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Shoulder Arms Clippings 171/246

Antony Anderson, Los Angeles Times, L. A., Calif., Dec. 17, 1918.

Shoulder Arms Scenes

& Guy Price

(...) Photo, Exhibitors Herald, Oct. 28, 1922, detail

& Diversified Programs at the Theaters –

      By Guy Price

      THEY shrieked until they didn‘t have a shriek left in them,

did those Chaplin fans at Tally‘s Broadway yesterday.

The occasion was the first local showing of the comedian‘s

new picture, Shoulder Arms.

      Chaplin‘s droll humor is brought out magnificently – and

forcibly – in this First National production, his second

since signing what is termed the million - dollar – contract.

Throughout the picture the international funster

causes his admirers to laugh almost continuously. He doesn‘t

resort to slapstick methods, either, although one

or two scenes border on that form of camera comedy. His

clever touches of artistry make for joy – joy of the

purest kind.

      Shoulder Arms is the one war photoplay that shows

us the bright, cheery side, nothing could be funnier

than Charlie‘s capture of the kaiser, the clown quince and

a full-of-brew von Hindenburg. Edna Purviance

again is a charming foil for Chaplin, while the others of the

cast (whose names I cannot recall) fit in nicely.

      If you don‘t laugh at and with the celebrated Charlie

at Tally‘s this week, then you surely have influ-

something.

(...) Los Angeles Herald, Dec. 17, 1918

„Therefore he takes rank among the great humorists of all time“

Editorial content. „,SHOULDER ARMS.‘

      CHARLIE CHAPLIN‘S LATEST AT TALLY‘S

      BROADWAY.

      By Antony Anderson.

      A million-dollar contract for motion pictures – only eight

of them, at that – seems a tall order to fill to the

complete satisfaction of everybody concerned, but Charlie

Chaplin is undoubtedly doing it. There is no holler

from the First National Exhibitors‘ Circuit, and from the public

we have so far heard nothing but a long and

reverberating roar of laughter, the loud laugh that is heard

around the world. A Dog‘s Life, started that

a few months ago, and Shoulder Arms is continuing it.

      Whether or no Shoulder Arms is a better piece

of fun than its howling predecessor is an open question, its

answer depending on point of view and temperament.

Some who have already sen both comedies – Charlie Chaplin‘s

wonders in screen art are more than farces – speak

up in favor of the second, some stick to the first. I saw Shoulder

Arms at Tally‘s Broadway yesterday afternoon, and

I stick to the dog. Not that I love Shoulder Arms less, but

Rover more. I chanced to see Charlie Chaplin

outside Tally‘s, and I tactfully told him so, but being an artist

whose human nature is as big and generous as his

genius, he was not offended. Chaplin has the knack of being

able to put himself in other people‘s places – which

is one cause of his tremendous success as a comedian. He

realizes how funny we all are.“ (...)

      „Chaplin has the tender touch of humanity. He makes

us laugh, and while he does it he brings the lump

into our throats. Therefore he takes rank among the great

humorists of all time.“

      Talley‘s Broadway, 833 South B‘way (corner of 5th St.), L. A.

     Shoulder Arms is released

      by First National October 27, 1918.

Redaktioneller Inhalt

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