His Favorite Pastime (1914) User Reviews (15)

Drunken excuses for slapstick.

[Anonymous_Maxine · 4/10 · 16 April 2007]

In another disappointing short comedy, Charlie Chaplin once again plays the standard, belligerent drunk, drinking himself into oblivion and then stumbling around this run-of-the-mill slapstick comedy. There are some mildly interesting items, such as the fact that the altogether unamusing but watchable opening scene features Chaplin and Keystone colleague Fatty Arbuckle as fellow drinkers in the pub, taking beers away from each other and gradually getting drunker and drunker, as well as the fact that this is one of the earliest, maybe even the origin, of one of Chaplin's gags that he would later perfect and use with great success, the lighting of the match on the seat of his pants. Other than that, there is not much else of note here.

The comedy of the film is really nonexistent, which is not to say that it is entirely bad, just a failed experiment. The obnoxious drunk has long since lost its appeal, if it ever had any, and I imagine even audiences back in 1914 must have been getting tired of it. The film features some of the most blatant racism of any of his films, although certainly not the last (remember the three minds with but a single thought from A Day's Pleasure?). At one point late in the film, Charlie follows a woman right into her home and hits on her, and is then horrified when he realizes that she is black. He also drops a lighted match into a black man's hand when he holds it out for a tip, which is exactly the kind of thing that makes this drunken character so dislikable.

Most of the rest of the film is composed of people pushing and shoving other people around and hitting each other, and ultimately it seems that Chaplin simply uses drunkenness in the film to serve as a reason to stagger around and hit people and get in fights with swinging doors and fall over stairway banisters and such. The plot outline on the IMDb says "A very plastered fella follows a pretty woman home, and proceeds to make a nuisance of himself." And sadly, there's not much difference between watching the film and reading that one line.

Some clowns go, Chaplin stays; this film may not be the one to prove it, but that was hardly anyone's intention

[sno-smari-m · 4/10 · 21 September 2007]

It is funny how public taste changes through the years. One comedy routine can be received with tremendous applause one year and be considered completely dated just a few years later. In March, 1914, Motion Picture News wrote of HIS FAVORITE PASTIME: "If there is an audience somewhere which does not roar with laughter while watching this comedy, then the minds of this audience are hardly in a defensible state." But although Chaplin always was proud of the fact that his comedy by common agreement remained "timeless," I'd be surprised if this one-reeler ran along all that well if screened to an audience today.

(*SPOILERS*) Chaplin appears in his famous outfit, but as my fellow-reviewers have pointed out, he is completely unrecognizable as "The Tramp" in terms of behavior. The entire story could be summarized by a single sentence, really: a highly intoxicated Charlie causes havoc at the bar of which he is quickly thrown out; outside, he is attracted to a woman and follows her by the streetcar while she takes a cab; he finally breaks into her house, only to wake the hostess of the house, who beats him up along with the husband of the pretty woman. (*SPOILERS END*)

Seen through the eyes of today, only a few bits of comedy stand out; one nice moment occurs when Charlie somersaults from a balcony to land in sitting position on a sofa inside, but most of the comedy presented here is probably hard to grasp to anyone not really familiar with the Keystone-universe, how its inhabitants interacted and behaved; and even if you are familiar, the film will probably stand out as quite mediocre in any case. To be sure, at this point Chaplin was still appearing in films made by others, and it is well reported that the comedian went through quite a difficult time with director George Nichols, who strictly believed in the "old methods" and responded unenthusiastically to Chaplin's suggestions. This, added by Chaplin's own inexperience with film, didn't make circumstances good for creativity.

All this being said, however, I would like to point out that it is important to not only put HIS FAVORITE PASTIME into context regarding the circumstances under which it was made, but also under an historical context. This film is not the film to begin an acquaintance with Chaplin's work, but there is one tiny fact we must keep in mind, whether we like it or not: although there might be little amusement to be found here for anyone alive in 2007, the mentioned Motion Picture News-review confirms that HIS FAVORITE PASTIME did apparently offer plenty of laughs in 1914; and that was, quite certainly, Chaplin's intention when he appeared in this film. Nowadays filmmakers are likely to hope that their products will still be talked about a century from now, as more than a hundred years of experience with film has proved that some movies actually do achieve public interest that long. However, when HIS FAVORITE PASTIME saw release, movies had just recently become an industry; nobody imagined that these rough things would be available on a marvel called DVD generations later. A film was made to entertain there and then and in that respect, HIS FAVORITE PASTIME clearly fulfilled its purpose. As for Chaplin's performance here, whose crude nature makes for quite a contrast to his far more likable, sentimental character of just a year or two later, I'll admit that I find the Tramp of the Keystone-period to often be quite hilarious, even when he is as unrefined as seen here. He is such a selfish, determined and insensitive little fellow, but Chaplin even here equips him with a certain gracefulness and rhythm that makes his mere appearance plain funny, once you get used to it.

I'm saying it for the last time now: HIS FAVORITE PASTIME is not a memorable film, but it did amuse the parents of your parents or even the parents of your parents of your parents, and that, I think, is the most relevant thing. It should also be noted that the copy I possess is not in good shape, and it could be that a thorough restoration would put it in a somewhat better light.

LATER UPDATE--sure enough, BFI/Flicker Alley's 2010-reconstruction of HIS FAVORITE PASTIME makes it a more enjoyable film. As it turns out, some scenes and bits of comic business had been cut from the rusty copy of the film I'd previously watched, and while none of the cut material transforms the film into anything approaching a masterpiece, it did make me chuckle a few more times. Even here, Chaplin's pantomime is often rather subtle compared to the supporting players surrounding him.

Chaplin Misses In Seventh Film

[CitizenCaine · 4/10 · 14 June 2008]

Chaplin in his seventh film, appears to be heading nowhere fast. The film repeats his drunken heel characterization from earlier films, and it repeats the exaggerated fighting, pushing, and shoving found in earlier films also. Fatty Arbuckle has a brief stint in the opening scene playing another rabble-rouser at the bar. Chaplin gets into trouble in the bar of course and then follows a lady to her home only to find out it's the maid, obviously played in black face. That scene and the lit match dropped in the bathroom porter's hand surprisingly spotlight racial humor of the time, which is anything but funny today. Chaplin has a few neat bits like riding the streetcar and somersaulting over a banister and lighting a cigarette without missing a beat. Otherwise, this is certainly one of Chaplin's lesser earlier efforts. *1/2 of 4 stars.

A very early Chaplin short that doesn't wear well

[wmorrow59 · 3/10 · 7 July 2002]

Just as Babe Ruth struck out now and then, and George Gershwin hit the occasional sour note, Charlie Chaplin made a few comedies during his apprenticeship at Keystone that don't hold up all that well. In the better efforts we can detect a great talent struggling to emerge from the chaos, and there are good moments scattered about, while a couple of them (I'm thinking of The New Janitor and Caught in a Cabaret) are quite satisfying: nicely constructed films with funny gags and a story to tell. However, several of the Keystones -- and I say this as a lifelong Chaplin fan -- are a chore to sit through. Too many of them are burdened with an overload of silly histrionics and painful-looking slapstick violence, and those good moments are hard to find.

Well, I'd say the good moments are scarce indeed in His Favorite Pastime. The main problem is that Chaplin's character is so obnoxious: he looks like the Little Tramp, but sure doesn't act like him. Most of this film is set in a pub, and once Charlie's had a few shots he turns into a mean drunk. There's a vigorous workout involving a swinging door, and it's mildly amusing, but the routine lacks the finesse Chaplin would bring to such business later on, in far better comedies such as The Cure. Moreover, in his later work the characters taking the brunt of the violence usually deserved it. Here, by contrast, when an inoffensive washroom attendant (a white actor wearing black-face makeup) holds out his hand for a tip, Charlie drops a lighted match instead of a coin and burns the man's hand. Ouch! Later, thoroughly blotto, Charlie follows a pretty woman home, walks right into her house, and makes a pass at her. Actually, on his first attempt, he accidentally makes the pass at her 'colored' maid (again a white performer in black-face), and is horrified when he realizes his mistake -- a very unusual racial gag in Chaplin's work, and another strike against this film. Really the only worthwhile moment is a nice demonstration of physical dexterity, when Charlie falls over a banister, lands on a sofa, and then casually lights a cigarette.

There are a couple points of minor interest in His Favorite Pastime concerning the cast: the opening sequence in the saloon features Chaplin's Keystone colleague Roscoe Arbuckle, so heavily disguised as a shabby drunk that he's barely recognizable. Where laughs are concerned nothing much comes of the scene, but it's interesting to note Arbuckle's resemblance to Orson Welles in his grizzled makeup for A Touch of Evil, made many years later. Also, the society lady Charlie follows home is played by an actress variously known as Peggy Pearce and Viola Barry, who reportedly was romantically involved with Chaplin for a brief time during his stint at Keystone. Here she isn't given much to do, but she can be seen to better advantage opposite Lillian Gish in D. W. Griffith's Biograph drama of 1913, The Mothering Heart. That short drama, by the way, holds up considerably better than this comedy.

An early misfire for Chaplin

[23skidoo-4 · 14 June 2004]

His Favorite Pastime is only about 16 minutes long, yet I found it so boring I nearly fell asleep. The plot makes even less sense than usual, and Chaplin seems to be sleepwalking through the comedy.

There are a few interesting gags, such as The Tramp vs. a pair of saloon doors, and later, the Tramp riding the front of a streetcar, but nothing really gels in this early silent Chaplin. His drunk act was starting to get old by this point, and in fact the character he plays here is little different than the character he played in his previous film, Tango Tangles, except that the comedy in the earlier short is far superior.

My advice: unless you have a desire to see every film Chaplin made, good or bad, skip this one.

simply awful

[planktonrules · 2/10 · 21 May 2006]

In 1914, Charlie Chaplin began making pictures. These were made for Mack Sennett (also known as "Keystone Studios") and were literally churned out in very rapid succession. The short comedies had very little structure and were completely ad libbed. As a result, the films, though popular in their day, were just awful by today's standards. Many of them bear a strong similarity to home movies featuring obnoxious relatives mugging for the camera. Many others show the characters wander in front of the camera and do pretty much nothing. And, regardless of the outcome, Keystone sent them straight to theaters. My assumption is that all movies at this time must have been pretty bad, as the Keystone films with Chaplin were very successful.

The Charlie Chaplin we know and love today only began to evolve later in Chaplin's career with Keystone. By 1915, he signed a new lucrative contract with Essenay Studios and the films improved dramatically with Chaplin as director. However, at times these films were still very rough and not especially memorable. No, Chaplin as the cute Little Tramp was still evolving. In 1916, when he switched to Mutual Studios, his films once again improved and he became the more recognizable nice guy--in many of the previous films he was just a jerk (either getting drunk a lot, beating up women, provoking fights with innocent people, etc.). The final evolution of his Little Tramp to classic status occurred in the 1920s as a result of his full-length films.

This short featured Chaplin and Fatty Arbuckle. Both were major early comedy stars. Unfortunately, neither comedian looked terribly funny or interesting in this short about jealousy. Too bad, as I had hoped for so much more from these stars.

His Favorite Pastime not my favorite pastime

[Horst_In_Translation · 4/10 · 30 April 2016]

"His Favorite Pastime" is a 13.5-minute short film from over 100 years ago. So it should be no surprise that this is still a silent black-and-white movie, especially as Charlie Chaplin is on board here. But this is not really among his most famous works. Chaplin is giving it his best to make a fool of himself during the entire movie, but in my opinion it turned out all very chaotic and not particularly entertaining. The slapstick routine is not working in here. This is especially a shame as this film also has Roscoe Arbuckle in the cast, who was without a doubt one of the finest actors of his generation, just like Chaplin. There was definitely potential for more, but the script was simply too weak. Also a major flaw here is the complete lack of intertitles. The audience has no idea what is going on. I give it a thumbs down. Don't watch, unless you are a Chaplin completionist.

Mildly Funny Drunk Routine with Some Redeeming Touches

[jayraskin1 · 7/10 · 17 December 2012]

This is Chaplin's eight film and the third one ("Mabel's Strange Predicament" and "Tango Tangled")where he did his famous drunk routine. It was his drunk routine that got him hired at Keystone in the first place, so it is not surprising to see it being used so frequently early in his film career. Chaplin continued to use his great drunk mimic ability throughout his whole career ("One A.M." and "City Lights" to name two other films). While the film does not really go anywhere beyond laughing at a drunk, there are a few memorable moments.

The movie begins in a bar with Chaplin, drunk, mistaking a sausage for a cigar and trying to light it. It is the first use of food for something else that appears in a Chaplin film. The shoelace as spaghetti gag in "The Gold Rush" is perhaps the most famous. Immediately, we have a nice bit with Roscoe Arbuckle playing another drunk. Chaplin teases poor Arbuckle with the prospect of sharing his drink. Together Chaplin and Arbuckle improvise quite nicely. Unfortunately Arbuckle disappears from the film after two minutes. Surely, the improvisation should have continued with Arbuckle getting some revenge on Chaplin to balance things out.

The funniest bit in the whole movie may be Chaplin battling with restroom swinging door. Drunk Chaplin loses the fight and ends up crawling under the door.

Outside there's a quick beginning to a romance between Peggy Pearce and Chaplin. Pearce seems to have been chosen because of her resemblance to Mable Normand. Unfortunately, she's not really good at improve comedy as Normand was. As with the Arbuckle character, the budding romance plot just shuts.

There are a couple of wonderful acrobatic moments. The first is Chaplin riding outside a streetcar, holding on with one hand. He goes flying off when the streetcar stops, but he makes a perfect landing. The second is a wonderful flop over the railing of a staircase onto a couch.

The movie does have some unfortunate bits of racism. Helen Carruthers and Billy Gilbert play their small parts in black-face. Gilbert, waiting with palm out for a tip gets burnt by Chaplin's match and Chaplin registers shock when he discovers that the woman he thinks he has found is her black servant. Carruthers does give Chaplin a good thrashing.

At the end, the entire family of Chaplin's would be love come and kick him literally out of the house. There's a scene in the movie "Chaplin" (1992) where Chaplin first puts on his tramp costume that appears to be based on this scene. However it is changed quite a bit and Henry Lehrman is directing. The director was actually George Nichols.

This is Nichols second of four Chaplin films. He directed from 1908 to 1916, but only worked for Keystone for about seven months from late 1913 to April, 1914. It is interesting that Sennett gave Chaplin to Nichols. It may be a mark that after six weeks at Keystone, Sennett felt Chaplin was not making it as a top comedian and relegated him to second tier Keystone films.

Again, the film certainly does not rank with Chaplin's best work at Keystone, but there are a few brief, very nice moments.

A far from favourite pastime

[TheLittleSongbird · 4/10 · 23 May 2018]

Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.

Everybody has to have at least one misfire in their careers, even the best directors and actors have not so good films or films they regret. From his early still evolving period before he properly found his stride and fairly fresh from his vaudeville background, 'His Favourite Pastime' shows that Chaplin is not immune from this. While an important milestone period for him, his Keystone years/films were watchable and interesting enough overall but patchy, none being among his best work.

'His Favourite Pastime' has a few good points. While a little primitive and not exactly audacious, the production values are far from cheap. Fatty Arbuckle does bring some zest to his role.

There are also a few amusing moments, the highlight being Chaplin's saloon toilet door fight which is actually very funny and in a different league to the rest of the material.

Where 'His Favourite Pastime' falls down is that mostly it's not particularly funny. The timing feels limp and there is very little, if any, freshness or originality apart from that aforementioned scene with the saloon toilet door. There is not much charm here and there is not much to be emotionally invested by. The story is flimsy, so much so things feel over-stretched, there are not many Chaplin short films where a short length feels very dull but 'His Favourite Pastime' is one of them.

Found myself uncharacteristically disappointed by Chaplin, which was not expected because generally even in lesser efforts he was one of the better things about them. Here he does not look interested and goes through the motions, there is none of the comedy/directing genius that he is deservedly hailed for. Arbuckle aside, the rest of the cast are not much to write home about.

In conclusion, an early career misfire. 4/10 Bethany Cox

Not bad!

[A_Kind_Of_CineMagic · 6/10 · 5 December 2010]

It appears this is unpopular, even compared to other early Chaplins.

I found it funnier and more advanced than a number of Chaplin's films from this period.

It suffers compared to later films of his, of course, because I find these early films are rather primitive. However, several of his films before and after this are less funny and less interesting.

Chaplin's drunk act is excellent throughout. Fatty Arbuckle does a decent performance too. The sequence where Charlie fights with a saloon toilet door is funny and much copied. When he jumps onto a moving vehicle it is well done and interesting,

All in all, not a bad little film.

Bar Room Shenanigans

[classicsoncall · 3/10 · 3 February 2019]

Movie goers during the infancy of the silent film era probably didn't expect much when it came to moving pictures. After all, it was still pretty much a novelty and you were probably glad to take what you could get. Frankly, I don't find Chaplin's drunken routine and getting into bar room brawls all that interesting, so watching some of his early shorts is more an exercise in learning about early movie history than of being entertained. There was one scene in this sixteen minute short that got my attention, it was when it appeared that Chaplin's character practically levitated off the floor after being knocked down by another saloon patron. A closer look reveals that it's another customer who props him up from behind, but the effect is such that it look like Chaplin did it on his own. But if Chaplin's favorite pastime did indeed turn out to be drinking and brawling, we might not ever have known his name today. Thankfully he turned the corner on such juvenile antics and developed into a premier actor and director.

His Favorite Pastime was quite a funny early Charlie Chaplin short

[tavm · 7/10 · 12 June 2011]

This Charlie Chaplin short was the first I watched on the 2 DVD collection of his courtesy of the Platinum Disc Corporation. In this one, he's the familiar Tramp character who's drunk the whole time so anything he does here is the result of his inebriation. As a result, I actually found most of it funny especially early on when one of the people he encounters is fellow comic Roscoe "Fatty" Arbuckle as a fellow bar patron who tries to get his drink without Chaplin looking. Since Arbuckle wasn't yet a star, that's all we see of him though he makes a good impression here. Most of the time, it's just Charlie as he stumbles through missing punches or getting punched, going into someone's house and getting the residents' reactions, or scaring some dark-skinned servants (obviously caricatured by Caucasian humans though not as offensively portrayed since there's no white lips or other stereotypical characteristics). Quite funny for an early effort so on that note, I recommend His Favorite Pastime.

Not My Favorite Pastime

[nukisepp · 4/10 · 5 February 2021]

Although Charles Chaplin played the alcoholic convincingly and there were a couple of funny and clever moments (when the drunkard falls over the railing, lands on the couch and so very elegantly lights his cigarette), 'His Favorite Pastime' wasn't my favorite at all. There are loveable drunkards and then there are those annoying creepy ones. Chaplin, unfortunately, managed to be the latter one. I never felt sympathy towards his character and was waiting when he gets the proper beating as the bully deserved. This is actually quite a pity because 'His Favorite Pastime' is one of the best structured and logical of the early Chaplin's movies. 'Fatty' Arbuckle's appearance at the beginning was quite joyous though.

Gets continuous laughter

[deickemeyer · 9 June 2018]

One of the few farcical comedies in photoplays that gets continuous laughter. The comedian, whose favorite pastime is drinking highballs, is clever, ia fact the best one Mack Sennett has sprung on the public. He is a new one and deserves mention. The situations in this offering are finely handled. This is a real comedy. - The Moving Picture World, March 21, 1914

Lesser Chaplin

[Michael_Elliott · 2 December 2008]

His Favorite Pastime (1914)

* 1/2 (out of 4)

Charles Chaplin plays the town drunk who walks into a local bar and starts throwing them down. Soon he can't walk straight but that doesn't stop him from getting on everyone's nerves. The annoying drunk had been done to death by 1914 and it had been done to death by Chaplin even though this was only his seventh movie. I'm really not sure what Chaplin thought of these films but this one here is pretty darn weak from start to finish with very few laughs. Once again we get to see Chaplin stumble around, pick fights and flirt with women who belong to other men. None of this is funny and what's worse is that it appears Chaplin is just sleepwalking through the film. You certainly can't blame here because I didn't see a single attempt at anything even trying to be funny. Roscoe 'Fatty' Arbuckle has a small role at the start of the film but just stumbles around as another drunk. Even if laughs could come from drunks, this one here features rather mean drunks, which again just isn't funny.