I don't mean this as in the film is some kind of abstract comedy, it's very grounded as all Chaplin's films were: it's just whether genuine comedies or some of his more dramatic works they always have a strong moral that is totally obvious by the end. This one has more fun, it's Chaplin in all his spontaneity and lightness. The ending in particular is more symbolic than an obvious spelled out moral, it contributes to the fun of the whole piece rather than taking itself more seriously.Just a quick digression: it's surprisingly interesting the church and its practices would be criticized and mocked so openly way back in a mainstream film from 1923. But apparently that sort of thing was going on even back then.Funny as always, full of spirit, lots of mimicking and situational comedy going on. 7/10.

Two words: "WATCH IT!" Throughout this last of Charlie's short(er) films, he puts on a clinic of amazing pantomime that could never be as funny if it were a talking picture! He makes you believe it's all for real - whether on screen it appears to be "real" or is obviously pantomime as part of the story in and of itself. Think about this while watching it - really think how Chaplin makes it look easy, whereas if one of us average Joes tried it, we'd probably come off looking histrionic and ridiculous! ;-) lol There are also some great sight gags, one of which involves Charlie on the back of a man, trying to close a drawer with his feet, while the man tries opening the same drawer with his hands; and back and forth they furiously go! I just mention this one in particular as I'd not yet seen any other reviewers do so, but it's just one great scene amidst many others!Anyway, even without the Little Tramp in his familiar costume, you can still see him shining through as I think this film presents many of the same type of story elements and character qualities that led to the Little Fellow becoming an immortal icon. :-)(9 out of 10 stars for not enough romantic interaction between Charlie & Edna, but that's strictly just my personal preference. Except for "Burlesque on Carmen", I would probably say that about nearly every picture they made together. ;-) lol)

Well the plot is very simple, an escaped convict is set free by the policeman himself. But, that's not important. It's the techniques the genius master storyteller employs.There is only three shots in the opening to show us that a prisoner has escaped and roaming around as a different person. We see the reward poster of chaplin's picture and someone after taking bath in the river, comes out to change clothes and he is petrified by seeing a prisoner's costumes instead.Then he goes as a pastor and so on but the thing with chaplin is the little nuances and he is such a detailer and knows people behavior very well. You could see many different characters like kids, adults of all shapes etc.., What i meant to say is that he is so good with the craft, writing and also knows human behavior and values so much that you cant resist praising.A gifted filmmaker and the cinema is so privileged.Enjoyable overall, those little smiles and excitement is all over the movie.

Regardless of the terrific pictures that Charles Chaplin directed in the latter half of his career, he will always be best remembered for his portrayal of the Little Tramp, that bumbling yet kind-hearted vagrant with whom audiences continue to fall in love. Making his debut in 'Kid Auto Races at Venice (1914),' Chaplin's "Little Fellow" soon became one of cinema's most beloved and recognisable figures, and Chaplin one of Hollywood's biggest stars. Such was the character's success that, prior to 1940, it was a rare occurrence for Chaplin to portray anybody who wasn't the Tramp. One such attempt was in an unfinished short, 'The Professor (1919),' in which Chaplin portrays a poignant, lowly street performer named Professor Bosco. 'The Pilgrim (1923),' at around sixty minutes in length, was the last of Chaplin's "mini-features" before he dedicated his time almost exclusively to feature-length films, and it is interesting in that he doesn't play the Little Tramp, or, if he does, then it's a version of the character that we haven't seen before.In the film, Chaplin plays an escaped prisoner, who, in his flight from the authorities, is mistaken for the young parson who was supposed to be arriving at a small country town. It wasn't unusual for the Little Tramp to find himself in trouble with the police {and, indeed, he did a spell in prison during 'Modern Times (1936)'}, so it's not altogether unreasonable to conclude that this convict is one and the same character. Despite missing many of his trademarks – the baggy trousers, the cane, the derby hat – his bumbling benevolence is precisely the same, even if one brief flashback shows him sharing a friendly cigarette with an unscrupulous fellow jailbird (Charles Reisner). Notably, a newspaper headline in the film betrays our hero's name to be "Lefty Lombard" alias "Slippery Elm," though these could easily be pseudonyms. 'The Pilgrim' is a film that places more emphasis on plain slapstick than any of Chaplin's feature films, and the pathos that is apparent in most of his works is noticeably lacking, as is any real romantic connection with leading lady Edna Purviance {the final occasion on which the two co-starred}.Despite the absence of any real emotion, Chaplin's film still succeeds on its own terms, with the criminal's situation allowing for an assortment of amusing scenarios. Dressed as a parson, one is always expected to act in the most civilised fashion, and yet our poor hero finds that he just can't play the part. Chaplin's incredible skill for visual communication is most stunningly apparent in his character's gesticulated re-telling of the David vs Goliath legend, and, without the aid of sound, the audience can easily follow every single detail of the story. Also hilarious are the Pilgrim's attempts at making a cake {using the hat belonging to Chaplin's brother and co-star, Syd}, his response to the antics of Howard Huntington the dishonest thief, and his inability to take a policeman's hint beside the border into Mexico. In 1959, 'The Pilgrim' was one of three films {along with 'Shoulder Arms (1918)' and 'A Dog's Life (1918)'} that Chaplin slightly re-edited and combined to form 'The Chaplin Revue.' He also composed a new soundtrack, as well as a catchy title theme, performed by Matt Monroe, called "I'm Bound for Texas."