The Count (1916) 720p YIFY Movie

The Count (1916)

The Count is a short starring Charles Chaplin, Edna Purviance, and Eric Campbell. 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...

IMDB: 6.71 Likes

  • Genre: Short | Comedy
  • Quality: 720p
  • Size: 218.01M
  • Resolution: 1280*800 / 23.976 fpsfps
  • Language: English
  • Run Time: 34
  • IMDB Rating: 6.7/10 
  • MPR: Normal
  • Peers/Seeds: 15 / 28

The Synopsis for The Count (1916) 720p

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.


The Director and Players for The Count (1916) 720p

[Role:]Albert Austin
[Role:]Eric Campbell
[Role:]Edna Purviance
[Role:Director]Charles Chaplin
[Role:]Charles Chaplin


The Reviews for The Count (1916) 720p


Nice little satireReviewed byrbverhoefVote: 7/10

Charlie Chaplin goes to a party and he pretends to be a certain count. He doesn't act like a count but they all believe he is one until the real count shows up.

This is another fine Charlie Chaplin movie where he does some nice satire on higher society. It starts a little slow but once they are on that party it gets very funny.

Aristocratic ChaplinReviewed byTheLittleSongbirdVote: 8/10

Am a big fan of Charlie Chaplin, have been for over a decade now. Many films and shorts of his are very good to masterpiece, and like many others consider him a comedy genius and one of film's most important and influential directors.

From his post-Essanay period after leaving Keystone, 'The Count' is not one of his very best but is one of his best early efforts and among the better short films of his. It shows a noticeable step up in quality though from his Keystone period, where he was still evolving and in the infancy of his long career, from 1914, The Essanay and Mutual periods were something of Chaplin's adolescence period where his style had been found and starting to settle. Something that can be seen in the more than worthwhile 'The Count'.

The story is more discernible than usual and is never dull, but is sometimes a bit too busy and manic.

On the other hand, 'The Count' looks pretty good, not incredible but it was obvious that Chaplin was taking more time with his work and not churning out countless shorts in the same year of very variable success like he did with Keystone. Appreciate the importance of his Keystone period and there is some good stuff he did there, but the more mature and careful quality seen here and later on is obvious.

While not one of his most hilarious or touching, 'The Count' is still very funny with some clever, entertaining and well-timed slapstick and has substance and pathos that generally were not there with Keystone. It moves quickly and there is no dullness in sight. The ending is great fun.

Chaplin directs more than competently, if not quite cinematic genius standard yet. He also, as usual, gives an amusing and expressive performance and at clear ease with the physicality and substance of the role. The supporting cast acquit themselves well, particularly Eric Campbell.

Overall, very enjoyable. 8/10 Bethany Cox

"I'm supposed to be a count"Reviewed bySteffi_PVote: 7/10

In the cinema of Charlie Chaplin, silly facial hair was like a kind of comedy insurance. If all Charlie's antagonists looked suitably ridiculous, the pratfalls would fall that little bit harder and the laughs would be that little bit louder. The Count is a good picture for silly facial hair, from the flapping fuzz of the band leader, to the upturned curiosity of Count Broko, to the wispy behemoth adorning Eric Campbell. Chaplin's reliance on beards and moustaches here gives a clue as to the fact that this is not among his best Mutual Pictures.

It appears he was aiming for here a story of broader social goings-on, with a plot that is funny in itself as Chaplin and Campbell double-cross each other, both trying to pretend to be a count so they can get in with Edna Purviance, until the real count turns up, and mayhem ensues. It's a good idea, but Chaplin is at this stage focusing on milking each scene for potential gags, rather than making the whole thing flow seamlessly. Consequently The Count has a rather disjointed feel, lurching awkwardly from a boss/apprentice set-up of the kind with which Chaplin normally sustained a whole picture, to an elicit meeting between Chaplin and some frumpy cook, to the rather contrived situation in which counts are impersonated. Neither the plot nor the tramp character really seems consistent, and it runs almost like a Charlie Chaplin clip show.

But Chaplin was nevertheless at the top of his game as far as pure comedy went, and there are some of these "clips" are pretty good. The opening scene is a great example of the triumph of absurd ideas over broad slapstick, with Charlie as a tailor who measures a woman's ear, smile and finger. There's a very smooth and pretty ballroom scene, punctuated by a few arse-kicking gags. In the frantic finale there is a rather subtle but very funny juxtaposition, as the band continues to play gently in the background as the other characters run around and fight each other in the foreground. Luckily composer Carl Davis, in his new score for the Mutual films, picks up on this and keeps going with the sedate band music rather than a typical chase theme. And those beards, backups though they may be, do work as a touch of comic sparkle.

So yet again, we come to the all-important statistic – Number of kicks up the arse: 9 (4 for, 5 against)

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