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Burlesque on Carmen Clippings 42/101

Brooklyn Daily Eagle, Brooklyn, New York, April 9, 1916.

Charlie Chaplin‘s Burlesque on Carmen Scenes

& Loew‘s Broadway Theatre, exterior by day, marquee A MODERN MEPHISTO A Photo Play Event, New York

(...) Moving Picture World, May 30, 1914

& Broadway Theatre (...)

      Commencing To-day

      CHARLIE CHAPLIN

      Burlesque on Carmen

      A Million Laughs

      (Shown only at this Theatre)

      Funniest Farce at which Charlie Chaplin has ever appeared,

      also Victor Moore & Anita King

      The Race

(...) Sun, New York, April 9, 1916

& CHAPLIN‘S BURLESQUE ON „CARMEN“

      POPULAR AT BROADWAY THEATRE.

      Charley Chaplin‘s burlesque on „Carmen“ is attracting

capacity audiences to the Broadway Theatre several

times a day. It is an Essanay comedy in four parts and the fun

in it is fast and furious. This is one of the films the

comedian made before he signed his $650,000 contract with

the Mutual interests. Mr. Chaplin is at his funniest

in this burlesque.

(...) Evening World, New York, April 11, 1916

& After an absence of some months

Charles Chaplin waddled back upon the screen at the Broadway Theatre yesterday. The burlesque of „Carmen“ he did

before his contract with the Essanay Company expired was

shown for the first time. The picture is in four reels,

and contains all the old as well as some new Chaplin antics.

(...) New York Times, April 10, 1916

„The laughter is infrequent“

Editorial content. „A Monotony of Chaplin

      ,Burlesque of Carmen‘ More Lengthy Than Humorous.

      Tomorrow the N-L-S-E will release Charlie

Chaplin‘s Burlesque on ,Carmen,‘ which was made by Essanay.

In four parts, to which length it has been extended,

over the usual footage of two reels, it fails to come up to the

standard Chaplin established while with Essanay.

The literal kicks that might have been figurative hits in two

reels become monotonous in four. The laughter is

infrequent, which in a Chaplin subject is really a serious matter.

Chaplin tries hard to make of his story something worth

while. In this effort he gets material aid from his leading woman,

Edna Purviance, who makes a gay Carmen.

      The tragedy at the close is played straight by Don Jose

and Carmen. It is finely done. Just as we believe

the grim business is all over, the toreador tickles the foot

of the Don and the pair quickly come to life uninjured

– and we are reminded that we are looking at burlesque.

      It is said that as high as $200 a day has been

offered for the comedy. The disappointment of unsuccessful

bidders may be mitigated when they see the picture.“

      Broadway Theatre, Broadway at 41st Street, New York.

      Essanay‘s Carmen Fake.

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