Chaplin’s first full-blown, two-reel screenplay was another compromise. He coupled a Keystone custard-pie climax to a class-conscious plot that allowed passages of personal impromptu. Whilst not presenting Charlie as the Tramp, he mantained much of the Tramp’s character. His lowly waiter aimed at the higher life, and was not above imposture to achieve it. There was something of the dundreary dude from his first film here, but with greater depth. Charlie was no longer the con man out for cash at any cost; he was looking for love.

Denis Gifford, Chaplin (Macmillan, 1974)