First of all the ending: the Tramp is filmed from behind on a country road where the vanishing point is off center. He walks away in defeat: his shoulders hunched, his gait slow and unsteady, his walking stick bending under his weight, his few belongings packed in a bundle. All of a sudden he stops, his body looks like it has received a jolt of electricity; his walk changes, and with his battery charged melancholy is instantly swept away with a happy, light ending with the certainty of a new destination ahead, another time (“the street leads to a lost time”, said Benjamin of his flâneur). As the camera irises-in, the archetype is complete. The Tramp marks a significant evolution in Chaplin’s poetic vision and characterization of the character. For the first time (and for the first time in a comedy) he introduces an element of pathos, credibly expressing a whole range of nuances. The character seems to have a new dimension, “He refuses, he fights, he lives”, writes Jean Mitry, “he is sensitive to the world that surrounds him, he is aware of his inferiority, he suffers because of it and tries to fight against it or at least not be dominated by the circumstances. He reacts and enters into conflict with the world. Not only with objects, but with men as well. In this first ‘pastoral’ love is no longer a caricature; it truly exists and takes over the Tramp entirely”. The scene where he milks a cow by the tail is memorable.