLET THE KNOCKOUT (2 reels) MABEL'S BUSY DAY MABEL'S MARRIED LIFE LAUGHING GAS THE PROPERTY MAN (2 REELS) THE FACE ON THE BAR ROOM FLOOR RECREATION (split reel released with non Chaplin THE YOSEMITE) THE NEW PROFESSION THOSE LOVE PANGS TILLIE'S PUNCTURED ROMANCE (6 reels) GENTLEMEN OF NERVE HIS TRYSTING PLACE (2 reels) GETTING AQUAINTED HIS PREHISTORIC PAST (2 reels) CAUGHT IN THE RAIN MASQUERADER THE ROUNDERS THE NEW JANITOR HIS MUSICAL CAREER DOUGH AND DYNAMITE Most are the 35mm negatives, but there is some 16mm footage mixed in.