What Charlie Chaplin does here is remarkable because what happens to the Tramp here - this time an extraordinarily hammered Tramp, who seems to own a few more things than we might usually expect - is in the moment-to-moment sense somewhat random and chaotic: he first can barely get out of the taxi cab (the only other actor in the 25 minute run time is the driver of the cab), with himself as well as his coat being stuck; he can barely get through his own front door; when he gets inside he enjoys a smoke (or tries to) and then tries to enjoy another drink and, through the folly of man, can't get to it on the revolving circular table; the stairs are truly Sisyphean to someone with no coordination (and that giant swinging clock doesn't help!); and the bed poses its own problems since it comes out of the door.All of this is planned, however, so everything is funnier because of how Chaplin gets mileage out of the repetition of the gags and how he milks them to a point where we think it's enough and, like any great comedian, takes his audience one step further across the line and is gambling on that we'll not only not have a problem with that, but that we'll be glad he did. The stairs portion of the short seems to go on for the longest among the set, but that's only because of the variations he gets to play on; he is pulling off a magnificent feat of timing and trust in himself as well as the audience. Being a clown for one gag is one thing, but the key is that he tops himself, building upon gags, and to be silly as possible while sticking to a little realism, such as the swinging clock pendulum (why is that even there?) What makes it also work is that it's not some abstract concept he's playing with. Even if you're a kid you have a concept of what drunkenness is like (hell, even Dumbo and a couple other Disney movies have very inebriated characters), and that it's essentially like losing control of gravity. It's not inherently funny if someone is drunk (and, thankfully, we have a happy drunk here to an extent), it's more about what things can be clownish about that drunken person. Every prop and every little piece is mined for all its worth, so that just seeing the tiger-rug is funny before Chaplin even puts his hand into it because one anticipates the gag (not to mention some fourth wall breaking, not often but done enough so it's effective).This may be the funniest of the Chaplin shorts I've seen. No moment is wasted, and there's a truth to it for people who have been plastered in their lives as well (seeing this reminded me of when actors have since tried to act drunk of wasted on camera, to an extreme way I mean, like DiCaprio in Wolf of Wall Street).

ONE A.M. (Mutual, 1916), Written and Directed by Charlie Chaplin, is definitely a departure from the usual comedy shorts from this period. Being his fourth for the Mutual Studio, it's his one and only one-man show captured on film. Abandoning his tramp character with derby, baggy pants and cane for well-dressed debonair top hat character, there's also no usual stock players of Edna Purviance, Eric Campbell or Charlotte Mineau to support him. There is, however, Albert Austin in the opening minutes playing a taxi driver waiting for his fare with his hand out, but getting something quite unexpected. Virtually plot less, ONE A.M. is basically a twenty minute skit reminiscent from old-time vaudeville shows or forerunner to variety television programs as "The Red Skelton Show," where Red Skelton himself has made pantomime one of his notable works of art, no doubt inspired by Chaplin himself.ONE A.M., casts Charlie as a drunk returning home by taxi. Whether coming home from an all night party or a neighborhood bar is never fully detailed. It's for the audience to decide for themselves and what his background is. After leaving the taxi, he begins a series of struggles and tribulations starting with getting inside his home before further complications ensue while trying to go to sleep for the night.Though Chaplin is virtually a sole attention here, the cast support in brief bits might have helped add to the hilarity, such as casting the big and burly Eric Campbell as a good natured butler, or Edna Purviance as a girlfriend attempting to telephone Charlie but not being able to get connected, or some girl constantly getting the wrong number. Instead, props as liquor bottles, cigarettes, sliding floor mats, fish bow, staircase, giant pendulum from a clock or wall bed with mind of its own taking precedence in Charlie's troubles. Following this solo performance, Chaplin continued experimenting what comedy techniques work best for him in his future short/feature-length efforts for many years to come.ONE A.M. is one of the twelve Mutual shorts starring Charlie Chaplin to be available in various formats, with certain prints with missing or added inter-titles of dialog or description acts. Scoring differs, depending on distributors of either home video or DVD formats. Older prints formerly broadcast on public television or syndicated channels during the sixties and seventies usually from 1930s reissues with orchestration of ragtime compositions and sound effects. Current digitally remastered prints of clear visuals and accurate silent speed extension to 22 or more minutes (often from Kino Video) often consist of more modern or poor scoring (depending on taste) with violin playing that usually takes away the pleasure in watching silent comedies such as this. The scoring from the old Blackhawk/Republic distribution company in the 1990s makes it far more enjoyable, in spite of some edits. Interesting note about the title, ONE A.M. If it's lead to assume the Chaplin character returning home at that late hour, then why is the opening taxi segment appear to have daylight setting with noticeably passing cars and pedestrians seen in the background? Looks for it the next time there's another Charlie Chaplin festival on Turner Classic Movies (TCM premiere: December 13, 1999), whether it be on prime time, daytime or at one a.m. Next Chaplin Mutual comedy: THE COUNT (1916). (***)

At Mutual, Chaplin had more freedom, and the result was the funniest and most entertaining short films he ever made. 'One A.M.' is one of his most experimental Mutual shorts: how many laughs can he get from a 20-some-minutes drunken solo, where, for the most part, he only interacts with inanimate objects (although the Murphy bed seems very alive). He got many from me.Chaplin did a hilarious drunk act--that's evident in many of his other films, as well: 'The Rounders' (1914), a Keystone short costarring an equally funny 'Fatty' Arbuckle, comes to mind, as does another of his Mutual shorts, 'The Cure' (1917). Moreover, Chaplin's tendency to portray a dandy as a drunk, rather than a tramp, which could cause the humour to lose out to melancholic social commentary, was prudent. Making fun of the tacky and ridiculous possessions of an overly dressed bachelor is more of sure thing. Chaplin's dandy--even his tramp personae--owes plenty to Max Linder, too, as Chaplin himself often cited.Another influence worth mentioning here is his background in Fred Karno's Fun Factory troupe. The only filmmakers other than Chaplin who are provided with much to do in 'One A.M.' it seems are those in care of the props and setting. 'One A.M.' could have as easily have been a music hall act as a short film. Nevertheless, all of this does make for a unique film in Chaplin's canon. By now, it's clear that Chaplin had matured from the rapid-paced, knockabout style of Keystone for a more graceful pantomime. That's not to say there aren't pratfalls and other tried-and-true gags here, but the temperament is radically different.

This is wonderful early Chaplin stuff. His use of props and gimmickry are definitive. How do you suppose he could fall down the stairs that many times and still get up unhurt? The man was a genius!!.