Film: 2933

War + Military | 1910 | Silent | B/W


Charlie Chaplin in a war bond appeal for World War One, savings bonds propaganda 1918

Against a black screen the text comes up, 'there are different types of bonds,' in a white type face, then 'the bond of friendship,'. A man ( Albert Austin) stands leaning against a post frame, he is dressed in a white, slightly scruffy suit and has a large moustache, another man walks behind him. The man in white turns, says something and offers out his hand, the other man is Charlie Chaplin who is also dressed in a suit with a hat on, Chaplin shakes this man's hand. The man in white shakes Chaplin by the shoulders in a friendly manner and continues to shake his hand, Chaplin begins to talk, while the man, hands on hips listens.

We now see the two still talking but we can see more of their surroundings. The man in white is standing next to a lamppost while Chaplin is standing with an illuminated building behind him. Chaplin shows the man two fingers, they shake hands again and Chaplin checks his watch, indicating that he is in a rush, and pats the other man. As Chaplin is about to go the man in white calls him back, puts his hand around his shoulder and whispers in his ear. They then laugh heartily at some joke that has been told. Chaplin again checks his watch, and tries to leave but the man in white calls him back again and whispers another joke in his ear, this time only the man in white laughs and Chaplin looks at his watch in an annoyed manner, adjusts his hat and tries to walk off. Once again the man in white calls him back and with his back to us continues to talk in Chaplin's ear. They turn towards us and the man in white looks to the right and coughs. At this cough Chaplin thinks that the man wants money and reaches into his pockets, pulling out some notes which the man in white makes a show of not wanting, and when Chaplin is about to put the money back the man takes it, pocketing it and then shaking Chaplin's hand, Chaplin at this point looks quite annoyed.

The man in white then makes a drinking motion with his hand, and points off camera with his thumb, he then shakes Chaplin's hand again and walks off the set. Chaplin looks at the camera then turns around, pulling up his coat and marching off the set, in the other direction off the man.

'The bond of Love,' appears against a dark background. We see the same set as before but this time a woman ( Edna Purviance) walks onto the set, dressed in a white dress, black striped top and a large hat, she holds a parasol, Chaplin also comes onto the set from the other side and then walks past her. Then a close shot of Chaplin as his face is brightly lit and he looks at the woman who just walked past him. We see the woman standing smiling, she then winks at Chaplin and dances gently on the spot.
Another shot of Chaplin looking at the woman, he looks down. We see the woman’s feet, she pulls up her dress to reveal her ankles and some of her legs. Chaplin looks at the screen and bats his eyelids in rapid succession. The woman walks off the set and Chaplin follows.

There is a bench on the set, and a crescent shaped moon prop suspended on the right. The woman comes onto the screen and sits, Chapin follows, the woman looks up at him and he twirls his stick for her, which makes her smile. She now plays with her cane, Chaplin puts one leg onto the bench and the woman moves over, Chapin leans over looking at the woman grinning wildly. Close shot of the woman holding her cane, clearly flattered by Chapin's advances. Chapin reaches up to a tree on the left and pulls something off which he consumes, the woman looks suitably impressed, and Chaplin moves around ginning, almost falling off the bench as his hands flail wildly, pulling himself up and as such closer to the woman who is laughing.

From behind the moon we can see a young girl (Joan Marsh who is credited as Dorothy Rosher) with a blond bob haircut, she is Cupid. The woman on the bench winks at Chaplin and nods her head, indicating that he should get closer, then smiles and plays with her cane. Shot of Chapin who looks like he's thinking about something. The woman turns slightly, giving Chaplin a playful look. Cupid who is behind the moon makes hand movements and laughs, Chaplin gets closer to the woman. Cupid fetches her bow and draws it. Chaplin looks up and the woman is now very excited, however they seem to cool from one another. Cupid plays with her bow and Chaplin stretches his arms out, stands and then starts to dance in a mock ballet fashion. He sits down and swims, standing up he pulls one of Cupid's arrows from his rear. He then sits back down and grins at the woman, and gets very close to her. From the moon Cupid throws a type of bandage that coils around the would be lovers and pulls them together. Cupid pulls back the bandage from the moon, the bandage reveals the two looking at each other smiling. Chaplin then flutters his eye lids.

'The marriage,' appears against the dark background. The set looks like a church set, in the background is a grave stone and on the left is two large columns. A man walks out the front of the Church and the man who played Chaplin's friend runs onto the screen. Chaplin walks onto the screen dressed in a smart black suit, he is holding his brides arm, she is dressed in a large white wedding dress. They walk into the church and stand in the centre of the stage, behind them is a stained glass window. A man comes up to the side of Chaplin and takes his hat and passes him a piece of paper, Chaplin fiddles with his trousers and a priest comes onto the set. He is an old man with spectacles and stands in the centre of the bride and groom talking animatedly, pointing at the two of them. They then turn to the camera and Chaplin reaches into his inside pocket pulling out a little bag, in which is a small piece of card which has a ring attached, which he spit shines. He puts the ring on his bride and starts to move to the right of the screen, the priest calls them back, pointing at them. Chaplin raises his arm and shakes a coin out from a holder which he passes to the priest. The friend is outside and he throws confetti on them as they exit the church. The man who came out of the church at the beginning comes out again and asks Chaplin for some money which is duly given, although Chaplin does not look happy about this. The tip is however not big enough and he hands over some more money. They walk off set. Close up of the bride and groom, Chaplin is tilting his hat towards the the people off screen, and then attempts to whistle, he then just points when whistling fails. We can then see the friend who is clapping at the couple and pulls out of his trousers what looks like a shoe which he throws. This hits the bride and groom who look slightly dishevelled. The woman picking up the shoe looks around, while Chaplin spins around dazed and then shouts at the camera.

'….and the most important of all THE LIBERTY BOND,' appears on the screen. Liberty, a woman dressed in white appears on the screen, the white of her dress is almost glowing. A close shot of her as she regally raises a arm. 'The Kaiser,' appears on the screen. The Kaiser (Syd Chaplin) fades into the shot standing at the right hand side of Liberty, he pulls her arm down with some force, and then holds it and violently shakes it down, then marches around Liberty, who looks shocked and hurt. The Kaiser is dressed in full uniform and even has a cape, he threatens to draw his sword. A close shot of the Kaiser, he looks angry. Back to the Kaiser looking at Liberty, his hand on the hilt of his sword. An American soldier fades onto the right of the screen. Close shot of the Kaiser as he draws his sword completely out. Close shot of the soldier looking at the Kaiser who is off screen, he looks serious and worried by the actions that the Kaiser may take and rushes at him. We can see all three, the Kaiser with his sword fully drawn prepares to strke, Liberty stands worried and the soldier rushes over, knocking down the Kaiser and standing over him.

Charlie Chaplin stands on a stage, above him a banner says 'Liberty, Bonds, Industry' to his right a tall man is dressed as Uncle Sam, an American flag behind him. Chapin turns to inspect the banner, and then passes Uncle Sam a bag, to Chapin's left a strong looking man stands under the word 'industry'. Chapin is then passed a bond and the bag, presumably containing money is passed to the man. The soldier then runs onto the stage and stands to attention in its centre. Uncle Sam signals to the strong man who then passes the soldier an oversized gun. The soldier shakes Uncle Sams hand and marches off the screen, the others looking at him leaving. Chaplin and Uncle Sam shake hands and then Chaplin moves around comically and pulls out another bag with which Uncle Sam rewards him with another bond. The worker comes onto the centre and is once again presented with a bag of money. Uncle Sam signals off screen and a sailor comes on, stands in the centre looking at the screen and salutes. Uncle Sam once again signals the man who gives the sailor another large gun, the sailor then quickly leaves the screen. Chaplin plays with his hat and once again shakes the hands of Uncle Sam and the man.

The screen fades in to reveal the Kaiser. He is standing, looking at the camera, grinning. We then see Chaplin who has his hands on his hips and is looking at the Kaiser who is off screen. Chaplin looks serious and annoyed. He licks his right hand and pulls up a mallet with the word military bond written on its side. The Kaiser is still standing grinning, he is shouting, waving his fist in the air. From behind Chaplin emerges brandishing his mallet, picking it up he hits the Kaiser four times on the head, knocking him to the ground. A close up of Chaplin, he points at the words on the mallet, and then takes his hat off and screams at the camera, finally smiling.

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