Linbeymusol Wonderful character development!

Flyerplesys Perfectly adorable

Stephanie There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Staci Frederick Blistering performances.

SnorrSm1989 It is funny how public taste changes through the years. One comedy routine can be received with tremendous applause one year and be considered completely dated just a few years later. In March, 1914, Motion Picture News wrote of HIS FAVORITE PASTIME: "If there is an audience somewhere which does not roar with laughter while watching this comedy, then the minds of this audience are hardly in a defensible state." But although Chaplin always was proud of the fact that his comedy by common agreement remained "timeless," I'd be surprised if this one-reeler ran along all that well if screened to an audience today.(*SPOILERS*) Chaplin appears in his famous outfit, but as my fellow-reviewers have pointed out, he is completely unrecognizable as "The Tramp" in terms of behavior. The entire story could be summarized by a single sentence, really: a highly intoxicated Charlie causes havoc at the bar of which he is quickly thrown out; outside, he is attracted to a woman and follows her by the streetcar while she takes a cab; he finally breaks into her house, only to wake the hostess of the house, who beats him up along with the husband of the pretty woman. (*SPOILERS END*)Seen through the eyes of today, only a few bits of comedy stand out; one nice moment occurs when Charlie somersaults from a balcony to land in sitting position on a sofa inside, but most of the comedy presented here is probably hard to grasp to anyone not really familiar with the Keystone-universe, how its inhabitants interacted and behaved; and even if you are familiar, the film will probably stand out as quite mediocre in any case. To be sure, at this point Chaplin was still appearing in films made by others, and it is well reported that the comedian went through quite a difficult time with director George Nichols, who strictly believed in the "old methods" and responded unenthusiastically to Chaplin's suggestions. This, added by Chaplin's own inexperience with film, didn't make circumstances good for creativity.All this being said, however, I would like to point out that it is important to not only put HIS FAVORITE PASTIME into context regarding the circumstances under which it was made, but also under an historical context. This film is not the film to begin an acquaintance with Chaplin's work, but there is one tiny fact we must keep in mind, whether we like it or not: although there might be little amusement to be found here for anyone alive in 2007, the mentioned Motion Picture News-review confirms that HIS FAVORITE PASTIME did apparently offer plenty of laughs in 1914; and that was, quite certainly, Chaplin's intention when he appeared in this film. Nowadays filmmakers are likely to hope that their products will still be talked about a century from now, as more than a hundred years of experience with film has proved that some movies actually do achieve public interest that long. However, when HIS FAVORITE PASTIME saw release, movies had just recently become an industry; nobody imagined that these rough things would be available on a marvel called DVD generations later. A film was made to entertain there and then and in that respect, HIS FAVORITE PASTIME clearly fulfilled its purpose. As for Chaplin's performance here, whose crude nature makes for quite a contrast to his far more likable, sentimental character of just a year or two later, I'll admit that I find the Tramp of the Keystone-period to often be quite hilarious, even when he is as unrefined as seen here. He is such a selfish, determined and insensitive little fellow, but Chaplin even here equips him with a certain gracefulness and rhythm that makes his mere appearance plain funny, once you get used to it.I'm saying it for the last time now: HIS FAVORITE PASTIME is not a memorable film, but it did amuse the parents of your parents or even the parents of your parents of your parents, and that, I think, is the most relevant thing. It should also be noted that the copy I possess is not in good shape, and it could be that a thorough restoration would put it in a somewhat better light.LATER UPDATE--sure enough, BFI/Flicker Alley's 2010-reconstruction of HIS FAVORITE PASTIME makes it a more enjoyable film. As it turns out, some scenes and bits of comic business had been cut from the rusty copy of the film I'd previously watched, and while none of the cut material transforms the film into anything approaching a masterpiece, it did make me chuckle a few more times. Even here, Chaplin's pantomime is often rather subtle compared to the supporting players surrounding him.

Michael DeZubiria In another disappointing short comedy, Charlie Chaplin once again plays the standard, belligerent drunk, drinking himself into oblivion and then stumbling around this run-of-the-mill slapstick comedy. There are some mildly interesting items, such as the fact that the altogether unamusing but watchable opening scene features Chaplin and Keystone colleague Fatty Arbuckle as fellow drinkers in the pub, taking beers away from each other and gradually getting drunker and drunker, as well as the fact that this is one of the earliest, maybe even the origin, of one of Chaplin's gags that he would later perfect and use with great success, the lighting of the match on the seat of his pants. Other than that, there is not much else of note here.The comedy of the film is really nonexistent, which is not to say that it is entirely bad, just a failed experiment. The obnoxious drunk has long since lost its appeal, if it ever had any, and I imagine even audiences back in 1914 must have been getting tired of it. The film features some of the most blatant racism of any of his films, although certainly not the last (remember the three minds with but a single thought from A Day's Pleasure?). At one point late in the film, Charlie follows a woman right into her home and hits on her, and is then horrified when he realizes that she is black. He also drops a lighted match into a black man's hand when he holds it out for a tip, which is exactly the kind of thing that makes this drunken character so dislikable.Most of the rest of the film is composed of people pushing and shoving other people around and hitting each other, and ultimately it seems that Chaplin simply uses drunkenness in the film to serve as a reason to stagger around and hit people and get in fights with swinging doors and fall over stairway banisters and such. The plot outline on the IMDb says "A very plastered fella follows a pretty woman home, and proceeds to make a nuisance of himself." And sadly, there's not much difference between watching the film and reading that one line.

23skidoo-4 His Favorite Pastime is only about 16 minutes long, yet I found it so boring I nearly fell asleep. The plot makes even less sense than usual, and Chaplin seems to be sleepwalking through the comedy. There are a few interesting gags, such as The Tramp vs. a pair of saloon doors, and later, the Tramp riding the front of a streetcar, but nothing really gels in this early silent Chaplin. His drunk act was starting to get old by this point, and in fact the character he plays here is little different than the character he played in his previous film, Tango Tangles, except that the comedy in the earlier short is far superior.My advice: unless you have a desire to see every film Chaplin made, good or bad, skip this one.

wmorrow59 Just as Babe Ruth struck out now and then, and George Gershwin hit the occasional sour note, Charlie Chaplin made a few comedies during his apprenticeship at Keystone that don't hold up all that well. In the better efforts we can detect a great talent struggling to emerge from the chaos, and there are good moments scattered about, while a couple of them (I'm thinking of The New Janitor and Caught in a Cabaret) are quite satisfying: nicely constructed films with funny gags and a story to tell. However, several of the Keystones -- and I say this as a lifelong Chaplin fan -- are a chore to sit through. Too many of them are burdened with an overload of silly histrionics and painful-looking slapstick violence, and those good moments are hard to find.Well, I'd say the good moments are scarce indeed in His Favorite Pastime. The main problem is that Chaplin's character is so obnoxious: he looks like the Little Tramp, but sure doesn't act like him. Most of this film is set in a pub, and once Charlie's had a few shots he turns into a mean drunk. There's a vigorous workout involving a swinging door, and it's mildly amusing, but the routine lacks the finesse Chaplin would bring to such business later on, in far better comedies such as The Cure. Moreover, in his later work the characters taking the brunt of the violence usually deserved it. Here, by contrast, when an inoffensive washroom attendant (a white actor wearing black-face makeup) holds out his hand for a tip, Charlie drops a lighted match instead of a coin and burns the man's hand. Ouch! Later, thoroughly blotto, Charlie follows a pretty woman home, walks right into her house, and makes a pass at her. Actually, on his first attempt, he accidentally makes the pass at her 'colored' maid (again a white performer in black-face), and is horrified when he realizes his mistake -- a very unusual racial gag in Chaplin's work, and another strike against this film. Really the only worthwhile moment is a nice demonstration of physical dexterity, when Charlie falls over a banister, lands on a sofa, and then casually lights a cigarette.There are a couple points of minor interest in His Favorite Pastime concerning the cast: the opening sequence in the saloon features Chaplin's Keystone colleague Roscoe Arbuckle, so heavily disguised as a shabby drunk that he's barely recognizable. Where laughs are concerned nothing much comes of the scene, but it's interesting to note Arbuckle's resemblance to Orson Welles in his grizzled makeup for A Touch of Evil, made many years later. Also, the society lady Charlie follows home is played by an actress variously known as Peggy Pearce and Viola Barry, who reportedly was romantically involved with Chaplin for a brief time during his stint at Keystone. Here she isn't given much to do, but she can be seen to better advantage opposite Lillian Gish in D. W. Griffith's Biograph drama of 1913, The Mothering Heart. That short drama, by the way, holds up considerably better than this comedy.