The Star Boarder

Plot

A young landlady (Minta Durfee) becomes infatuated with her charming star boarder (Charlie Chaplin), leading to various romantic encounters in her boarding house. Her mischievous young son, suspicious of their relationship, decides to investigate and discovers their indiscretions. The boy then creates a magic lantern show featuring shadow puppets that dramatically reenacts the compromising moments he has witnessed. During a public performance for other boarders and neighbors, the child's innocent but revealing expose creates hilarious chaos and embarrassment for the mother and her admirer. The film culminates in a comedic resolution as the embarrassed parties must deal with the consequences of their exposed relationship.

Historical Background

1914 was a watershed year in cinema history, marking the transition from short films to feature-length productions and the establishment of Hollywood as the center of American filmmaking. World War I had just begun in Europe, affecting international film production and distribution, but American cinema was experiencing unprecedented growth. The Keystone Studios under Mack Sennett was pioneering the art of film comedy, developing the slapstick style that would dominate early cinema. Charlie Chaplin, who had joined Keystone in late 1913, was rapidly becoming one of the most popular comedians in the world. The film industry was still in its infancy, with most productions being one-reelers (10-12 minutes) shot in a matter of days. This period saw the development of many film techniques and narrative conventions that would become standard in cinema. The magic lantern show in 'The Star Boarder' reflects the transitional nature of 1914 cinema, bridging Victorian entertainment forms with emerging film technology.

Making Of

The production of 'The Star Boarder' took place during Keystone Studios' most prolific period, when they were churning out comedies at a breakneck pace. Chaplin, still relatively new to American cinema, was working under the guidance of Mack Sennett and various directors including George Nichols. The magic lantern sequence required careful planning and coordination, as the shadow puppet effects had to be synchronized with the actors' reactions. Minta Durfee, who was married to Fatty Arbuckle, was a regular Keystone player and had good chemistry with Chaplin. The film was shot in the Keystone Studios facility in Edendale, Los Angeles, which was then a rural area perfect for filming. Chaplin was already beginning to assert creative control over his performances, even though he hadn't yet become the auteur director he would later become. The quick shooting schedule typical of Keystone meant that much of the comedy was improvised on set, with the actors building on established gags and situations.

Visual Style

The cinematography in 'The Star Boarder' was typical of Keystone Studios productions in 1914, utilizing stationary cameras with basic panning and tracking movements. The film was shot in black and white on 35mm film, with the standard aspect ratio of the era. The magic lantern sequence required special lighting techniques to create the shadow puppet effects, representing an early form of special effects cinematography. Indoor scenes were lit with the harsh, flat lighting common in early studio productions, while outdoor scenes benefited from natural California sunlight. The camera work was functional rather than artistic, focusing on capturing the action clearly for the audience. The film employed basic close-ups for emotional moments, a technique still relatively new in 1914. The boarding house sets were designed to allow for clear sightlines and comic business, with doorways and staircases serving as comic obstacles. The cinematography served the comedy rather than standing out as artistic, which was typical of Keystone's production philosophy.

Innovations

The most notable technical achievement in 'The Star Boarder' was the magic lantern sequence, which demonstrated early special effects capabilities in cinema. The shadow puppet effects required careful coordination between lighting, props, and performers to create the illusion of a magic lantern projection. This sequence represented an innovative use of in-camera effects and practical effects that predated more sophisticated optical printing techniques. The film also utilized the standard Keystone technical approach of rapid editing and multiple camera setups to capture the chaotic comedy. The boarding house set design allowed for complex staging of comic business, with multiple entrances and exits creating opportunities for farcical situations. While not groundbreaking in terms of cinematography, the film demonstrated the growing sophistication of film language in 1914, with clear narrative progression and character development. The technical aspects served the comedy effectively, showing how Keystone Studios had mastered the craft of producing entertaining comedies quickly and efficiently.

Music

As a silent film, 'The Star Boarder' had no recorded soundtrack but would have been accompanied by live music during theatrical exhibitions. The typical accompaniment would have been provided by a pianist in smaller theaters or a small orchestra in larger venues. The music would have been selected from standard compilations of photoplay music, with pieces chosen to match the mood of each scene - comic music for the slapstick moments, romantic themes for the landlady and boarder scenes, and playful melodies for the child's sequences. The magic lantern show might have featured special musical effects or novelty instruments to enhance the sense of wonder. Some theaters might have used sound effects such as bells, whistles, or other noisemakers to punctuate the comic moments. The musical accompaniment was crucial to silent film experience, helping to guide audience emotions and enhance the comedy. While no specific musical score was composed for this film, the accompanist would have drawn from the extensive library of photoplay music available to theaters of the era.

Memorable Scenes

• The climactic magic lantern show sequence where the child uses shadow puppets to reenact the landlady and boarder's secret encounters, creating hilarious embarrassment as the other boarders watch the unwitting expose unfold.
• The various sneaking scenes where Chaplin and Durfee attempt to have private moments, constantly interrupted by the suspicious child or other boarders.
• The final chaos scene where all characters react to the revelation, with exaggerated expressions and physical comedy typical of Keystone style.

What Critics Said

Contemporary reviews of 'The Star Boarder' were generally positive, with critics noting Chaplin's growing comic talents and the film's inventive magic lantern sequence. The trade papers of the era, such as Moving Picture World and The New York Dramatic Mirror, praised the film's humor and technical cleverness. Critics particularly appreciated the child's role in exposing the adult characters' indiscretions, seeing it as a fresh approach to comedy. Modern film historians view the work as an important stepping stone in Chaplin's development, noting how it shows his progression from pure slapstick toward more character-driven comedy. The film is often cited in studies of early cinema as an example of how quickly Chaplin was mastering the medium and developing his unique style. While not considered a masterpiece by modern standards, it is valued by Chaplin scholars and silent film enthusiasts for its historical importance and glimpse into the comedian's early career.

What Audiences Thought

Audiences in 1914 responded enthusiastically to 'The Star Boarder,' as they did to most of Chaplin's Keystone productions. The film's mix of slapstick comedy, romantic situations, and the clever magic lantern sequence proved popular with theater-goers of the era. Chaplin's growing star power ensured good attendance for his films, and this one was no exception. The child character's role in the story resonated with family audiences, while the adult situations provided entertainment for older viewers. Contemporary audience reports suggest that the magic lantern show sequence was particularly well-received, with viewers appreciating the technical innovation and comic timing. As with many Keystone films, the fast pace and visual gags played well to the diverse audiences of early nickelodeons and movie theaters. While specific box office figures are not available, the film's success contributed to Chaplin's meteoric rise to become one of the highest-paid and most popular entertainers in the world by the end of 1914.

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