His New Job (1915) Charlie Chaplin

His New Job is a 1915 film directed and starring    • Charlie Chaplin  .
Chaplin's first film for the Essanay production company, after his first year at Keystone, its original title, His New Job , takes on a very special meaning.
The young Gloria Swanson (0:14, the secretary in the background), destined to become one of Hollywood's biggest stars, makes one of her first appearances in this film.

Chapters
00:00 - Titles
00:11 - A New Job
08:22 - Engaged
12:53 - His first role
20:27 - Troubles
27:05 - Stop!

Chaplin is an aspiring actor that finds work at the cinema as a prop finder. The same circumstances that get him into trouble also offer him the opportunity of debuting as an actor. Gloria Swanson appears as an uncredited extra, she is the young lady at the typewriter in the opening scene from 00:14 to 02:51.

Cast
Charlie Chaplin as Film Extra (0:12)
Gloria Swanson as The Stenographer (0:14 uncredited)
Leo White as Studio Clerque Actor (0:14), Hussar Officer
Robert Bolder as Studio President(0:58)
Charles J. Stine as Director (1:34)
Jess Robbins as Cameraman (1:34)
Ben Turpin as His squint rival (2:37)
Charlotte Mineau as The Leading Lady (5:06)
Arthur W. Bates as Carpenter (8:57)
Tom Nelson as the Star (20:27)

In this film, the gags follow one another uninterruptedly, with Chaplin as a genial disruptive element. The year before, at Keystone, he had already shot    • Charlot entra al cinema (1914) George...  , and here we find again the drollery of constantly interrupted takes, with Chaplin stubbornly unable to respect the rules of the set, or to distinguish between staging and reality.
The "meta" game of film-within-a-film is accompanied here by its staging, with three discreet camera movements. At first, we see the entire set, cameraman, director and camera included, then a first tracking shot (18:25) gradually refocuses the image on the actors alone. This effect, which can still be found in many films today, accompanies the traditional "motor! action!" indicating the start of a take, before isolating the scene being filmed. Using it as an introduction to a series of expected gags, Chaplin's initial position behind the curtain (with his buttocks exposed, as it were, to an inevitable sword blow) reinforces the comic effect by playing on the discrepancy between the professional seriousness of the shooting, the aristocratic decorum proper to the historical genre, and the spectator's expectation of the joking dysfunctions introduced by the clown-vagabond, all centered on the buttocks at this point in the film - at the end of the sequence, Charlot even goes so far as to literally attempt to "saw the ass" of the replacement carpenter (Ben Turpin, as a comic puppet manhandled by Charlot throughout the film).
For the big romantic scene Charlot is to shoot with actress Charlotte Mineau (making her first appearance here), the camera makes a second and then a third notable move. The frame shifts slightly for the first time (23:10), refocusing the hilarious gag of the column falling on Charlie, with the director and his cameraman in the background. The film's final camera movement is more dramatic: a slow tracking shot (25:00) accompanies the Chaplin-Mineau couple down the grand staircase, accentuating both the majesty of the scene and the comic effect of its constant parodic counterpoint. The result is a pinnacle of comic genius, blending the naive sincerity of a self-confident Charlot with his incorrigible clumsiness, where the exasperation of his partners also serves to fuel the viewer's laughter. The film ends, moreover, when Charlie manages to overcome all the characters (star actor, carpenter, director) driven mad by his behavior (23:58).

#CharlieChaplin #hisnewjob #essanay

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