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TITLE: “ONE A.M.”

DATE: 1916

STARS: CHARLIE CHAPLIN

DIRECTOR: CHARLIE CHAPLIN

LENGTH: 25 MINUTES

B&W

SYNOPSIS/PLOT: SEE BELOW

Charlie Chaplin's 54th Film Released Aug. 07 1916 One A.M. was a unique Charlie Chaplin silent film created for Mutual Films in 1916. It was the first film he starred in alone, except for a brief scene of Albert Austin playing a cab driver. Chaplin plays the role of a wealthman coming home late, after too much to drink. He only wants to go to bed, but 'everything' around him prevents him

One A.M. was a unique Charlie Chaplin silent film created for Mutual Film in 1916 in film. It was the first film he starred in alone, except for a brief scene of Albert Austin playing a cab driver.

Plot

The film opens with a scene of a wealthy young man (Chaplin) arriving at his house in a taxi late at night after a night of heavy drinking. He struggles with the car door when exiting the car and then in paying the taxi driver (Albert Austin). When he gets to his front door, he thinks that he has forgotten the key and has to enter through the window. While climbing in through the window, he steps into a fishbowl that's placed underneath it and then almost falls down when the carpet underneath him slides. After finding his balance again, he goes through his pockets and realises that the key has been there all the while. He goes back through the window and enters through the front door.
Inside the house, the furniture and other inanimate objects become almost insurmountable obstacles for the drunk. He struggles to balance on the sliding carpets and wonders whether he is wearing skates. Falling down, he lands between a tiger rug and a stuffed Eurasian lynx, which terrify him as he thinks they are real. He goes over to the table and tries to pour himself a drink, but first he accidentally spins the table top around and then does not manage to pour the drinks inside a glass. He then unsuccessfully attempts to light a cigarette, and then tries to head up the stairs to his bedroom. He fails several times in climbing them; a large cuckoo clock on the upstairs landing also poses a problem. He becomes increasingly creative with his attempts to climb the stairs, for example by using mountain climbing gear.
When he finally reaches his bedroom, he struggles to open his Murphy bed and ends up wrecking it. He gives up on the idea of sleeping in his bed and goes to bathroom. He enters the shower and accidentally turns it on. Soaked, he then gets into the bathtub and falls asleep under a towel.

Cast

MORE INFO:

He scored an immediate hit with American audiences, particularly with his characterization in a sketch entitled “A Night in an English Music Hall”. When the Fred Karno troupe returned to the United States in the fall of 1912 for a repeat tour, Chaplin was offered a motion picture contract.

He finally agreed to appear before the cameras at the expiration of his vaudeville commitments in November 1913; and his entrance in the cinema world took place that month when he joined Mack Sennett and the Keystone Film Company. His initial salary was $150 a week, but his overnight success on the screen spurred other producers to start negotiations for his services.

At the completion of his Sennett contract, Chaplin moved on to the Essanay Company (1915) at a large increase. Sydney Chaplin had then arrived from England, and took his brother’s place with Keystone as their leading comedian.

The following year Charlie was even more in demand and signed with the Mutual Film Corporation for a much larger sum to make 12 two-reel comedies. These include “The Floorwalker”, “The Fireman”, “The Vagabond”, “One A.M.” (a production in which he was the only character for the entire two reels with the exception of the entrance of a cab driver in the opening scene), “The Count”, “The Pawnshop”, “Behind the Screen”, “The Rink”, “Easy Street” (heralded as his greatest production up to that time), “The Cure”, “The Immigrant” and “The Adventurer”.

When his contract with Mutual expired in 1917, Chaplin decided to become an independent producer in a desire for more freedom and greater leisure in making his movies. To that end, he busied himself with the construction of his own studios. This plant was situated in the heart of the residential section of Hollywood at La Brea Avenue.

Early in 1918, Chaplin entered into an agreement with First National Exhibitors’ Circuit, a new organization specially formed to exploit his pictures. His first film under this new deal was “A Dog’s Life”. After this production, he turned his attention to a national tour on behalf of the war effort, following which he made a film the US government used to popularize the Liberty Loan drive: “The Bond”.

His next commercial venture was the production of a comedy dealing with the war. “Shoulder Arms”, released in 1918 at a most opportune time, proved a veritable mirthquake at the box office and added enormously to Chaplin’s popularity.

He followed “Shoulder Arms” with “Sunnyside” and “A Day’s Pleasure”, both released in 1919. In April of that year, Chaplin joined with Mary Pickford, Douglas Fairbanks and D.W. Griffith to found the United Artists Corporation. B.B. Hampton, in his “History of the Movies” says:

“The corporation was organized as a distributor, each of the artists retaining entire control of his or her respective producing activities, delivering to United Artists the completed pictures for distribution on the same general plan they would have followed with a distributing organization which they did not own. The stock of United Artists was divided equally among the founders. This arrangement introduced a new method into the industry. Heretofore, producers and distributors had been the employers, paying salaries and sometimes a share of the profits to the stars. Under the United Artists system, the stars became their own employers. They had to do their own financing, but they received the producer profits that had formerly gone to their employers and each received his share of the profits of the distributing organization.”

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