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By the time the dramatic fireworks start popping off, each one feels earned.

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. From his post-Essanay period after leaving Keystone, 'The Cure' is among the very best of his early output, one of his best from his Mutual period and one of his first classics. As said with many of his post-Keystone efforts, it shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career. The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in 'The Cure'. The story is slight and slightly too simple but is at least discernible and is never dull, and does it while not being as too busy or manic.On the other hand, 'The Cure' looks good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.'The Cure' is one of the funniest and most charming early efforts of Chaplin. It is hilarious with some clever, entertaining and well-timed slapstick and the charm doesn't get over-sentimental. It moves quickly and there is no dullness in sight. The second half is both hilarious and enchanting.Chaplin directs more than competently and the cinematic genius quality is emerging. He also, as usual, gives a playful and expressive performance and at clear ease with the physicality and substance of the role. The supporting cast acquit themselves well, with a charming Edna Purviance, their chemistry is sweet to watch, and Eric Campbell being both amusing and formidable.On the whole, great. 9/10 Bethany Cox

I have the disadvantage of having grown up in the MTV generation so it's harder for me to really appreciate some of Charlie Chaplin's short films. They have to be pretty consistently funny to leave an impression on me, but THE CURE falls into the group of shorts that fall out of mind soon after watching it. It finds Charlie Chaplin's alcoholic arriving at a sanitarium/resort spa where men and women go to clear their minds and cleanse their bodies. But he's a drunk, and hence hi-jinks. There are a few fun gags; in my opinion, the best was Chaplin's total lack of understanding in how a revolving door functions. It's good for a few laughs before it's milked a shade too long. The same could be said for just about every gag in the movie (e.g. when Chaplin is unknowingly dumping his water cup into his hat). The rest of the movie is just Chaplin stumbling around from room to room, aggravating just about everyone he crosses. There are a few chuckles here and there, but nothing memorable. Both Edna Purviance and Eric Campbell make their usual appearances here, but Purviance disappears pretty fast and Campbell (as the man with the gout) does nothing but chase Chaplin and repeatedly stub his bad foot on furniture. I guess the whole concept was just a little too simplistic and there just wasn't much to be gleaned from it for laughs. Fans should give it a watch, but it's no EASY STREET.

Monday October 1, 7:00pm, The Paramount Theater An affluent inebriate (Charles Chaplin) visits a health spring for "the water cure" and inadvertently pollutes the well with liquor, intoxicating all the guests. The Cure was Chaplin's tenth of twelve "Mutual Specials" and dealt with a socially sensitive issue only months before the eighteenth amendment established a national prohibition of alcohol. Charlie arrives at the spa, under the influence, and dodders into the revolving glass entry door. An enormous guest "With The Gout" (Eric Campbell) entangles himself in the door with Charlie and an attendant (John Rand). Chaplin's use of this device rivals the clever originality of the escalator in The Floorwalker. Campbell's bandaged foot is smashed in the door and stepped on repeatedly throughout the film. Charlie wrestles with the violent masseur (Henry Bergman), swims without getting in the pool, and rescues the girl (Edna Purviance) from drunken aggressors while engaging in his typically playful and humorous "business."

Much of the delights in this short film involve a tipsy Charlie (whose luggage consists entirely of bottles, to the good fortune of the weirdly bearded porter) and a grouchy, gouty, Eric Campbell - a perfect foil for Chaplin, he'd be much missed after his death in a road accident later in 1917.Edna Purviance, Charlie's usual sweetie in these short films, is a welcome presence, but it is Chaplin himself who shines throughout 'The Cure', whether struggling from the over zealous attention of a Turkish bath attendant, walking his funny walk up steps, or getting stuck along with Campbell in a set of revolving doors.It doesn't get much better than this.