How Jackie Chan Filmed the Best Fight Scene in Cinema History

Though now in his sev­en­ties, Jack­ie Chan con­tin­ues to appear on the big screen with reg­u­lar­i­ty. For most world-famous actors, that’s hard­ly notable, but it’s not as if Sir John Giel­gud, say, had spent decades film­ing scenes of hand-to-hand com­bat and sus­tain­ing severe injuries in the per­for­mance of elab­o­rate stunts. View­ers of New Police Sto­ry 2 and Rush Hour 4, to name just two upcom­ing fran­chise projects, will sure­ly delight, as always, in Chan’s very screen pres­ence. But it goes with­out say­ing that he won’t be attempt­ing any­thing like what he did in his break­out Hong Kong films of the sev­en­ties and eight­ies, which required a sin­gu­lar ded­i­ca­tion both phys­i­cal and cin­e­mat­ic.

There are also fans who argue that Chan reached his peak in the nineties, most of whom would adduce the cli­mac­tic fight scene above from Drunk­en Mas­ter II. Made in 1994, when Chan was 40 years old, it came as the osten­si­ble sequel to Drunk­en Mas­ter, from 1978, in which Chan’s por­tray­al of the tit­u­lar Qing dynasty folk hero launched him to star­dom in Asia.

Released in the U.S. as The Leg­end of Drunk­en Mas­ter in 2000 — after Chan had final­ly made it state­side with Rum­ble in the Bronx and the first Rush Hour Drunk­en Mas­ter II met with crit­i­cal aston­ish­ment. “It involves some of the most intri­cate, dif­fi­cult and joy­ful­ly exe­cut­ed action sequences I have ever seen,” wrote Roger Ebert. His judg­ment of the final, steel-forge-set show­down: “It may not be pos­si­ble to film a bet­ter fight scene.” The Rossatron video below explains how the scene has drawn such reac­tions.

One ele­ment has been key to Chan’s suc­cess from the begin­ning: his humor, vis­i­bly descend­ed from the phys­i­cal com­e­dy of West­ern silent stars like Char­lie Chap­lin and Buster Keaton, which comes through even in the midst of the most intense hand-to-hand com­bat. In Drunk­en Mas­ter II, it’s “not only a pleas­ing addi­tion to the film, but a nec­es­sary part of the sto­ry itself,” through the course of which Chan’s pro­tag­o­nist must gain con­trol over the style of “drunk­en box­ing” born of his own fond­ness for the bot­tle. It is con­trolled drunk­en­ness, of course, that even­tu­al­ly brings him vic­to­ry in his both car­toon­ish and mas­ter­ful last fight, which required four months to shoot under the direc­tion of the star him­self (the film’s actu­al direc­tor Lau Kar-leung hav­ing ced­ed con­trol of the scene due to styl­is­tic dif­fer­ences). Today, there may be no action-com­e­dy per­former equal to Jack­ie Chan in his prime. But even if there were, would any stu­dio allow him so much of the oth­er secret ingre­di­ent, time?

via Metafil­ter

Relat­ed con­tent:

Kung Fu & Mar­tial Arts Movies Online

The Only Footage of Bruce Lee Fight­ing for Real (1967)

The Grace­ful Move­ments of Kung Fu & Mod­ern Dance Revealed in Stun­ning Motion Visu­al­iza­tions

Rad­i­cal French Phi­los­o­phy Meets Kung-Fu Cin­e­ma in Can Dialec­tics Break Bricks? (1973)

Why Is Jack­ie Chan the King of Action Com­e­dy? A Video Essay Mas­ter­ful­ly Makes the Case

How Char­lie Chap­lin, Buster Keaton & Harold Lloyd Pulled Off Their Spec­tac­u­lar Stunts Dur­ing Silent Film’s Gold­en Age

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

The First Photograph Ever Taken (1826)

first_photograph_home_trans

In his­to­ries of ear­ly pho­tog­ra­phy, Louis Daguerre faith­ful­ly appears as one of the fathers of the medi­um. His patent­ed process, the daguerreo­type, in wide use for near­ly twen­ty years in the ear­ly 19th cen­tu­ry, pro­duced so many of the images we asso­ciate with the peri­od, includ­ing famous pho­tographs of Abra­ham Lin­coln, Edgar Allan Poe, Emi­ly Dick­in­son, and John Brown. But had things gone dif­fer­ent­ly, we might know bet­ter the hard­er-to-pro­nounce name of his one­time part­ner Joseph Nicéphore Niépce, who pro­duced the first known pho­to­graph ever, tak­en in 1826.

Some­thing of a gen­tle­man inven­tor, Niépce (below) began exper­i­ment­ing with lith­o­g­ra­phy and with that ancient device, the cam­era obscu­ra, in 1816. Even­tu­al­ly, after much tri­al and error, Niépce devel­oped his own pho­to­graph­ic process, which he called “heli­og­ra­phy.”

He began by mix­ing chem­i­cals on a flat pewter plate, then plac­ing it inside a cam­era. After expos­ing the plate to light for eight hours, the inven­tor then washed and dried it. What remained was the image we see above, tak­en, as Niépce wrote, from “the room where I work” on his coun­try estate and now housed at the Uni­ver­si­ty of Texas at Austin’s Har­ry Ran­som Cen­ter.

niepce1_large

At the Ran­som Cen­ter web­site, you can see a short video describ­ing Niépce’s house and show­ing how schol­ars recre­at­ed the van­tage point from which he took the pic­ture. Anoth­er video offers insight into the process Niépce invent­ed to cre­ate his “heli­o­graph.” In 1827, Niépce trav­eled to Eng­land to vis­it his broth­er. While there, with the assis­tance of Eng­lish botanist Fran­cis Bauer, he pre­sent­ed a paper on his new inven­tion to the Roy­al Soci­ety. His find­ings were reject­ed, how­ev­er, because he opt­ed not to ful­ly reveal the details, hop­ing to make eco­nom­ic gains with a pro­pri­etary method. Niépce left the pewter image with Bauer and returned to France, where he short­ly after agreed to a ten-year part­ner­ship with Daguerre in 1829.

Sad­ly for Niépce, his heli­o­graph would not pro­duce the finan­cial or tech­no­log­i­cal suc­cess he envi­sioned, and he died just four years lat­er in 1833. Daguerre, of course, went on to devel­op his famous process in 1839 and passed into his­to­ry, but we should remem­ber Niépce’s efforts, and mar­vel at what he was able to achieve on his own with lim­it­ed mate­ri­als and no train­ing or prece­dent. Daguerre may receive much of the cred­it, but it was the “sci­en­tif­i­cal­ly-mind­ed gen­tle­man” Niépce and his heli­og­ra­phy that led—writes the Ran­som Center’s Head of Pho­to­graph­ic Con­ser­va­tion Bar­bara Brown—to “the inven­tion of the new medi­um.”

Niepce Reproduction

Niépce’s pewter plate image was re-dis­cov­ered in 1952 by Hel­mut and Ali­son Gern­sheim, who pub­lished an arti­cle on the find in The Pho­to­graph­ic Jour­nal. There­after, the Gern­sheims had the East­man Kodak Com­pa­ny cre­ate the repro­duc­tion above. This image’s “pointil­lis­tic effect,” writes Brown, “is due to the repro­duc­tion process,” and the image “was touched up with water­col­ors by [Hel­mut] Gern­sheim him­self in order to bring it as close as pos­si­ble to his approx­i­ma­tion of how he felt the orig­i­nal should appear in repro­duc­tion.”

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

The First “Self­ie” In His­to­ry Tak­en by Robert Cor­nelius, a Philadel­phia Chemist, in 1839

The First Known Pho­to­graph of Peo­ple Hav­ing a Beer (1843)

The Old­est Known Pho­tographs of Rome (1841–1871)

Some of the Old­est Pho­tos You Will Ever See: Dis­cov­er Pho­tographs of Greece, Egypt, Turkey & Oth­er Mediter­ranean Lands (1840s)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Story Told on the Famous Bayeux Tapestry Explained from Start to Finish

They say that his­to­ry is writ­ten by the vic­tors, but that isn’t always true: some­times it’s embroi­dered by the vic­tors. Such was the case with the Bayeux Tapes­try, which com­mem­o­rates the build-up to and suc­cess­ful exe­cu­tion of the Nor­man con­quest of Eng­land in 1066. Cre­at­ed not long after the events it depicts in what we now call the Unit­ed King­dom, the near­ly 230-foot-long cloth has been kept in France for most of its exis­tence. But as report­ed by Hyper­al­ler­gic’s Isa Far­fan, the Bayeux Tapes­try is now set for a year­long sojourn back in its home­land, and at no less an august insti­tu­tion than the British Muse­um, after spend­ing the bet­ter part of a mil­len­ni­um abroad.

In a style that may strike twen­ty-first-cen­tu­ry view­ers as a pre­de­ces­sor to the graph­ic nov­el — or even to the straight-ahead com­ic book, with its grotesque exag­ger­a­tions — the Bayeux Tapes­try’s embroi­dery tells the sto­ry, writes Far­fan, of “the vic­to­ry of William the Con­queror, the Duke of Nor­mandy, over Eng­land in the Bat­tle of Hast­ings. William assem­bled a fleet of ships filled with thou­sands of men and hors­es to cross the Eng­lish Chan­nel and suc­cess­ful­ly claimed the throne from the last Anglo-Sax­on king, Harold God­win­son.”

All this takes place over “58 scenes fea­tur­ing more than 600 wool-thread­ed peo­ple and 200 hors­es. Though it focus­es on the his­tor­i­cal bat­tle, the embroi­dery also reveals fix­tures of broad­er eleventh-cen­tu­ry life, includ­ing archi­tec­ture and armor, and includes almost 400 Latin words accom­pa­ny­ing the images.”

Those words are inter­pret­ed by YouTu­ber Lindy­beige in the video above, which offers a humor­ous ani­mat­ed tour of the full length of the Bayeux Tapes­try — or, in any case, a very close repli­ca made in Eng­land in the mid-nine­teenth cen­tu­ry. The elab­o­rate­ness of its treat­ment under­scores that the Nor­man con­quest was one of the most momen­tous events, if not the most momen­tous event, in all of Eng­lish his­to­ry; the extent of its glo­ri­fi­ca­tion under­scores how much the con­querors felt the need to legit­imize their rule. Noth­ing would ever be the same for Eng­lish cul­ture, Eng­lish law, and even, as recent­ly fea­tured here on Open Cul­ture, the Eng­lish lan­guage. If you go to Lon­don next year to behold the Bayeux Tapes­try for your­self, you’ll hear the usu­al ambi­ent grum­bling about the state of Eng­land — with a refreshed empha­sis, per­haps, on how wrong it all went after 1066.

Relat­ed con­tent:

The Bayeux Tapes­try Gets Dig­i­tized: View the Medieval Tapes­try in High Res­o­lu­tion, Down to the Indi­vid­ual Thread

Behold a Cre­ative Ani­ma­tion of the Bayeux Tapes­try

How Eng­land First Became Eng­land: An Ani­mat­ed His­to­ry

The Bayeux Tapes­try Ani­mat­ed

The Entire His­to­ry of the British Isles Ani­mat­ed: 42,000 BCE to Today

Con­struct Your Own Bayeux Tapes­try with This Free Online App

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

A Behind-the-Scenes Tour of NPR’s Tiny Desk Concert

Back in 2008, Bob Boilen (host of All Songs Con­sid­ered) and NPR music crit­ic Stephen Thomp­son attend­ed a noisy con­cert where they strug­gled to hear Lau­ra Gib­son per­form. Jok­ing­ly, Thomp­son sug­gest­ed that Gib­son per­form at Boilen’s office desk instead. She did. And, with that, the NPR Tiny Desk Con­cert was born. Since then, more than 1,300 musi­cal acts have per­formed their own stripped-down, authen­tic shows in the cramped con­fines of NPR’s head­quar­ters in Wash­ing­ton, D.C. That includes every­one from Tay­lor Swift to Dua Lipa, to the Pix­ies, the Grate­ful Dead­’s Bob Weir, and Gary Clark Jr. In the video above, Archi­tec­tur­al Digest takes you behind the scenes, show­ing the set where the mag­ic hap­pens. There you can see “a real desk in a real office, sur­round­ed by shelves packed with price­less memen­tos left by artists–from Adele’s water bot­tle to Sab­ri­na Carpenter’s mar­ti­ni glass and even Chap­pell Roan’s wig.” And you can meet the team behind the pro­duc­tion, while learn­ing how Tiny Desk became a beloved series. Below watch a com­plete playlist of all Tiny Desk Con­certs. Enjoy!

Relat­ed Con­tent

Jimi Hen­drix Unplugged: Two Great Record­ings of Hen­drix Play­ing Acoustic Gui­tar

David Bowie Per­forms an Ethe­re­al Acoustic Ver­sion of “Heroes,” with a Bot­tle Cap Strapped to His Shoe, Keep­ing the Beat (1996)

A‑ha Per­forms a Beau­ti­ful Acoustic Ver­sion of Their 1980s Hit, “Take on Me”: Record­ed Live in Nor­way

The Entire History of English in 22 Minutes

When we speak Eng­lish, we might say we’re speak­ing the lan­guage of Samuel John­son, the man who wrote its first dic­tio­nary. Or we could say we’re speak­ing the lan­guage of Shake­speare, who coined more Eng­lish terms than any oth­er indi­vid­ual in his­to­ry. It would make just as much sense to describe our­selves as speak­ing the lan­guage of the King James Bible, the mass print­ing of which did so much to stan­dard­ize Eng­lish, steam­rolling flat many of the count­less local vari­a­tions that exist­ed in the ear­ly sev­en­teenth cen­tu­ry. But as many an Eng­lish­man (and more than a few Amer­i­cans) would be loath to admit, when we speak Eng­lish, we are, much of the time, actu­al­ly speak­ing French.

“In 1066, the Nor­mans turn up and seize the Eng­lish throne from the Anglo-Sax­ons says YouTu­ber Rob­words in the new video above, describ­ing the sin­gle most impor­tant event in the entire his­to­ry of the Eng­lish lan­guage, which he recounts in just 22 min­utes. “William the Con­queror becomes king, and Nor­man French becomes the lan­guage of Eng­land’s élite.”

Under its new ruler, the coun­try’s earls, thanes, and athelings would be called barons, dukes, and princes. “The now-sub­dued Anglo-Sax­ons need­ed to learn French words if they want­ed to get by, so Eng­lish absorbs a whole host of French terms asso­ci­at­ed with pow­er, jus­tice, art, gov­ern­ment, law, and cul­ture — such as pow­er, jus­tice, art, gov­ern­ment, law, and cul­ture,” to name just a few.

This thor­ough­go­ing Frenchi­fi­ca­tion gave rise to what we now call Mid­dle Eng­lish, as dis­tinct from the Old Eng­lish spo­ken before. As not­ed by Rob­Words, about 85 per­cent of Old Eng­lish vocab­u­lary is no longer in use today, yet we’re still “using Old Eng­lish in every sen­tence that we utter,” not least when we break out such irreg­u­lar-seem­ing plu­rals as mice, oxen, and wolves. Tues­day, Wednes­day, Thurs­day, and Fri­day make ref­er­ence to “the Anglo-Sax­ons’ pre-Chris­t­ian gods.” And even in the fast-chang­ing, slang-rid­den, inter­net-influ­enced, and — for bet­ter or for worse — high­ly “glob­al­ized” Eng­lish we speak today, we can still hear dim echoes of the ancient ances­tor lin­guists call Pro­to-Indo-Euro­pean. Per­haps that’s why, despite being so wide­ly spo­ken, Eng­lish is still so tricky to learn: when we speak it, we’re speak­ing not just a lan­guage, but many lan­guages all at once.

Relat­ed con­tent:

The His­to­ry of the Eng­lish Lan­guage in Ten Ani­mat­ed Min­utes

Trac­ing Eng­lish Back to Its Old­est Known Ances­tor: An Intro­duc­tion to Pro­to-Indo-Euro­pean

Where Did the Eng­lish Lan­guage Come From?: An Ani­mat­ed Intro­duc­tion

The Tree of Lan­guages Illus­trat­ed in a Big, Beau­ti­ful Info­graph­ic

The Alpha­bet Explained: The Ori­gin of Every Let­ter

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

50+ Free Charlie Chaplin Films Online

A few things to know about Char­lie Chap­lin. He starred in over 80 films, reel­ing off most dur­ing the silent film era. In 1914 alone, he act­ed in 40 films, then anoth­er 15 in 1915. By the 1920s, Chap­lin had emerged as the first larg­er-than-life movie star and direc­tor, if not the most rec­og­niz­able per­son in the world. Thanks to YouTube, you can watch 50+ Chap­lin films on the web. Above, you will find a Chap­lin mini-film fes­ti­val that brings togeth­er four movies shot in 1917: The Adven­tur­er, The Cure, Easy Street and The Immi­grant. And then below you’ll find 50+ oth­er films arranged in a neat list. Many can be oth­er­wise found in our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

  • A Bur­lesque On Car­men — Free — Orig­i­nal two-reel par­o­dy of Bizet’s Car­men by Char­lie Chap­lin. Also stars Leo White & Edna Pur­viance. (1915)
  • A Busy DayFree — Chap­lin plays a wife jeal­ous of her hus­band’s inter­est in anoth­er woman, played by Phyl­lis Allen. On her way to attack the cou­ple, the wife inter­rupts the set of a film, knock­ing over a film direc­tor, played by Mack Sen­nett, and a police­man, played by Bil­ly Gilbert. (1914)
  • A Day’s Plea­sureFree — “Chap­lin’s fourth film for First Nation­al Films. It was cre­at­ed at the Chap­lin Stu­dio. It was a quick­ly made two-reel­er to help fill a gap while work­ing on his first fea­ture The Kid. It is about a day out­ing with his wife and the kids and things don’t go smooth­ly.” (1919)
  • A Dog’s Life — Free – This endear­ing short Chap­lin film tells the sto­ry of under­dogs, human and canine, suc­ceed­ing despite the odds. (1918)
  • A Fair ExchangeFree — Orig­i­nal­ly released as Get­ting Acquaint­ed, the film’s plot has been sum­ma­rized as fol­lows: “Char­lie and his wife are walk­ing in the park when they encounter Ambrose and his wife. The part­ners become fond of their coun­ter­parts and begin chas­ing each oth­er around. A police­man look­ing for a pro­fes­sion­al Don Juan becomes involved, as does a Turk.” (1914)
  • A Film John­nie - Free — Char­lie goes to the movie and falls in love with a girl on the screen. (1914)
  • A Night in the ShowFree — Chap­lin played two roles: one as Mr. Pest and one as Mr. Row­dy. The film was cre­at­ed from Chap­lin’s stage work from a play called Mum­ming Birds. (1915)
  • A Night OutFree — “After a vis­it to a pub, Char­lie and Ben cause a ruckus at a posh restau­rant. Char­lie lat­er finds him­self in a com­pro­mis­ing posi­tion at a hotel with the head wait­er’s wife.” (1915)
  • A WomanFree — This Chap­lin film starts with Char­lie meet­ing Edna (Edna Pur­viance) and her par­ents in a park; the moth­er is played by Mar­ta Gold­en and the father by Charles Ins­ley. (1915)
  • Behind the Screen – Free – A short film writ­ten and direct­ed by Chap­lin, the film is long on slap­stick, but it also gets into themes deal­ing with gen­der bend­ing and homo­sex­u­al­i­ty. (1916)
  • Between Show­ers - Free — A short Key­stone film from 1914 star­ring Char­lie Chap­lin, Ford Ster­ling, and Emma Bell Clifton.
  • By the SeaFree — “It is windy at a bathing resort. After fight­ing with one of the two hus­bands, Char­lie approach­es Edna while the two hus­bands them­selves fight over ice cream. Dri­ven away by her hus­band, Char­lie turns to the oth­er’s wife.” (1915)
  • Caught in a CabaretFree —  Char­lie is a clum­sy wait­er in a cheap cabaret, suf­fer­ing the strict orders from his boss. He’ll meet a pret­ty girl in the park, pre­tend­ing to be a fan­cy ambas­sador, despite the jeal­ousy of her fiancée. (1914)
  • Char­lie Shang­haied — Free — Char­lie Chap­lin and his Tramp char­ac­ter gets shang­haied by crooks. (1915)
  • Char­lie’s Recre­ationFree — Out of cos­tume, Char­lie is a clean-shaven dandy who, some­what drunk, vis­its a dance hall. There the wardrobe girl has three rival admir­ers: the band leader, one of the musi­cians, and now Char­lie. (1914).
  • Char­lotte et Le Man­nequinFree — Also known as Mabel’s Mar­ried Life, the film’s plot is sum­ma­rized as fol­lows: “Accost­ed by a mash­er in the park and unable to moti­vate hus­band Char­lie into tak­ing action, Mabel gets him a box­ing man­nequin to sharp­en his fight­ing skills.” (1914)
  • Cru­el Cru­el Love - Free — Chap­lin plays a rich, upper-class gen­tle­man whose romance is endan­gered when his girl­friend over­sees him being embraced by a maid. (1914)
  • Face on a Bar­room FloorFree — “The plot is a satire derived from Hugh Antoine D’Ar­cy’s poem of the same title. The painter courts Madeleine but los­es to the wealthy client who sits for his por­trait. The despair­ing artist draws the girl’s por­trait on the bar­room floor and gets tossed out. Years lat­er he sees her, her hus­band and their horde of chil­dren. Unrec­og­nized by her, Char­lie shakes off his trou­bles and walks off into the future.” (1914)
  • Gen­tle­men of NerveFree — “Mabel and her beau go to an auto race and are joined by Char­lie and his friend. As Char­lie’s friend is attempt­ing to enter the race­way through a hole, the friend gets stuck and a police­man shows up. Char­lie sprays the police­man with soda until [his] friends makes it through the hole. In the grand­stand, Mabel aban­dons her beau for Char­lie. Both Char­lie’s friend and Mabel’s are arrest­ed and hauled away.” (1914)
  • His Favorite Pas­timeFree — Char­lie gets drunk in the bar. He steps out­side, meets a pret­ty woman, tries to flirt with her, only to retreat after the wom­an’s father returns. (1914)
  • His New JobFree — “Char­lie is try­ing to get a job in a movie. After caus­ing dif­fi­cul­ty on the set he is told to help the car­pen­ter. When one of the actors does­n’t show, Char­lie is giv­en a chance to act but instead enters a dice game. When he does final­ly act he ruins the scene, wrecks the set and tears the skirt from the star.” (1915)
  • His Pre­his­toric PastFree — “Char­lie dreams he is in the stone age. There King Low-Brow rules a harem of wives. Char­lie, in skins and a bowler, falls in love with the king’s favorite wife, Sum-Babee. Dur­ing a hunt­ing trip the king is pushed over a cliff. Char­lie pro­claims him­self king, but Ku-Ku dis­cov­ers the real king alive. They return to find Char­lie and Sum- Babee togeth­er.” (1914)
  • His Tryst­ing PlaceFree — “Char­lie’s wife sends him to the store for a baby bot­tle with milk. Else­where, Ambrose offers to post a love let­ter for a woman in his board­ing house. The two men meet at a restau­rant and each takes the oth­er’s coat by mis­take. Char­lie’s wife thinks he has a lover; Ambrose’s believes he has an ille­git­i­mate child.” (1914)
  • In the ParkFree — “A tramp steals a girl’s hand­bag, but when he tries to pick Char­lie’s pock­et los­es his cig­a­rettes and match­es. He res­cues a hot dog man from a thug, but takes a few with his walk­ing stick. When the thief tries to take some of Char­lie’s sausages, Char­lie gets the hand­bag. The hand­bag makes its way from per­son to per­son to its own­er, who is angry with her boyfriend who did­n’t pro­tect her in the first place. The boyfriend decides to throw him­self in the lake in despair, so Char­lie helps him out.” (1915)
  • Kid Auto Races at Venice – Free – It’s the first film in which Char­lie Chap­lin’s icon­ic “Lit­tle Tramp” char­ac­ter makes his appear­ance. (1914)
  • Laugh­ing Gas - Free — Film star­ring Chap­lin is some­times known as “Busy Lit­tle Den­tist”, “Down and Out”, “Laffing Gas”, “The Den­tist”, and “Tun­ing His Ivories”.
  • Mabel’s Busy DayFree — “A hot­dog girl gives one to a police­man who then allows her into a race track. While oth­er cus­tomers swipe her hot­dogs, Char­lie runs off with the whole box, pre­tend­ing to sell them while actu­al­ly giv­ing them away. She calls her police­man who bat­tles Char­lie.” (1914)
  • Mabel’s Strange Predica­mentFree — Watch lots and lots of high jinks go down in a hotel. (1914)
  • Mak­ing a Liv­ing — Free – Pre­mier­ing on Feb­ru­ary 2, 1914, Mak­ing a Liv­ing marks the first film appear­ance by Char­lie Chap­lin.
  • Musi­cal TrampsFree — “Char­lie and his part­ner are to deliv­er a piano to 666 Prospect St. and repos­sess one from 999 Prospect St. They con­fuse the address­es. The dif­fi­cul­ties of deliv­er­ing the piano by mule cart, and most of the spe­cif­ic gags, appeared lat­er in Lau­rel and Hardy’s ‘The Music Box’.” (1914)
  • One A.M.Free — The first silent film Char­lie Chap­lin starred in alone. (1916)
  • PoliceFree — “Police was Char­lie Chap­lin’s 14th released film from Essanay. It was made at the Majes­tic Stu­dio in Los Ange­les. Char­lie play­ing an ex-con­vict finds life on the out­side not to his lik­ing and leads him to break­ing into a home with anoth­er thief (Wes­ley Rug­gles). Edna Pur­viance plays the girl liv­ing in the home who tries to change him.” (1916)
  • Shoul­der ArmsFree — Char­lie is a boot camp pri­vate who has a dream of being a hero who goes on a dar­ing mis­sion behind ene­my lines. (1918)
  • Sun­ny­sideFree — “Char­lie works on a farm from 4am to late at night. He gets his food on the run (milk­ing a cow into his cof­fee, hold­ing an chick­en over the fry­ing pan to get fried eggs). He loves the neigh­bor’s daugh­ter Edna but is dis­liked by her father. He rides a cow into a stream and is kicked off. Uncon­scious, he dreams of a nymph dance. Back in real­i­ty a city slick­er is hurt in a car crash and is being cared for by Edna. When Char­lie is reject­ed after attempt­ing to imi­tate the slick­er, the result is ambiguous–either trag­ic or a hap­py end­ing. Crit­ics have long argued as to whether the final scene is real or a dream.” (1919)
  • The BankFree — “Char­lie does every­thing but an effi­cient job as jan­i­tor. Edna buys her fiance, the cashier, a birth­day present. Char­lie thinks “To Charles with Love” is for him. He presents her a rose which she throws in the garbage. Depressed, Char­lie dreams of a bank rob­bery and his hero­ic role in sav­ing the man­ag­er and Edna … but it is only a dream.”
  • The BondFree — A pro­pa­gan­da film cre­at­ed and fund­ed by Chap­lin for the­atri­cal release to help sell U.S. Lib­er­ty Bonds dur­ing World War I. (1918)
  • The Cham­pi­on — Free — “Walk­ing along with his bull­dog, Char­lie finds a “good luck” horse­shoe just as he pass­es a train­ing camp adver­tis­ing for a box­ing part­ner “who can take a beat­ing.” After watch­ing oth­ers lose, Char­lie puts the horse­shoe in his glove and wins. The train­er pre­pares Char­lie to fight the world cham­pi­on. A gam­bler wants Char­lie to throw the fight. He and the train­er’s daugh­ter fall in love.” (1915)
  • The CountFree — The Count was Char­lie Chap­lin’s 5th film for Mutu­al Films. Co-star­ring Eric Camp­bell and Edna Pur­viance, it is a sto­ry about Char­lie and his boss find­ing an invi­ta­tion to a par­ty from a real Count. (1916)
  • The Fatal Mal­letFree — Three men will fight for the love of a charm­ing girl. Char­lie will play dirty, throw­ing bricks to his con­tender, and using a huge ham­mer to hurt one of them. But a pre­co­cious kid will be the fourth suit­or in dis­cord. (1914)
  • The Fire­manFree — Char­lie Chaplin’s sec­ond short for Mutu­al con­tin­ued his focus on gags and situations—as the title sug­gests, Chap­lin plays the role of an inept fire­fight­er. (1916)
  • The Floor­walk­erFree — “The Floor­walk­er was Char­lie Chap­lin’s first Mutu­al Film Com­pa­ny made in 1916. It starred Chap­lin as a cus­tomer in a depart­ment store who finds out the man­ag­er is steal­ing mon­ey from the store. It was not­ed for the first ‘run­ning stair­case’ used in films.” (1916)
  • The Good for Noth­ing — Free — Made at the Key­stone Stu­dios, the film involves Chap­lin tak­ing care of a man in a wheel­chair. (1914)
  • The Immi­grantFree — Chap­lin, in the role of the Tramp char­ac­ter, plays an immi­grant com­ing to the Unit­ed States. He gets accused of theft while on a voy­age across the Atlantic Ocean. (1917)
  • The Kid - Free — The Kid is a 1921 Amer­i­can silent com­e­dy-dra­ma film writ­ten, pro­duced, direct­ed and star­ring Char­lie Chap­lin, and fea­tures Jack­ie Coogan as his foundling baby, adopt­ed son and side­kick. This was Chap­lin’s first full-length film as a direc­tor. (1921)
  • The Knock­outFree —  Char­lie Chap­lin’s sev­en­teenth film for Key­stone Stu­dios. Chap­lin only has a small role, and Fat­ty Arbuck­le takes up the main role. (1914)
  • The Land­la­dy’s PetFree — Oth­er­wise known as The Star Board­er, the film turns around this theme: A brat’s mag­ic lantern show expos­es an indis­creet moment between a land­la­dy and her star board­er. (1914)
  • The Mas­quer­ad­erFree — “Char­lie is an actor in a film stu­dio. He mess­es up sev­er­al scenes and is tossed out. Return­ing dressed as a lady, he charms the direc­tor. Even so, Char­lie nev­er makes it into film, wind­ing up at the bot­tom of a well.” (1914)
  • The New Jan­i­torFree — “Char­lie is jan­i­tor for a firm the man­ag­er of which receives a threat­en­ing note about his gam­bling debts. He throws a buck­et of water out the win­dow which lands on his boss and costs him his job. The boss, attempt­ing to steal the mon­ey heeds from the office safe, is caught by his sec­re­tary and Char­lie comes to save her and the mon­ey. He is briefly accused of being the thief but ulti­mate­ly tri­umphs.” (1914)
  • The Pawn­shop – Free – Rich in slap­stick, The Pawn­shop was one of Chap­lin’s more pop­u­lar movies for Mutu­al Film, the pro­duc­er of many fine Chap­lin come­dies. (1916)
  • The Prop­er­ty ManFree — “Char­lie has trou­ble with actors’ lug­gage and con­flicts over who gets the star’s dress­ing room. There are fur­ther dif­fi­cul­ties with fre­quent scene changes, wrong entries and a fire­man’s hose. At one point he jug­gles an ath­lete’s sup­posed weights. The humor is still rough: he kicks an old­er assis­tant in the face and allows him to be run over by a truck.” (1914)
  • The Rink – FreeThe Rink, Chap­lin’s 8th film for Mutu­al Films, show­cas­es the actor’s roller skat­ing abil­i­ties. (1916)
  • The Rival Mash­ers — Free — “Char­lie and a rival vie for the favors of their land­la­dy. In the park they each fall dif­fer­ent girls, though Char­lie’s has a male friend already. Char­lie con­sid­ers sui­cide, is talked out of it by a police­man, and lat­er throws his girl’s friend into the lake. Fright­ened, the girls go off to a movie. Char­lie shows up there and flirts with them. Lat­er both rivals sub­sti­tute them­selves for the girls and attack the unwit­ting Char­lie. In an audi­ence-wide fight, Char­lie is tossed from the screen.” (1914)
  • The RoundersFree — Writes IMDB: “Two drunks live in the same hotel. One beats his wife, the oth­er is beat­en by his. They go off and get drunk togeth­er. They try to sleep in a restau­rant using tables as beds and are thrown out. They lie down in a row boat which fills with water, drown­ing them (a fate appar­ent­ly bet­ter than going home to their wives).” (1914)
  • The Tramp - Free — The film made Chap­lin’s great Tramp char­ac­ter famous. (1915)
  • The VagabondFree — A silent film by Char­lie Chap­lin that co-starred Edna Pur­viance, Eric Camp­bell, Leo White and Lloyd Bacon, with Chap­lin appear­ing as The Tramp. The British Film Insti­tute calls it the “piv­otal work” of his Mutu­al peri­od – “and his most touch­ing.” (1916)
  • Tillie’s Punc­tured Romance – Free – Among oth­er things, the film is notable for being the last film that Chap­lin did­n’t write or direct by him­self. (1914)
  • Triple Trou­bleFree — “As Colonel Nutt is exper­i­ment­ing with explo­sives, a new jan­i­tor is join­ing his house­hold. The inept jan­i­tor pro­ceeds to make life dif­fi­cult for the rest of the staff. Mean­while, a for­eign agent arrives at the house in hopes of get­ting Col. Nut­t’s lat­est inven­tion. The inven­tor throws him out, so the agent then employs a thug to get the for­mu­la. When police head to the Nutt home to start an inves­ti­ga­tion, a com­pli­cat­ed fra­cas ensues.” (1918)
  • Twen­ty Min­utes of LoveFree — IMDB sum­ma­rizes thus­ly: “Char­lie is hang­ing around in the park, find­ing prob­lems with a jeal­ous suit­or, a man who thinks that Char­lie has robbed him of a watch, a police­man and even a lit­tle boy, all because our friend can’t stop snoop­ing.” (1914)
  • WorkFree — “Char­lie and his boss have dif­fi­cul­ties just get­ting to the house they are going to wall­pa­per. The house­hold­er is angry because he can’t get break­fast and his wife is scream­ing at the maid as they arrive. The kitchen gas stove explodes, and Char­lie offers to fix it. The wife’s secret lover arrives and is passed off as the work­ers’ super­vi­sor, but the hus­band does­n’t buy this and fires shots. The stove explodes vio­lent­ly, destroy­ing the house.” (1915)

Most of the quot­ed sum­maries above were writ­ten by Ed Stephan on IMDB.

Note: An ear­li­er ver­sion of this post appeared on our site in 2011. Some of the links and text have been updat­ed.

Relat­ed Con­tent 

When Char­lie Chap­lin Entered a Chap­lin Look-Alike Con­test & Came in 20th Place

What Would the World of Char­lie Chap­lin Look Like in Col­or?: Watch a Col­or­ful­ly Restored Ver­sion of A Night at the Show (1915)

The Char­lie Chap­lin Archive Opens, Putting Online 30,000 Pho­tos & Doc­u­ments from the Life of the Icon­ic Film Star

Char­lie Chap­lin Gets Strapped into a Dystopi­an “Rube Gold­berg Machine,” a Fright­ful Com­men­tary on Mod­ern Cap­i­tal­ism

Char­lie Chap­lin Films a Scene Inside a Lion’s Cage in 200 Takes

How the Ancient Greeks Built Their Magnificent Temples: The Art of Ancient Engineering

Doric, Ion­ic, Corinthi­an: these, as prac­ti­cal­ly every­one who went through school in the West some­how remem­bers, are the three vari­eties of clas­si­cal col­umn. We may still recall them, more specif­i­cal­ly, as rep­re­sent­ing the three ancient Greek archi­tec­tur­al styles. But as ancient-his­to­ry YouTu­ber Gar­rett Ryan points out in the new Told in Stone video above, only Doric and Ion­ic columns belong ful­ly to ancient Greece; what we think of when we think of Corinthi­an columns were devel­oped more in the civ­i­liza­tion of ancient Rome. The con­text is an expla­na­tion of how the ancient Greeks built their tem­ples, one of the char­ac­ter­is­tics of their design process being the use of columns aplen­ty.

It’s one thing to hear about Greek columns in the class­room, and quite anoth­er to walk amid them in per­son. That, per­haps, is why Ryan deliv­ers the open­ing of his video perched upon the ruins of what’s known as Tem­ple C. Hav­ing once stood proud­ly in Seli­nus, a city belong­ing to Magna Grae­cia (Greek-speak­ing areas of Italy), it now con­sti­tutes one of the prime tourist attrac­tions for antiq­ui­ty-mind­ed vis­i­tors to mod­ern-day Sici­ly.

Though his chan­nel may be called Told in Stone, Ryan begins his brief his­to­ry of the Greek tem­ple before that hardy mate­r­i­al had even come into use for these pur­pos­es. At first, the Greeks fash­ioned the homes of their gods out of mud brick, with thatched roofs and wood­en porch­es; only from the sev­enth cen­tu­ry BC, “prob­a­bly inspired by con­tact with Egypt,” did they start build­ing them to last.

Or they built them to last as long as could be expect­ed, in any case, giv­en the nature of the mate­ri­als avail­able in the ancient world and the mil­len­nia that have passed since then. Take the Tem­ple of Apol­lo at the Sanc­tu­ary of Didy­ma in mod­ern-day Turkey, which his­to­ry-and-archi­tec­ture YouTu­ber Manuel Bra­vo pays a vis­it in the video just above. It may not look as if the near­ly 2400 years since its nev­er-tech­ni­cal­ly-com­plet­ed con­struc­tion began have been kind, but it’s nev­er­the­less one of the bet­ter-pre­served tem­ples from ancient Greek civ­i­liza­tion in exis­tence (not to men­tion the largest). Even in its ruined state, it gives what Bra­vo describes as the impres­sion of — or at least, in its hey­day, hav­ing been — “a for­est of huge columns,” a built ver­sion of “the sacred forests that Greeks used to con­se­crate to the gods.” They’re Ion­ic columns, in case you were won­der­ing, but don’t sweat it; there won’t be a quiz.

Relat­ed con­tent:

The City of Nashville Built a Full-Scale Repli­ca of the Parthenon in 1897, and It’s Still Stand­ing Today

A 3D Mod­el Reveals What the Parthenon and Its Inte­ri­or Looked Like 2,500 Years Ago

How the Parthenon Mar­bles End­ed Up In The British Muse­um

Explore Ancient Athens 3D, a Dig­i­tal Recon­struc­tion of the Greek City-State at the Height of Its Influ­ence

What Ancient Greece Real­ly Looked Like: See Recon­struc­tions of the Tem­ple of Hadri­an, Curetes Street & the Foun­tain of Tra­jan

The His­to­ry of Ancient Greece in 18 Min­utes: A Brisk Primer Nar­rat­ed by Bri­an Cox

Based in Seoul, Col­in Marshall writes and broad­casts on cities, lan­guage, and cul­ture. His projects include the Sub­stack newslet­ter Books on Cities and the book The State­less City: a Walk through 21st-Cen­tu­ry Los Ange­les. Fol­low him on the social net­work for­mer­ly known as Twit­ter at @colinmarshall.

Albert Einstein Tells His Son That the Key to Learning & Happiness Is Losing Yourself in Creativity (or “Finding Flow”)

As one par­tic­u­lar­ly astute observ­er of human emo­tions might put it, it is a truth uni­ver­sal­ly acknowl­edged that we can’t all be Albert Ein­stein. In fact, none of us can. That unique expe­ri­ence was denied even Einstein’s son Hans Albert, though he did go on to his own dis­tin­guished career as an engi­neer and pro­fes­sor of hydraulics. Ein­stein father and son had a strained rela­tion­ship, yet the great physi­cist had a hand in his son’s suc­cess, inspir­ing him to pur­sue his sci­en­tif­ic pas­sion. But Einstein’s pater­nal encour­age­ment extend­ed fur­ther, beyond sci­en­tif­ic pur­suits and toward a gen­er­al the­o­ry of learn­ing and enjoy­ment that sug­gests we can be hap­pi­est and most pro­duc­tive when being most our­selves.

While liv­ing in Berlin in 1915, Ein­stein wrote a poignant let­ter to his son, just two days after fin­ish­ing his the­o­ry of gen­er­al rel­a­tiv­i­ty. His tone swings from buoy­ant to pained—lamenting his family’s “awk­ward” sep­a­ra­tion and propos­ing to spend more time with Albert, as he calls him. His son can “learn many good and beau­ti­ful things from me,” writes Ein­stein, “These days I have com­plet­ed one of the most beau­ti­ful works of my life.”

Ein­stein also writes, “I am very pleased that you find joy with the piano. This and car­pen­try are in my opin­ion for your age the best pur­suits.” An ama­teur musi­cian him­self, Ein­stein under­stood the val­ue of devel­op­ing an infor­mal avo­ca­tion. “Main­ly play the things on the piano which please you,” he tells his son, “even if the teacher does not assign those.” Doing what you love, the way you like to do it, he goes on, “is the way to learn the most, that when you are doing some­thing with such enjoy­ment that you don’t notice that the time pass­es.”

This great theme of total immer­sion in a cre­ative endeav­or sur­faced sev­er­al decades lat­er in anoth­er scientist’s work, that of Hun­gar­i­an psy­chol­o­gist Mihaly Csik­szent­mi­ha­lyi, described by Mar­tin Selig­man—for­mer Pres­i­dent of the Amer­i­can Psy­cho­log­i­cal Association—as “the world’s lead­ing researcher” in the field of pos­i­tive psy­chol­o­gy. Pre­sent­ed in his pop­u­lar TED talk above, and at more length in his books on the sub­ject, Csikszentmihalyi’s insights into human flour­ish­ing mir­ror Einstein’s: he calls such cre­ative immer­sion “flow,” or the state of “being com­plete­ly involved in an activ­i­ty for its own sake.”

The ego falls away. Time flies. Every action, move­ment, and thought fol­lows inevitably from the pre­vi­ous one, like play­ing jazz. Your whole being is involved, and you’re using your skills to the utmost.

Con­trary to our usu­al con­cep­tions of using one’s “skills to the utmost,” Csik­szent­mi­ha­lyi tells us that the reward for enter­ing such a state is not the mate­r­i­al ben­e­fits it gen­er­ates, but the pos­i­tive emo­tions. These emo­tions, as Ein­stein the­o­rized, not only moti­vate us to become bet­ter, but they also pro­vide a source of mean­ing no amount of finan­cial gain above a min­i­mum lev­el can offer. “The lack of basic mate­r­i­al resources con­tributes to unhap­pi­ness,” Csikszentmihalyi’s data demon­strates, “but the increase in mate­r­i­al resources does not increase hap­pi­ness.” While none of us can be Ein­stein, Csik­szent­mi­ha­lyi tells us we can all ben­e­fit from Einstein’s advice, by doing what­ev­er we do to the best of our abil­i­ties and with­out any motive oth­er than sheer plea­sure.

Note: An ear­li­er ver­sion of this post appeared on our site in 2015.

Relat­ed Con­tent:

How to Enter a ‘Flow State’ on Com­mand: Peak Per­for­mance Mind Hack Explained in 7 Min­utes

Cre­ativ­i­ty, Not Mon­ey, is the Key to Hap­pi­ness: Dis­cov­er Psy­chol­o­gist Mihaly Csikszentmihaly’s The­o­ry of “Flow”

How to Get into a Cre­ative “Flow State”: A Short Mas­ter­class

How to Enter Flow State, Increase Your Abil­i­ty to Con­cen­trate, and Let Your Ego Fall Away : An Ani­mat­ed Primer

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

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