The Rink

Charles Chaplin

T. it: Charlot a rotelle. Scen.: Charles Chaplin. F.: Roland Totheroh Int.: Charles Chaplin (cameriere pattinatore), Edna Purviance (ragazza chic), James T. Kelley (padre della ragazza), Eric Campbell (sig. Stout), Henry Bergman (signora Stout/cliente arrabbiato), Lloyd Bacon (ospite), Albert Austin (chef/ pattinatore), Frank. J. Coleman (direttore del ristorante), John Rand (cameriere), Leota Bryan, Charlotte Mineau (amiche di Edna). Prod.: Charles Chaplin per Lone Star Mutual. Pri. pro.: 4 dicembre 1916. DCP. D.: 25’ a 19 f/s. Bn. 

T. it.: Italian title. T. int.: International title. T. alt.: Alternative title. Sog.: Story. Scen.: Screenplay. F.: Cinematography. M.: Editing. Scgf.: Set Design. Mus.: Music. Int.: Cast. Prod.: Production Company. L.: Length. D.: Running Time. f/s: Frames per second. Bn.: Black e White. Col.: Color. Da: Print source

Film Notes

The mechanics of the directing were simple in those days. I had only to know my left from my right for entrances and exists. If one exited right from a scene, one came in left in the next scene; if one exited towards the camera, one entered with one’s back to the camera in the next scene. These, of course, were primary rules. But with more experience I found that the placing of a camera was not only psychological but articulated a scene; in fact it was the basis of cinematic style. […] Placement of camera is cinematic inflection. There is no set rule that a close-up gives more emphasis than a long shot. A close-up is a question of feeling; in some instances a long shot can effect greater emphasis. An example of this is on one of my early comedies, Skating [The Rink]. The tramp enters the rink and skates with one foot up, gliding and twirling, tripping and bumping into people and getting into all sorts of mischief, eventually leaving everyone piled up on their backs in the foreground of the camera while he skates to the rear of the rink, becoming a very small figure in the background, and sits amongst the spectators innocently review­ing the havoc he has just created. Yet the small figure of the tramp in the distance was funnier than he would have been in a close-up.
Charles Chaplin, My Autobiography, Si­mon & Schuster, New York 1964


Copy From

Restored by Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with Lobster Films and David Shepard. Other elements from Academy of Motion Picture Arts and Sciences, CNC – Archives Françaises du Film e Library of Congress
New score composed by Antonio Coppola and performed live by Orchestra del Teatro Comunale di Bologna