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People are voting emotionally.

A Disappointing Continuation

A movie that not only functions as a solid scarefest but a razor-sharp satire.

The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

This is a somewhat surrealist comedy of manners. What if the most nonsense tailor, after having been fired, pretends to be a rich count in a fancy party, stealing the place of his ex-boss (Eric Campbell)? They both are interested in the same woman, who is predictably Edna Purviance, in a Popeye-Bluto-OliveOil-type triangle. Very funny and campy short film. It lacks the emotional element of other films from Chaplin, but the gestures of Charlie are hilarious as often. The spectator may expect a lot of action and trouble, which come from the insane behavior of the tramp as a tailor, from the confusions caused by the party crash, the lack of etiquette from the working class guy, the crush for two women in the party, and the rivalry between ex-boss and ex-employee.

Charlie Chaplin is tailor's (Campbell) handyman but is fired after he burns a count's trousers.Then they both end up at a party pretending to be a count.And they both want to win the heart of Miss Moneybags (Purviance).The Count from 1916 is Charles Chaplin's 5th movie for Mutual Film Corporation.This short comedy is pretty funny, not his best though.But it's a lot of fun to watch Charlie taking measurements from the lady customer.The eating scene is mildly amusing.Chaplin shows us his physical comedy skills on the dance floor with Edna.And on some other places, too.He was a true comedian who knew what was funny to the audiences of that day and tomorrow.

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/

This two-reel comedy, one of a dozen Chaplin made under his Mutual contract, offers a story line he followed time and again throughout his career: lower class Charlie fakes his way unto upper class society under an alias, fools people for a while, then wreaks havoc. Sometimes Charlie's fraud is deliberate (as in this film), while on other occasions people mistake him for something he is not, but whatever the case the idea was one Chaplin used regularly, starting with an early Keystone of 1914, Caught in a Cabaret, and recurring in other short comedies of 1915-16 such as A Jitney Elopement and The Rink. The premise turns up as late as 1940 in The Great Dictator, although in that instance the farcical aspect of the plot has turned into a darker political statement. Without getting overly analytical about the matter, it would appear that this scenario held some sort of deep meaning for Chaplin, who grew up in poverty and yet wound up wealthy and celebrated, hobnobbing with some of the most famous people in the world. Was this man insecure about the wealth and power he'd earned? It's not so far-fetched to wonder if Chaplin, recalling his roots in the London slums, might have sometimes felt like a fraud when he found himself dining with the likes of Winston Churchill, Lady Astor or Bernard Shaw.Anyhow, getting back to the matter at hand: The Count stands as one of Charlie's lightest and most playful short comedies, perhaps not one of his very best but highly enjoyable nonetheless. There's a lot of good byplay between pint-sized Charlie and his most memorable "heavy," the enormous Eric Campbell, who wears an outrageous beard this time around. Campbell plays a tailor and Charlie is his assistant, soon fired for ineptitude; but before long the former apprentice gets mixed up in the conniving tailor's scheme to impersonate a count, in order to court a wealthy heiress (Edna Purviance). I especially enjoyed the bit when Campbell explains his scheme to Charlie, and punctuates the speech with his elbow in a "Get it?" gesture, until Charlie finally slides a wooden chair into place to protect himself. Through various complications Charlie himself is mistaken for the count, and receives royal treatment at a grand party at Edna's mansion, while his boss is forced to serve as his assistant. The party is the setting for a number of amusing comic set-pieces, including a dinner of spaghetti and watermelon (when did you last see these dishes served together?), and a dance in the ballroom. For me, the dance is the film's highlight, as it displays Chaplin at the peak of his physical skill, sliding and gliding about with almost supernatural agility. Only Mickey Mouse could move so well, and with such comic grace!The Count may not rank with Chaplin's greatest short comedies, but if any of his contemporaries had made this same film it would probably be regarded as something special. It's hard for me to be objective about this particular movie because The Count was one of the first Chaplin comedies I ever saw, way back in grade school, when I borrowed an 8mm print from my local library, threaded it up on my projector, and threw the beam onto a wall of my room. It was the first inkling I had that Chaplin's reputation as a great comedian was so well deserved, the first time I said to myself: "Hey, this guy really IS funny!"