[MOVIE]
T.it.: Charlot e le salsicce; Scen.: Mabel Normand; F.: Frank D. Williams; Int.: Charles Chaplin (il «portoghese»), Mabel Normand (Mabel), Chester Conklin (sergente di polizia), Slim Summerville (poliziotto), Harry McCoy (il ladro di hot dog), Wallace MacDonald (spettatore), Al St. John (poliziotto), Charles Parrott [Charley Chase], Mack Sennett, Henry Lehrman (spetta- tori), Billie Bennett, Edgar Kennedy; Prod.: Keystone Film Company 35mm. L.: 304 m. D.: 17’ a 16 f/s. Bn.
Mabel’s Busy Day is frequently sullied by an ambiguous humour that mixes phallocracy with open aggression. Demonstrations of male pride and fear pervade the film in the interplay between the male and female characters. This behaviour demonstrates an un-deniable level of misogyny and a significant dose of lightly veiled sadism. This is fairly typical of many of the Keystone films of this period in which women, including the heroines, were mistreated, despised and debased by the male world through slapstick.
Thierry Georges Mathieu, La naissance de Charlot. Keystone – 1914, n.10, Ars Regula, 2001
Restoration credits
Print restored at L’Immagine Ritrovata in 2005
