This was Charlie Chaplin's second picture at Essanay studios, and his second to co-star Essanay's resident funny man Ben Turpin, who had been with the studio since its first picture in 1907. With the exception of his earliest Keystone appearances, many of which were ensemble pieces, A Night Out is perhaps the closest Charlie came to being part of a double act.
Turpin was neither as versatile or inventive as Chaplin, but he had bags of experience and his movements were spot on. In particular, and importantly for this picture, he could do a great drunken lurch and could pratfall superbly. Here he has almost as much screen time as the tramp himself, and even gets a few bits of comedy business to himself. Chaplin's male co-stars tended to be the butt of much of the physical comedy, and because he falls so well, every time he gets knocked down he draws attention to himself and away from Charlie. Turpin is hilarious here and he really lends something to this picture, but to progress Chaplin couldn't let anyone share his limelight, and it's no surprise that the pair would make just one more picture together.
Like most of the early Essanay shorts, A Night Out doesn't really have much in the way of plot, being simply the tramp (or, in this case, tramps) wandering around causing mayhem in an established environment. Although the result is not entirely satisfying, Chaplin does take time to develop his tramp character with drawn out comedy routines and interaction with the props and people of the setting. He is continually reducing the number of edits and keeping each series of gags to a single shot. For example, in the Keystone pictures and his first Essanay picture (His New Job), when characters get pushed over, more often than not there is a cut showing them flying into the next frame. However, in those early scenes in the restaurant in A Night Out, whenever people fall down it's towards the back of the room, so as not to break the flow at this more relaxed stage of the picture. Chaplin does however put in a few of these two-shot pratfalls towards the end to liven up the frantic finale.
A Night Out marks the debut of Edna Purviance, who would be Chaplin's only leading lady for the next eight years. Chaplin didn't demand his female leads become part of the comedy, he only required them to act well, and Purviance was a superlative actress. She is a relatively minor figure in this one however, although Chaplin does treat her to one of his rare close-ups. A Night Out is also the first time we get to see Leo White's "French character". White was another hilarious supporting player in the Chaplin troupe, who at times would also threaten to upstage Charlie, although his comic persona – a stuck-up, straight-laced twerp – was so different to Chaplin's that he made a perfect counterfoil and antagonist for the tramp. Ben Turpin however was too similar to Chaplin's tramp character, so his days as Charlie's sidekick were numbered. A Night Out is the best opportunity to see him in action.
And now, the all-important statistic –
Number of kicks up the arse: 4 (3 for, 1 against)
Turpin was neither as versatile or inventive as Chaplin, but he had bags of experience and his movements were spot on. In particular, and importantly for this picture, he could do a great drunken lurch and could pratfall superbly. Here he has almost as much screen time as the tramp himself, and even gets a few bits of comedy business to himself. Chaplin's male co-stars tended to be the butt of much of the physical comedy, and because he falls so well, every time he gets knocked down he draws attention to himself and away from Charlie. Turpin is hilarious here and he really lends something to this picture, but to progress Chaplin couldn't let anyone share his limelight, and it's no surprise that the pair would make just one more picture together.
Like most of the early Essanay shorts, A Night Out doesn't really have much in the way of plot, being simply the tramp (or, in this case, tramps) wandering around causing mayhem in an established environment. Although the result is not entirely satisfying, Chaplin does take time to develop his tramp character with drawn out comedy routines and interaction with the props and people of the setting. He is continually reducing the number of edits and keeping each series of gags to a single shot. For example, in the Keystone pictures and his first Essanay picture (His New Job), when characters get pushed over, more often than not there is a cut showing them flying into the next frame. However, in those early scenes in the restaurant in A Night Out, whenever people fall down it's towards the back of the room, so as not to break the flow at this more relaxed stage of the picture. Chaplin does however put in a few of these two-shot pratfalls towards the end to liven up the frantic finale.
A Night Out marks the debut of Edna Purviance, who would be Chaplin's only leading lady for the next eight years. Chaplin didn't demand his female leads become part of the comedy, he only required them to act well, and Purviance was a superlative actress. She is a relatively minor figure in this one however, although Chaplin does treat her to one of his rare close-ups. A Night Out is also the first time we get to see Leo White's "French character". White was another hilarious supporting player in the Chaplin troupe, who at times would also threaten to upstage Charlie, although his comic persona – a stuck-up, straight-laced twerp – was so different to Chaplin's that he made a perfect counterfoil and antagonist for the tramp. Ben Turpin however was too similar to Chaplin's tramp character, so his days as Charlie's sidekick were numbered. A Night Out is the best opportunity to see him in action.
And now, the all-important statistic –
Number of kicks up the arse: 4 (3 for, 1 against)