Charlie burns a count's trousers while ironing them and is fired. The tailor finds an invitation to dinner at Miss Moneybags and goes in place of the count. Charlie goes to the kitchen of the same house; he is attracted to the cook, and so are the butler and a policeman. Once discovered by the tailor-count, Charlie must pretend to be the count's secretary. The real count shows up.
Producers: Henry P. Caulfield .... producer
Charles Chaplin .... producer
Actors: Eric Campbell .... A Tailor
Charles Chaplin .... Tailor's apprentice
Edna Purviance .... Miss Moneybags
Albert Austin .... Tall guest (uncredited)
Henry Bergman .... (uncredited)
Leota Bryan .... Young girl (uncredited)
Frank J. Coleman .... Policeman (uncredited)
James T. Kelley .... Butler (uncredited)
Charlotte Mineau .... Mrs. Moneybags (uncredited)
John Rand .... Guest (uncredited)
Tiny Sandford .... A guest (uncredited)
Eva Thatcher .... Cook (uncredited)
Loyal Underwood .... Small guest (uncredited)
Leo White .... Count Broko (uncredited)
May White .... Large lady (uncredited)
Comments
Baxter Martin on 08 October at 23:51
“The Count” (1916, Chaplin)
“The Count” is a decent step in the evolution of Charlie Chaplin’s comedy. This would be his 55th film and 40th directing, the fifth for the Mutual Film Corporation. The Mutual contract gave Chaplin complete freedom to produce 12 2-reel comedies. By 1916, the sets are a lot nicer, the films are generally twice as longer as the Keystone films, the existing footage of this period is easier on the eyes, and Chaplin’s character(s) has a sense of history developed with the viewer. “The Count” also relies upon top billed, many-time co-star with Chaplin, and excellent adversarial character (what with the outrageous beard and eyebrows and all), Eric Campbell as The Tailor. Chaplin employs another frequent collaborator in Edna Purviance, though in a mostly to the side-role, as Ms. Moneybags.
The story starts out with Chaplin getting canned from his tailor’s assistant job. The Tailor finds an invitation to a Count to a banquet to honor the Moneybags’ daughter, Ms. Moneybags. The home of said banquet is also a home that Chaplin visits to hit on the horny-old-maid-cook who, in return, gives him meals. After a battle with stink pie, Chaplin rides the service tray elevator up and gets out next to his just-ex boss, who tells him he’s posing as a Count and he, Chaplin, should be his assistant. Chaplin out maneuvers him and claims he’s the Count and the big guy’s the assistant. Well, what follows is pretty good with a few memorables. Chaplin can’t figure out how to eat pasta; or watermelon which results in a strange napkin on the head configuration; and attempts to get away with lifting silverware and chasing ladies while the angry old maid watches.
“The Count” has a good pace to it which picks up as the film goes along. An interesting thing this viewer was glad to note was some camera movement. The camera roves forward to track the dueling butt-kicking dancers (Chaplin and Campbell) through the dancehall and to the doors to the outside. For that small moment, this one felt more of a ‘movie’ than all those Keystone/Essanay pictures.
Classic Movies TV 
Charlie burns a count's trousers while ironing them and is fired. The tailor finds an invitation to dinner at Miss Moneybags and goes in place of the count. Charlie goes to the kitchen of the same house; he is attracted to the cook, and so are the butler and a policeman. Once discovered by the tailor-count, Charlie must pretend to be the count's secretary. The real count shows up.
