I am very fond of Charlie Chaplin, his films and shorts. And I do love The Tramp. I don't consider it the very best of his shorts, but I do understand its importance and significance, being the short to introduce the iconic character The Tramp. I quite like the comedy in the Tramp. While it is not among the most special or funniest of all the comedy in Chaplin's biography, there are some inspired gags especially the ones with the pitchfork and the bags of flour, not to mentions the bashings on the head with the mallet. The Tramp has a lovely and touching comical-love story and moves along quickly. Some might say that the short may have dated slightly, maybe so though if so I think it is part of the charm, but the photography is very nice with a beautiful and perhaps iconic closing shot and the short is very well-edited. Speaking of the ending, it is one of genuine pathos. Edna Purviance is a cute, sweet and charming love interest, but the real jewel in the crown is the performance of Chaplin who down from his appearance to his mannerisms is excellent as the tramp. All in all, maybe not among the best of Chaplin's efforts but still wonderful and a milestone as well. 9/10 Bethany Cox

Charles Chaplin is a tramp who gets in trouble with three hobos.He also saves a girl of his dreams from the hobos, a beautiful farmer's daughter played by Edna Purviance.The girl is grateful at the little tramp and he takes him home with her and he starts working at the family farm.Being a farmhand isn't really his cup of tea and also the hobos show up again causing some trouble.Happiness doesn't often seem to follow the tramp and he notices the girl of his dreams is already taken.Chaplin's The Tramp (1915) marked the beginning of his most known character as we know him today.The difference between this and his more slapstick character in the earlier films was the sad ending and showing he cared for others, rather than just himself.Chaplin works so great together with Edna Purviance, just like he did in so many other films.Ernest Van Pelt plays The Farmer.Paddy McGuire plays Farmhand.Lloyd Bacon is Edna's Fiancé/Second Thief.Leo White is First Thief while Bud Jamison plays Third Thief.The Minister is played by Billy Armstrong.This short comedy holds some funny stuff inside.Charlie walking around with that pitchfork is funny.Or Charlie trying to milk the cow from its tail.Obviously The Little Tramp hasn't spent too much time on a farm.Also using the mallet in the end.Charles Chaplin was born 120 years and one day ago.For his second film, Kid Auto Races at Venice (1914) he wore baggy pants he borrowed from 'Fatty' Arbuckle, size 14 shoes that belonged to Ford Sterling, a tiny jacket from Keystone Kop Charles Avery, a bowler hat belonging to Arbuckle's father-in-law and Mack Swain's mustache trimmed down to toothbrush size.The Tramp was born!

Chaplin edited, wrote, directed, and starred in this film, a milestone for Chaplin and perhaps film comedy. It was not his first appearance as the tramp, but it was certainly his first appearance as the tramp that everyone still recognizes today. Gone is the aggressive Chaplin of old, always scheming and trying to put one over on people. Here he has a chance to do just that early in the film and chooses not to. It's as if Chaplin recognized his chance to branch out in another direction. He saves Edna Purviance from thieves and goes to her father's farm where he is given a job. Comical mishaps ensue with a pitchfork, and the tramp is not cut out to be a farmhand. The thieves return and are run off with the tramp's help, but the tramp is accidentally shot in the confusion. He eventually recovers thinking he'll marry the farmer's daughter, but he finds out she has a beau already(Lloyd Bacon, the Warner Brothers director). The tramp writes a goodbye letter and leaves. The film is consistent in tone and well edited. As in most of Chaplin's better films, the slapstick is reined in in favor of a plot or story. The ending with its simultaneous pathos and optimism is a Chaplin trademark. **1/2 of 4 stars.

`The Tramp' is significant for establishing Chaplin's working-class character in the popular consciousness, but it lacks the ingenuity and surprise of Chaplin's later films. The tramp's trademark appearance and mannerisms became universally beloved, but they are not what made Chaplin great. His genius is in his vision of how to use filmmaking techniques to confound and endear his audience. Here, the closest he comes is when he devises umpteen ways to tell a joke using a pitchfork. Many of them just aren't that funny.Rating: 5.5