To say Charlie Chaplin was popular is like the Pacific Ocean is wet.
It is difficult for us to even imagine the immense fame and celebrity he enjoyed in the 1920s and '30s. Today we know the names of literally thousands of celebrities, personalities, sports stars and news-makers (Why do they call them "stars?" Because there are so many!) But at the dawn of the 20th century, mass media was just being created. Movies were brand new. Baseball was just becoming the national pastime. Radio was just taking its first tentative steps and TV was 50 years away.
Into this world strolled a genius at his art form. Charlie just had an innate understanding of comedy and how to make movies.
Fatty Arbuckle and Mary Pickford were the first major movie stars but Charlie Chaplin soon eclipsed them and everyone else. He literally had no competition. Even today, Arbuckle, Buster Keaton and Harold Lloyd are well-regarded, but Chaplin is still considered the all-time master at silent movie comedy and silent movies in general.
Unfortunately, Charlie's leftist politics and less-than-puritan personal life (he had the unfortunate habit of marrying teenagers) finally started to eclipse even his movie fame during the cold-war era. Mixed with the fact that he could never regain his silent-movie fame in the talkies, he finally left America all-together in 1952. At the time he was being accused of being a Communist (untrue) and he had his visa revoked by the American government (he was a British citizen.)
Likewise, transporting whole theater productions to various locations was expensive (Bordwell 3). The distinguishing aspect of cinema then was the ability of mass-exhibition at an inexpensive rate. Furthermore, the medium of silent film freed comedy from spatial and temporal boundaries associated with performances of the stage. No longer would a comedian have only one chance to successfully execute a gag or express concern over the limitations of a single locale. In fact, they had the ability to capture more complex scenes, particularly through the use of filmic devices.
Such an idea is found in Keaton's Sherlock Junior. As Keaton's character, Sherlock Jr., falls asleep at the projection booth he becomes duplicated through the effect of super imposition. This is to let the audience know that the real Sherlock Jr. is asleep; his dream body becomes the main character and proceeds to be the subject of an elaborate gag involving the cinema itself. This overtly suggests that the audience realize the inanimate quality of the comedian. By presenting the character as this lifeless dream body, the spectator is given more reason to laugh at the body rather than worry. In the subsequent scene, Sherlock Jr. (not yet fully absorbed within the film he is trying to enter) is transported between several areas at the whim of an already-edited film. As he dives off a rock surrounded by the ocean, for example, a cut causes him to disappear into a snow bank, legs sticking straight up. Not only is this sequence impossible to reproduce outside film, but it additionally comments on the medium itself. The scene tampers with film cutting techniques applied to audience expectations. To this end, the filmic technique itself becomes the prop for the joke.
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