One A.M.


Comedy / Family

IMDb Rating 7.1 10 2784

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Uploaded By: FREEMAN
June 24, 2020 at 05:41 AM


251.98 MB
English 2.0
17.982 fps
12 hr 27 min
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Movie Reviews

Reviewed by MartinHafer 9 / 10

It's amazing to see how Chaplin's films improved since 1914

1914 was Chaplin's first year in films and he starred in 25 movies in just this first year alone. However, many of these films were pretty bad--with practically no plot and just a lot of improvisation that sometimes worked and often didn't. Despite the quality of these films, by 1915 he was probably the #1 star in the world and was lured away from Keystone Studios--with promises of more money and even greater autonomy. Instead of just doing the same old comedies, Chaplin improved upon his "Little Tramp" character and begin carefully scripting his films, and so naturally the quality improved greatly.

ONE A.M. is a great example of his newer and more thought-out scripts for Mutual Studios. While Chaplin is the only person who appears in the film (other than a very brief scene with a cabbie at the beginning), the film is not simply improv or mugging for the camera, but well-choreographed and using complicated props made specially for this film. Several examples would include the spinning taxi meter, the clock with the dangerous swinging pendulum and the amazing and almost intelligent bed.

At first, I thought this whole drunk act theme would become tiresome. After all, at almost 17 minutes, that's a long time to do a drunk "schtick". However, when I thought perhaps Chaplin was milking a scene too much for comedy, he switched to another prop and kept my interest. Funny, well-made and memorable--this is one of Chaplin's best comedy shorts and translates well to viewing in the 21st century.

Reviewed by The_Movie_Cat 7 / 10


In 1916 the Mutual Films company released eight Chaplin pictures, highlighting a marked decrease in his output but also a marked increase in the quality. This was a theme that was to continue throughout the rest of his career, as the following year he would release half as many again, though with increased results. Come the mid 20s and Chaplin's down to just one feature every three to five years, though most of them classics.

As for the Mutual output in 1916, then despite the increased artistry, many of them are still a couple of steps away from "Chaplin as genius". Indeed, while well staged, shorts like "The Floorwalker" and "The Fireman" are really just an extended series of people being kicked repeatedly up the backside. One A.M breaks that mould, an upturn in quality that would continue into the equally brilliant "The Pawnbroker" and "The Rink" two more shorts that would showcase Chaplin as a tremendously gifted acrobat. "Behind The Screen" was another upturn in quality from this run, a film that combined a witty deconstruction of the slapstick genre along with a daring gay gag, quite shocking for 1916. But it was the stunts that were most notable for the year - if not quite death-defying, then certainly serious injury defying.

One A.M. is another foray into Chaplin doing a non-Tramp character, this time a drunken aristocrat. While Charlie's immense physical gifts can be seen in most of the films of the age, many of them are of a type, in particular him falling backwards onto his shoulder blades. By marked contrast, then many of the stunts seen in One A.M. are truly extraordinary, combining both substantial physical danger along with witty innovation. A virtual solo piece, it's basically one joke extended for twenty minutes, yet it's a very good joke given enormous invention and considerable charm. A stand out of the year that culminated in the classic "The Rink".

Reviewed by CitizenCaine 8 / 10

Chaplin Crystalizes Drunk Act In 1:00 AM

Chaplin's fourth film for the Mutual Film Corporation has him playing a drunk arriving home at 1:00 AM trying to find his bed. The film is primarily a solo act for Chaplin with the exception of the cabdriver at the beginning. The film is equally experimental as it is bold in that Chaplin took a huge risk appearing on screen so long by himself. The result is the film is a resounding success. Chaplin once again plays a drunkard, which he had done so often previously. This time though the drunk act is not the whole show as it was in earlier films. Chaplin does battle with a number of inanimate objects including the following: The cab door, the cab's meter, a fish bowl, a doormat that moves like a magic carpet, some stuffed floor animals, a revolving table, a double staircase, a coat or hat rack, an over-sized pendulum swinging injudiciously from a wall clock, a Murphy bed, and a modern shower circa 1916. The film is purely slapstick and sight gags like many of his earlier Keystone comedies with an important difference. Here the gags are carefully choreographed, scripted, and timed to perfection employing Chaplin's perfected pantomime from his music hall days with Fred Karno's troupe in England. The gags are equally inventive and hilarious, showcasing Chaplin's athleticism and acrobatic talents. The highlight of the film is his encounter with the Murphy bed, which seems to have a mind of its own. This is probably the first film one could identify as a Chaplin classic; it's a comic ballet. *** of 4 stars.

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