Between Showers

Plot

In this classic Keystone comedy, Mr. Snookie (Ford Sterling) brazenly steals an umbrella from a passerby during a rainstorm. When he encounters a young woman struggling to cross a large puddle, he attempts to gallantly assist her, hoping to win her affection. However, Charlie Chaplin's Tramp character arrives on the scene and immediately begins competing for the woman's attention, leading to a series of increasingly absurd physical gags and comedic confrontations. The two rivals engage in a slapstick battle of one-upmanship, each trying to outdo the other in their attempts to help the woman across the water. The film culminates in chaos as their competitive assistance results in both men ending up in the puddle, much to the amusement of the woman and onlookers.

Historical Background

1914 was a pivotal year in world history and cinema. As Europe descended into World War I, America remained neutral, and Hollywood was emerging as the center of global film production. The Keystone Film Company, under Mack Sennett's leadership, was pioneering the art of film comedy, developing the language of slapstick that would influence generations of filmmakers. This period saw the rise of feature-length films, but short comedies remained the bread and butter of studios. The film industry was still young, with many technical and artistic conventions yet to be established. Chaplin's arrival at Keystone represented a shift toward more character-driven comedy, moving away from the purely physical gags that had dominated early film comedy. The rapid industrialization of America was reflected in the fast-paced production schedules of studios like Keystone, which could produce dozens of shorts per month.

Making Of

The production of 'Between Showers' took place during a crucial period in Charlie Chaplin's career, as he was transitioning from a Keystone stock player to a comedy superstar. Director Henry Lehrman, who resented Chaplin's growing popularity and improvisational style, reportedly made filming difficult by changing shot compositions and deliberately trying to make Chaplin look foolish. Despite this tension, the physical comedy between Chaplin and Ford Sterling showcases the competitive energy that defined Keystone's best work. The puddle sequence was particularly challenging to film, requiring precise timing to capture the splash effects and the actors' reactions. Chaplin was already beginning to refine his Tramp character, incorporating subtle gestures and expressions that would become his trademark. The film was shot quickly, as was typical of Keystone's assembly-line production methods, often completing multiple shorts in a single week.

Visual Style

The cinematography in 'Between Showers' is typical of Keystone productions in 1914, featuring a static camera positioned to capture the full range of physical action. The cameraman used medium shots to ensure both performers and their physical gags remained visible throughout the comedy sequences. The outdoor filming took advantage of natural lighting, creating a realistic atmosphere for the rain-themed scenario. The camera work prioritized clarity of action over artistic composition, ensuring that every pratfall and splash was clearly visible to the audience. The puddle sequence required careful framing to contain the water effects while maintaining focus on the performers' reactions.

Innovations

While 'Between Showers' did not introduce major technical innovations, it demonstrates the effective use of existing film techniques for comedic effect. The film showcases Keystone's mastery of practical effects, particularly the creation and filming of the puddle sequence using water hoses and careful timing. The editing follows the continuity style emerging in 1914, maintaining clear spatial relationships between characters. The film also demonstrates the effective use of outdoor locations to add realism to comedy scenarios, a technique that would become standard in film comedy. The production efficiency shown in completing this short in minimal time reflects the industrial processes being developed by Hollywood studios.

Music

As a silent film, 'Between Showers' would have been accompanied by live musical performance during its theatrical run. Typical Keystone comedies were accompanied by pianists or small orchestras playing popular songs of the era, classical pieces, or improvised music that matched the on-screen action. For the rain scenes, musicians might have used percussive effects to simulate rainfall, while the physical comedy would have been underscored with jaunty, upbeat tunes. The exact musical accompaniment would have varied by theater and performer, as standardized film scores were not yet common practice in 1914.

Memorable Scenes

• The opening sequence where Ford Sterling's character steals the umbrella with exaggerated stealth
• The puddle-crossing scene where both men attempt to help the woman while sabotaging each other
• Chaplin's introduction as the Tramp, with his distinctive waddle and cane
• The final splash sequence where both rivals end up in the water
• The moment when the umbrella becomes a weapon in their comic battle

What Critics Said

Contemporary reviews of 'Between Showers' were generally positive, with trade publications noting Chaplin's growing popularity and the effective comedy between the rival suitors. The Moving Picture World praised the film's 'genuine laughs' and highlighted the chemistry between the performers. Modern critics view the film as an important historical document showing Chaplin's early development, though they note it lacks the sophistication of his later work. Film historians appreciate it as a representative example of Keystone's output and a showcase of the studio's signature style. The film is often cited in studies of early American comedy as evidence of how quickly Chaplin was developing his unique screen persona.

What Audiences Thought

Audiences in 1914 responded enthusiastically to 'Between Showers,' as it featured the increasingly popular Charlie Chaplin in his distinctive Tramp costume. The film played well in vaudeville houses and nickelodeons, where short comedies were in high demand. Moviegoers of the era particularly enjoyed the relatable scenario of dealing with rain and puddles, combined with the escalating physical comedy. The rivalry between Chaplin and Ford Sterling resonated with audiences, who could recognize the familiar comedic trope of two men competing for a woman's attention. The film's success contributed to Chaplin's rapidly growing star power and helped establish him as a box office draw for Keystone.

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