The greatest movie ever made..!

Fantastic!

Charming and brutal

Great example of an old-fashioned, pure-at-heart escapist event movie that doesn't pretend to be anything that it's not and has boat loads of fun being its own ludicrous self.

THE FIREMAN (Mutual, 1916), Written and Directed by Charlie Chaplin, stars Chaplin himself in his second Mutual/Lone Star Production, following his previous Mutual effort as THE FLOORWALKER (1916). Now having his Mutual productions of twenty-minute comedy shorts merely as follow-ups rather than a continuing series playing the same basic character from one venture to another, Chaplin once again plays a nameless individual in a new profession supported by the same co-stars from his Mutual stock company, namely Eric Campbell and Edna Purviance as an added presence, along with Albert Austin and Frank J. Coleman among others playing firemen in the best Keystone Kops tradition.The story, set in a single day, finds its initial ten minutes showing routine procedures of firemen of Firehouse 23 (interesting it wasn't Firehouse 13 for added bad luck effect). The fire chief (Eric Campbell) blows his whistle awakening the firemen on the second floor coming down the fire pole for roll call, all but one, Charlie (Charlie Chaplin), as he sleeps through the sound of both whistle and fire bell. The course of the morning finds Charlie from one mishap after another while serving breakfast to the staff and later playing checkers with a fellow fireman (Albert Austin) while ignoring the telephone as it constantly rings off the hook. The subplot involves a father (Lloyd Bacon) plotting to burn his own home to collect insurance, and promising his daughter's (Edna Purviance) hand in marriage to the fire chief to not reveal his sinister plot. As the father proceeds with his scheme, another house catches fire, with Edna trapped inside one of them.THE FIREMAN is vintage slapstick in the best silent film tradition of comedy producer Mack Sennett, now under supervision of comedy producer/ star Charlie Chaplin in control. Aside from numerous kicks in the seat between Eric and Charlie, along with scenes capturing a race down the rural areas of possibly Los Angeles back in the day of dirt roads, telephone poles and the wide open spaces between residential homes that are no doubt currently sited with six-lane highways, apartment complexes and/ or crowded shopping malls. THE FIREMAN is a historic look back into 1916 where fire trucks with sirens were not the case here but firemen and equipment on a wagon pulled by horses like a chariot. There's also believable use of trick photography by 1916 standards of horse pulling fire wagon returning to the firehouse backwards.When presented on television dating back to the 1960s or earlier on either a commercial or public television, prints shown were those from 1930s reissue with ragtime style scoring, sound effects of bird chirping, bell ringing and a voice-over from character actor Leo White yelling "Help! Fire" multiple times. The latter would be of great interest for 1916 movie goers to hear had sound been of the essence at that time. In all actuality, these effects and the heard distress calls of "Fire" make this silent comedy all the better for comedic purposes. This is the print commonly found on home video in the 1980s and 90s through Blackhawk or Republic Home Video. Aside from that, there's also prints with piano scoring as well. In recent years with film restoration of clearer visuals, new orchestral scoring has been placed with correct silent speed on DVD (from Kino Home Video) extending THE FIREMAN from its traditional 20 to 31 minutes.No doubt, THE FIREMAN ranks one of Chaplin's funnier outings having him trade his traditional derby, cane and tramp costume for fireman's clothes. Edna Purviance, in checkered dress, resumes her pretty heroine role while Eric Campbell, in sideburns and walrus mustache this time around, add to some great scenes as needed. One of the favorites of Chaplin/Mutual comedies that can be found once in a while on cable television, notably Turner Classic Movies (TCM premiere: December 6, 1999). Next in the Mutual series, something completely different yet the beginning of the new Chaplin tradition, comedy and pathos from THE VAGABOND (1916). (***)

One of the many advantages Charlie Chaplin had in the independence, confidence and familiarity of this point in his career was that he had a large crew of supporting players, each with their own slightly different character, whom the little tramp could play off of. Since the Fireman does not show Charlie at his funniest, let's take this opportunity to tip our hats to the gentlemen who were the butts of so many of his jokes.Chaplin's supporting actors came in many shapes and sizes, but they all had one function in common – to be a puffed-up pompous twerp, who it was amusing to see brought down a peg. You see, Charlie's appeal lay in his own lack of pomposity, and his knack of deflating it in others. This even went to the point of Chaplin not always being the centre of attention, but still being the originator of the biggest laughs. And yet it was that army of pratfallers who keep the supply of potential gags flowing and fresh.So who have we here? Most noticeable is of course Eric Campbell, in his second role for Chaplin. Campbell was a real find, having size coupled with sternness, meaning he was suitable play Chaplin's boss as well as antagonist. As the ultimate burly bully and a grim figure of authority, he provides us with the most satisfaction when Charlie gets the better of him. Then we get the jumped-up, self-important boss's pet as played by Albert Austin. After seeing Campbell repeatedly kick Charlie up the arse, Austin gets in one kick of his own, only to have Charlie ceremoniously kick him back. Finally there is Leo White, and I'm sad to say this really was finally for him because it was the last appearance of his recurring posh twit persona, and his penultimate appearance in any Chaplin picture. He is at his best here though, hopping frantically around trying to get the fire brigade round to his burning house. Charlie's languid, unconcerned response is hilarious, but only because White's exaggerated capering gives him such an excellent counterpoint.This is all in all a fairly good Chaplin short, typical of the smoothness he displayed at the Mutual studios. It's also notable for a couple of camera trick gags, such as Charlie appearing to put the horses into reverse, or a jump cut which makes it look like the firemen got dressed in a split second. These are pretty funny, but Chaplin clearly did not consider himself a Melies and would not pursue the approach.And where would we be without our all-important statistic? – Number of kicks up the arse: 15 (1 for, 13 against, 1 other)

Chaplin's second film for Mutual in June of 1916 was The Fireman. This is a typical occupation comedy; where upon, a comedian assumes the role within the chosen profession and builds gags around the scenarios associated with it. Chaplin plays a fireman who is initially abused by his chief, played by Eric Campbell. Edna Purviance plays the chief's daughter who becomes a pawn in an insurance scheme between her rich father and the chief. The abused Chaplin is actually no less competent than his fellow firemen, who all appear to be Keystone cop clones. The sight gags and slapstick of the first part of the film yield to a more plot-oriented second half. Chaplin's athleticism, which is often overlooked, is highlighted through the film from inside the firehouse to how he rescues Edna Purviance in the end. The film benefits from a balance between its indoor settings and its location shooting. The film's weakness is its repetition of gags and propensity of lingering too long within the fire station. **1/2 of 4 stars.

I first saw this movie back in January of this year, around my high school's exam time.I was stressed out, so I went looking for movies to watch on the Internet, and I came across this.This was my first Chaplin film; indeed, this was my first silent film, and I must say it made a very good impression on me. I'm more a fan of verbal comedy, but this was unexpectedly funny!However, I thought the butt-kicking a bit incessant and found no humor in it.Other than that, a hilarious film. I give it two thumbs up!