Tillie’s lucky novel

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From Wikipedia, Liberade Libera.

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Tillie’s lucky novel ( Tillie’s Punctured Romance ) is a 1914 film produced and directed by Mack Sennett. Removed by Marie Dressler, Charlie Chaplin and Mabel Normand and produced by the Keystone Pictures Studio, is considered the first comic feature film of US cinema. [first] The film is based on the theatrical musical Tillie’s Nightmare (title later also used for the film), written by Edgar Smith and composed of Alfred Baldwin Sloane. It was previewed in the United States on November 14, 1914.

It was also the last film starring Chaplin that the actor has not written or directed, excluding the cameos. While not playing the famous character of Charlot and not being the absolute protagonist of the film, his presence was highlighted in posters and heads of the subsequent rebuilds, which underwent various cuts and sounds; In Italian it was also distributed with the titles Charlot’s Odyssey [2] , Charlot e Tillie [3] It is Charlot millionaire for an hour , [4] while in English as For the Love of Tillie , Marie’s Millions It is Tillie’s Big Romance . Only in 2004 the Ucla Film and Television Archive in collaboration with the British Film Institute performed a restoration that brought the film to a duration very close to the original one. [5]

The full movie

Tillie Banks is a corpulent girl who lives in the countryside with her father. One day he accidentally hits with a brick a passing stranger, so he invites him to his own home. The man, after having seen the money that Tillie’s father holds in a notebook to pay his employees, persuades the girl to steal him and flee to the city with him. There the couple meets Mabel, the man’s girlfriend, who follows them in a bar. In the local Tillie drinks his first drink and gets drunk immediately, so the man takes advantage of it to steal the notebook and run away with Mabel. Tillie is then driven out of the club and then arrested, but is immediately released when the police discovers that it is the nephew of the millionaire Douglas Banks. The police brings the girl to the uncle’s house, but her drunkenness causes quite trouble to convince Douglas to drive her away and leave for an excursion to the mountains, during which she falls from a top and is considered dead.

In the meantime, the couple, after having laughed secretly at Tillie’s misfortunes and starting to spend the money, goes to the cinema to see the film The fate of a thief , which illustrates their crime in the form of Morality Play. Leaving the cinema with feelings of guilt, they go to a restaurant where they meet Tillie who was hired as a waitress, so they are forced to escape the park. Here the man learns from a newspaper that Douglas is dead and Tillie has been appointed unique heir of his fortune, consisting of three million dollars. The man leaves Mabel and runs to the restaurant, asking Tillie to marry him. The girl is initially skeptical, but she still believes that man loves her and accepts. Married quickly and fury, the two moved to his uncle’s home and give a great party that ends terribly when Tillie finds her husband kissing Mabel, sneakhed at home as a waitress.

Douglas, still found alive by a hiker, returns home and hunts everyone. Tillie, armed with pistol, chases the couple to a pier, where he is pushed into the water by a police car. After Tillie is safe, she and Mabel realize they are too good for the man who made her suffer, so they send him away and become friends.

Marie Dressler was chosen as the protagonist also in the theatrical musical, which had made Broadway famous and then on tour in the United States from 1910 to 1912. [6] She was made a contract signed that involved twelve weeks of work for a weekly salary of 2,500 dollars; The total budget of the film was 50,000 dollars. [7] Filming was held from April 14 to June 9, 1914 in 45 working days, to which are added another six weeks of post-production. [7] The director and producer Mack Sennett remembered that it was a complicated job as simultaneously had to maintain the constant flow of short comedians every week, with consequences on the availability of the cast. [7]

Advertising announcement of a reissue, which underlines the presence of Chaplin

The film was distributed in the United States by the newly formed Film Corporation instead of the Mutual Film as for the previous Keystone films, since Mutual was not equipped for the distribution of feature films. [7]

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Output dates [ change | Modifica Wikitesto ]

The international output dates have been:

The film was an extraordinary success and was welcomed mainly positively by critics. The Rotten Tomatoes website has collected six reviews of which are five positives, with an average vote of 6.4. [8] In particular, the contribution of Chaplin was noticed, which since then was in the sights of almost all the producers. [7] Charles R. Condon writing for Motography defined the film “the Cabiria of the comedy “, writing that” genuine humor is the dominant note in every scene “and that the protagonists become” more fun for each coil “. In particular, Condon focused on Chaplin, stating that mostly” falls mostly of the action, and probably no one on the screen is able to make it more fun than this inimitable comedian “. [9] George Blaisdell are Moving Picture World He praised the cast of protagonists, the scenography and photography. [ten] Variety He wrote that “Chaplin’s Buffoneries […] are an essential element to the success of the film” and that “the film is a little too long, but it is worth waiting for the hilarious comic final”. [11] Leonard Maltin assigns two and a half stars to the film, calling him “not terribly fun or coherent, but with good moments; interesting especially for historical purposes”. [twelfth]

  1. ^ ( IN ) Tillie’s novel , in AFI Catalog of Feature Films , American Film Institute. Modifica su Wikidata
  2. ^ Tomorrow on television , in The print , February 2, 1985, p. 19. URL consulted on July 18, 2017 .
  3. ^ The holidays in front of the video , in Evening print , December 24, 1973, p. 8. URL consulted on July 18, 2017 .
  4. ^ TV in Liguria today , in The print , 17 August 1985, p. 15. URL consulted on July 18, 2017 .
  5. ^ Charlie Chaplin Collectors’ Guide, Part 2: Keystone restorations . are Brenton Film . URL consulted on June 22, 2017 .
  6. ^ Betty Lee, Marie Dressler: the unlikeliest star , University of Kentucky Press, 1997, pp. 77-85, ISBN 0-8131-2036-5.
  7. ^ a b c d It is Jeffrey Vance, Notes on movies and restoration , Cecilia Ceurciare (I Care of), Charlie Chaplin. Keystone comedians , Bologna, Cineteca di Bologna, 2010, pp. 45-46, ISBN 978-88-95862-59-0.
  8. ^ ( IN ) Tillie’s novel . are Rotten Tomatoes , Fandango Media, LLC. Modifica su Wikidata
  9. ^ ( IN ) Charles R. Condon, A Six-Reel Keystone Comedy , in Motography , vol. 13, n. 20, Chicago, Electricity Magazine Corporation, 14 novembre 1914. URL consulted on July 18, 2017 .
  10. ^ ( IN ) George Blaisdell, “Tillie’s Punctured Romance” , in Moving Picture World , vol. 22, n. 7, New York, November 14, 1914. URL consulted on July 18, 2017 .
  11. ^ ( IN ) Review: ‘Tillie’s Punctured Romance’ . are Variety , Penske Media Corporation. URL consulted on July 19, 2017 .
  12. ^ ( IN ) Tillie’s Punctured Romance(1914) . are tcm.com , Turner Classic Movies. URL consulted on July 18, 2017 .
  • ( IN ) The American Film Institute Catalog, Features Films 1911-1920 , University of California Press, 1988 ISBN 0-520-06301-5

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