The Cure

Plot

The Tramp checks into a luxurious health spa to cure his alcoholism, bringing a suitcase full of liquor hidden in various compartments. His drunken antics immediately disrupt the serene environment as he stumbles through the facility, encounters a large woman (Eric Campbell in drag) who becomes infatuated with him, and attempts to woo a beautiful young woman (Edna Purviance) also staying at the spa. After accidentally getting trapped in the steam room and emerging completely disheveled, The Tramp's drunken behavior eventually leads to chaos throughout the establishment. In a climactic sequence, he accidentally falls into a water fountain while trying to retrieve his hidden liquor, leading to his expulsion from the spa. The film ends with The Tramp, now sober but still his usual bumbling self, walking away from the spa and encountering the large woman once more.

Historical Background

1917 was a pivotal year in world history, with the United States entering World War I in April, just as this film was released. The silent film industry was reaching new heights of sophistication, with comedians like Chaplin, Buster Keaton, and Harold Lloyd establishing themselves as major stars. The health spa movement was at its peak in America, with institutions like the Battle Creek Sanitarium promoting wellness and temperance, making Chaplin's satire particularly timely. The film industry was also transitioning from short one-reelers to longer, more ambitious productions, with Chaplin at the forefront of this evolution. Mutual Film Corporation was one of the most powerful studios of the era, giving Chaplin resources few other comedians enjoyed. This period also saw the rise of the star system, with actors like Chaplin becoming household names and commanding unprecedented salaries.

Making Of

The Cure was produced during Chaplin's golden year at Mutual, where he had unprecedented creative freedom and substantial budgets. Chaplin was known for his meticulous attention to detail and would often reshoot scenes multiple times until they met his exacting standards. The spa set was one of the most expensive built for a Mutual short, featuring multiple rooms and outdoor areas. Eric Campbell, who usually played menacing villains, was delighted to appear in drag, a role that showcased his comic timing beyond mere physical intimidation. Chaplin's famous perfectionism extended to the smallest details - he personally designed the special suitcase used in the film and rehearsed the liquor bottle gags for days. The steam room sequence was particularly challenging to film, requiring special lighting to penetrate the steam while keeping the actors visible. Chaplin's relationship with Edna Purviance was both professional and personal, and he often tailored roles specifically to showcase her talents beyond being a simple love interest.

Visual Style

The Cure was photographed by Roland Totheroh, Chaplin's regular cinematographer during the Mutual period. The film features innovative camera work for its time, including tracking shots following The Tramp through the spa's various rooms. The steam room sequence presented particular technical challenges, requiring special lighting techniques to maintain visibility while creating the authentic steam effect. The film's visual style emphasizes the contrast between the spa's pristine, orderly environment and The Tramp's chaotic presence. Wide shots establish the grandeur of the spa setting, while medium and close-up shots capture the nuances of Chaplin's physical comedy. The cinematography also makes effective use of depth of field, particularly in scenes involving multiple characters and props. The final fountain sequence uses underwater photography techniques that were quite advanced for 1917.

Innovations

The Cure featured several technical innovations for its time, particularly in set design and prop construction. The elaborate spa set was one of the most ambitious built for a comedy short, featuring multiple rooms, working fountains, and functional steam equipment. The special suitcase with hidden compartments was a marvel of prop design, allowing Chaplin to perform complex gags with liquor bottles appearing and disappearing. The steam room sequence required innovative lighting techniques to maintain visibility while creating authentic steam effects. The film also made early use of what would become standard comedy editing techniques, including match cuts and parallel action to build comic tension. The underwater photography in the final fountain sequence was particularly advanced for 1917, requiring specialized waterproof camera housing.

Music

As a silent film, The Cure was originally accompanied by live musical performances in theaters. Chaplin himself composed musical themes for many of his films, though it's unclear if he created specific music for The Cure during its initial release. Modern restorations typically feature period-appropriate piano or orchestral scores. The film's pacing and rhythm lend themselves well to musical accompaniment, with the physical comedy sequences particularly enhanced by synchronized music. Contemporary theaters often used popular songs of the era alongside classical pieces to accompany the action. In 2012, the Chaplin estate commissioned a new orchestral score for the Mutual films, including The Cure, composed by Timothy Brock and based on Chaplin's original musical notes and themes.

Memorable Scenes

• The opening sequence where The Tramp arrives at the spa with his special suitcase containing hidden liquor bottles, each compartment revealing another bottle to the growing alarm of the staff
• The steam room sequence where The Tramp accidentally gets locked in and emerges completely disheveled and dazed
• Eric Campbell's entrance as the large woman, a surprising and hilarious drag performance that becomes a running gag throughout the film
• The final fountain sequence where The Tramp falls into the water while trying to retrieve his liquor, resulting in his expulsion from the spa

What Critics Said

Contemporary critics praised The Cure as one of Chaplin's finest Mutual comedies, with Variety noting its 'inventive gags and perfect timing.' The New York Times called it 'a masterful display of comic artistry' and particularly praised Eric Campbell's drag performance. Modern critics continue to regard it as a high point of Chaplin's Mutual period, with film scholar David Robinson describing it as 'a perfectly constructed comedy of errors.' The film is often cited as an example of Chaplin's ability to blend slapstick with social commentary, using the spa setting to satirize American health culture while maintaining the pathos that made the Tramp an enduring character. Critics have noted the film's sophisticated use of props and set design, with the spa setting providing multiple opportunities for visual gags and physical comedy.

What Audiences Thought

The Cure was enormously popular with audiences upon its release, playing to packed theaters across America and internationally. Filmgoers particularly enjoyed Eric Campbell's unexpected appearance in drag and the elaborate suitcase gags. The film's humor transcended language barriers, making it successful in foreign markets where Chaplin's films were in high demand. Contemporary audience reports describe theaters erupting in laughter during the steam room sequence and The Tramp's final fall into the fountain. The film's theme of seeking cures for various ailments resonated with audiences familiar with the health spa craze of the 1910s. Modern audiences continue to appreciate the film's physical comedy and timeless humor, with The Cure remaining one of the most frequently screened of Chaplin's Mutual shorts in revival houses and film festivals.

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