He's In Again

Plot

A tramp enters an upscale cabaret and confidently orders a drink, but when the bill arrives, he discovers he has no money and is forcefully ejected by the establishment's staff. Determined to gain entry, the tramp makes several more attempts to get into the cabaret, each resulting in increasingly comical failures and physical comedy. The manager eventually confronts him and presents an ultimatum: either face charges and jail time for his repeated disturbances, or work off his debt by performing various menial tasks around the establishment. The tramp reluctantly agrees to work, leading to a series of humorous mishaps as he attempts to perform his duties while creating chaos throughout the cabaret. His bumbling attempts at employment disrupt the sophisticated atmosphere and entertain the patrons, ultimately leading to an unexpected resolution.

Historical Background

This film was produced in 1918, during the final year of World War I, a time when the American film industry was rapidly establishing its dominance in global cinema. The silent comedy genre was at its peak, with stars like Charlie Chaplin, Buster Keaton, and Harold Lloyd becoming cultural icons. 1918 was also a period of significant technological transition in filmmaking, with studios moving toward more sophisticated production techniques. The film industry was consolidating in Hollywood, and short comedy subjects like this one were the bread and butter of many production companies. The post-war period would see massive changes in American society, and comedy films often reflected the tensions between different social classes, as depicted in this film's cabaret setting. The influenza pandemic of 1918 also affected film production and exhibition, though the industry continued to operate and provide entertainment to a public dealing with global crisis.

Making Of

The production of 'He's In Again' was typical of the rapid-fire comedy short industry of the late 1910s, where films were often shot in just a few days. Director Charley Chase, who was establishing himself as a reliable comedy director, brought his experience as a performer to the filming process. Billy West, the star, was under contract to produce multiple shorts for King Bee Studios, and this film was part of his quota. Oliver Hardy, still building his career, was likely cast for his imposing physical presence and ability to play authority figures. The cabaret setting allowed for elaborate visual gags and physical comedy, which were the staples of silent comedy. The film's pacing and gag structure follow the established formula of the era, with escalating comedy sequences culminating in a chaotic resolution. The production would have utilized natural lighting or basic studio lighting techniques, as sophisticated cinematography was not the focus of comedy shorts of this period.

Visual Style

The cinematography in 'He's In Again' follows the standard practices of silent comedy shorts of the late 1910s. The camera work is functional rather than artistic, focusing primarily on capturing the physical comedy and ensuring that all gags are clearly visible to the audience. The film likely used static camera positions for most scenes, with some basic pans to follow action. The lighting would have been basic studio lighting designed to adequately illuminate the performers and sets. The cabaret setting allowed for some interesting visual compositions with multiple characters in frame, creating opportunities for background gags and layered comedy. The cinematography prioritizes clarity of action over artistic innovation, which was typical for comedy shorts of this period where the humor was the main focus.

Innovations

The film does not feature any significant technical achievements, as it was produced using standard techniques of the period. The production would have utilized the basic camera and lighting equipment available in 1918. The film was likely shot on 35mm film stock, which was the industry standard. The editing would have been straightforward, focusing on clear presentation of gags rather than innovative techniques. The film's technical aspects were functional rather than groundbreaking, which was typical for comedy shorts of this era where entertainment value was prioritized over technical innovation. The film represents the standard technical capabilities of American film production in the late 1910s.

Music

As a silent film, 'He's In Again' would have been accompanied by live music during its original theatrical screenings. The specific musical score would have varied by theater, ranging from solo piano accompaniment in smaller venues to full orchestral arrangements in larger cinemas. The music would have been selected to match the on-screen action, with upbeat, comical pieces during the slapstick sequences and more dramatic music during moments of tension. Some theaters might have used cue sheets provided by the studio, while others would have relied on the musical director's discretion. The cabaret setting would have allowed for diegetic music scenes where characters could be shown dancing or performing to on-screen musicians. No original soundtrack recordings exist for this film, as was standard for silent productions.

Memorable Scenes

• The tramp's repeated attempts to enter the cabaret, each resulting in increasingly creative ejections by the staff
• The manager's ultimatum scene where the tramp must choose between jail and work
• The chaotic work sequences where the tramp attempts various jobs while creating havoc throughout the establishment

What Critics Said

Contemporary critical reception for comedy shorts like 'He's In Again' was typically limited to trade publications like Variety and Moving Picture World. These reviews generally focused on the film's entertainment value and gag effectiveness rather than artistic merit. Modern critical assessment of the film is minimal, as it is not considered a significant work in the silent comedy canon. However, film historians recognize it as an example of the typical two-reel comedy format of the era and note Oliver Hardy's early appearance as historically interesting. The film is generally regarded as competent but unremarkable within the vast output of silent comedy shorts produced during this period.

What Audiences Thought

Audience reception in 1918 would have been based on the film's ability to provide laughs and entertainment during a brief theater interlude. Comedy shorts were popular programming elements that accompanied feature films, and audiences expected rapid-fire gags and physical comedy. Billy West's Chaplin-esque character would have been familiar to audiences of the time, though likely seen as an imitation rather than original. The film's themes of class conflict and the little guy versus authority figures would have resonated with working-class audiences of the period. Modern audience reception is limited due to the film's relative obscurity and availability, though silent film enthusiasts might appreciate it as an example of typical comedy short production of the era.

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