Paul Hesp The Immigrant was the first Chaplin film I ever saw. In the early 1950s, with little pocket money for the shows in the village cinema and virtually no TV ownership, the occasional Sunday film afternoons organized at the home of a school friend by an uncle of his were a real treat. The film collection wasn't that big, so I must have seen The Immigrant a dozen times, as one of a dozen kids screaming with delight, even in anticipation of scenes we already knew by heart. Many decades later the film has lost nothing of its quality, never mind that it is from an era when film was a sort of vaudeville theatre shot with a static camera. For a start there is the figure of the Tramp, with his physical agility, precise movements and wonderful range of facial expressions. Then there are the many bizarre types, especially the waiter (Eric Campbell) who frightened me to death when I was a child: a huge man with monstrous eyebrows over bulging eyes, capable of bending coins (false, I know) with his teeth. There is the hilarious rolling of the immigrants' ship, which forces people sitting on opposite sides of a table to take turns shovelling food into their faces and has fat ladies rolling like barrels. Finally, this is one of Chaplin's very 'economical' early shorts: every shot counts. In spite of their great qualities, Chaplin's later, longer films are occasionally a bit sloppy and marred by patches of sentimentality, reminding me bit of Dickens' novels. As do the many bizarre and theatrical characters and the depiction of grinding poverty in Chaplin's films. Dickens, very much a man of the theatre himself, no doubt would have loved film as a medium. A pity Chaplin never took on David Copperfield, Hard Times or Bleak House.

brando647 This was my first ever exposure to the works of Charlie Chaplin and remains one of my favorites. We watched THE IMMIGRANT at the introduction to our discussion of silent film in my film history class and it was this movie (as well as EASY STREET, my all-time favorite Chaplin) that solidified my Chaplin fandom. It's clever, funny, and tells a pretty coherent story over the course of its meager twenty-four minute run-time, which isn't necessarily the case for all his films in my opinion. Whereas some just seem to drop Chaplin in an amusing situation and let him do his thing (e.g. THE CURE, where he's let loose in a health spa), THE IMMIGRANT tells the brief story of…well…an immigrant. Chaplin's lovable tramp is one of many immigrants huddled aboard a ship bound for America where he hopes to make a new life. On his journey, he meets and falls for a beautiful woman making the journey to America with her ill mother. Upon making landfall, Chaplin is penniless (having given his gambling winnings to the beautiful woman after her mother's money was stolen) and hungry. He finds a coin in the streets and pops into a restaurant for a meal when he crosses paths with the woman again. He continues to woe her, hoping to win her heart while at the same time dodging the angry brute of a waiter who's not afraid to rough up patrons who try to skip out on a bill.THE IMMIGRANT is one of the most consistently funny Chaplin short films I've had the pleasure of watching. The gags are funny and, unlike some of his other films, the jokes don't run on too long. As I mentioned before, I also love the fact that there's a solid little story in there. It's the usual stuff: boy meets girl, boy falls for girl, boy wins girl. We've seen the same thing in plenty of his films, but it's the jokes and visual gags that make each movie special. I love the entire restaurant sequence, with Chaplin caught between trying to win the woman's heart while quietly panicking over his restaurant bill when his coin is discovered to be bogus. It's a fun movie and that doesn't wear out it's welcome halfway through with stale gags. I always have a hard time writing comments on Chaplin's films and putting up a convincing argument for new people to check them out; these movies were made before cinematography was more than some basic lighting and a locked down camera so there really isn't much to say aside from…it's funny. Check it out. It won me over and, if you've never seen it, it might win you over as a Chaplin fan too.

Robert J. Maxwell Chaplin had just gained release from Essanay and had control over this production. It resulted in one of his most subtle and funny short films, with much less of the pointless slapstick of his earlier, less shaped work. There are really one two scenes. Chaplin's tramp is on a ship bringing immigrants to America and meets Edna Purviance, his real-life main squeeze. Next, Chaplin, with no money to speak of, finds himself in a restaurant facing the mean, monumentally gigantic form of waiter Eric Campbell.Well, Chaplin does a marvelous job with difficult material. I mean, the material must be difficult when the humor (and sentiment) has to depend on action without any dialog -- and without simple-minded pratfalls.There is a sequence involving a coin that's been dropped on the floor that's as carefully choreographed as any dance involving Gene Kelly and Debby Reynolds in "Singin' In The Rain." So many people claim that Charlie Chaplin was a genius that I can almost believe it. But I wouldn't go that far. I'd just say he's very talented.

secondtake The Immigrant (1917)A Sweet Summation of What Chaplin Was--and IsThis short Charlie Chaplin feature, just under half an hour, is easy to love and still modern in its greater sensibility. It plays with familiar attitudes--winning money then having to give it all away, or just boy meets girl--and it keeps them fresh, even now, almost a century later. Chaplin shows off physical comedy with compactness on the boat--the rocking back and forth is just short of frenetic at times, though we never quite get dizzy (at least not on the small screen), I think because his movements counteract the boat's so elegantly. It's no secret what he's doing, and I think that is part of his charm. We can imagine a friend doing the same in a moment of inspiration, no tricks, just comic ballet.Once the poor immigrants are set up as not quite destitute (despite the dying mother), and we pass time just as much as they do, there is the shot of the Statue of Liberty passing, and even Chaplin, himself an immigrant, stops his action and watches. This is as the U.S. is about to enter WWI, immigrants are flooding in, and patriotism is expected. The ending is also classic Chaplin--it shows his big heart, his humble intentions, and his winning charm. He gets the girl (with a little physical assistance in the name of comedy, but she's laughing). A terrific capsule of what the man's comedy is about. And the existing transfer to video is clear, with just a few missing frames evident at the start.