Smartorhypo Highly Overrated But Still Good

Platicsco Good story, Not enough for a whole film

WillSushyMedia This movie was so-so. It had it's moments, but wasn't the greatest.

Claire Dunne One of the worst ways to make a cult movie is to set out to make a cult movie.

Horst in Translation (filmreviews@web.de) "The Count" is another Charlie Chaplin 20-minute short film. It was made in 1916, almost 100 years ago or maybe over 100 years already when you read this review. It was silent and black-and-white obviously and is considered one of the films Chaplin made during his strongest years before his full feature film career. Sadly, I cannot agree in this very particular case. I found this one of his more forgettable films. Purviance and Campbell are welcome additions as always, but I am not too big on Chaplin films that are basically nothing but a collection of slapstick and other comedic elements. It would have been nice to actually see a better storyline in this one here. Not recommended and I suggest you check out some of his superior short films. There are enough that fit this description.

CitizenCaine Chaplin edited, wrote, directed, and produced his fifth film for the Mutual Film Corporation, and as with each of his previous films with the company, they're all a departure from the preceding film. In this film, Chaplin plays a tailor's assistant who gets fired from his job (by Eric Campbell) for his inability to properly measure a lady for a dress. He gets booted out by Campbell and happens upon a cook in a kitchen who almost immediately has to hide him from what appears to be her spouse or employer. Plenty of fun ensues as Chaplin does not care to be holed up in close quarters with a smelly or burned offering from the cook. Chaplin runs into his old boss in a glitzy mansion, as his boss is there to impersonate a count, so he can wed Miss Moneybags (played by Edna Purviance) and avoid toiling away as a tailor. His ex-boss quickly decides Chaplin can pose as his secretary, so he can continue his pursuit of Purviance as the "count". From here on in, chaos ensues. Chaplin ends up competing with his ex-boss for Purviance's hand, namely on the dance floor where Chaplin exhibits the most anatomically unfeasible dance moves one could imagine. There's plenty of fun at the dinner table also as spaghetti and watermelon are both served! Audiences loved when the common man got the better of the upper-crust, and so it's no wonder Chaplin used this idea of posing as or being mistaken for upper class society with regularity. However, in this film, the antics and plot development are much more harried than usual. *** of 4 stars.

FerdinandVonGalitzien After having seen in the "Schloss", "The Count", a film directed by Herr Charles Chaplin in the silent year of 1916, this German Count must enumerate both the accurate and inaccurate elements in order to prevent the many misunderstandings that still persist among the longhaired around the world and the provincial aristocracy, even after centuries.Inaccurate :· A genuine Count's secretary never accompanies his master to a ball · The free style dancing is not allowed in a ball · In an elegant and aristocratic dinner, ordinary foods such as watermelon or spaghetti never are served. · A wealthy heiress never dances with a man in civvies · A wealthy heiress usually is not young, thin or charming.Accurate:· The servants always cause problems for their masters · The aristocratic floors always are waxed · The aristocratic servants wear slovenly wigs · A genuine Count wears top hat and matching moustacheThose were necessary clarifications so in this way it does depict aristocratic business in the correct manner.And now, if you'll allow me, I must temporarily take my leave because this German Count must continue in this aristocratic corporate spirit.Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

Snow Leopard There's not much subtlety in "The Count", but there is some pretty good slapstick. Chaplin regular Eric Campbell gets a big role in this one, and he and Charlie always make a good pair of comic rivals. The settings offer some good props and comic possibilities, and the story and the cast make pretty good use of them, as well as the kind of identity mix-up that Chaplin liked to use. There is pretty good detail in some of the settings as well, making them rather interesting in their own right, as a small look into the daily life of 1916.Chaplin and Campbell have some good moments in their series of confrontations with one another, getting into a series of antics first in a tailor's shop and then at a formal dinner. The first part moves pretty slowly at times, but then things start to pick up, and there is a rather manic finale. Edna Purviance also appears, but she does not get a lot of material to work with this time.It's not among the best of Chaplin's shorts, but it's still worthwhile. There are no especially imaginative or innovative ideas here, but there is enough funny slapstick to make it worth seeing.