Synopsis
An inspiring and fantastic one-man show!
A drunken homeowner has a difficult time getting about in his home after arriving home late at night.
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One A.M.
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Country
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Alternative Titles
Charlot rientra tardi, La una de la madrugada, Carlitos Boêmio, Chaplin se vrací z flámu, Charlie Chaplin Solo, Charlot noctámbulo, Charlot rentre tard, Μία το πρωί, Éjjel egykor, Kello yksi yöllä, Під час ночі, В час ночи, Klockan ett på natten, L'Una Del Mattino, Ein Uhr nachts, Charlot Boémio, Pikkutunneilla, В един часа след полунощ, Година ночі, 凌晨一点, Viens naktī, 午前一時, 凌晨一點, Klockan 1 på natten
Genre
Releases by Date
Theatrical limited
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Japan
Theatrical
07 Aug 1916
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USA
30 Mar 1918
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Spain
08 Feb 1920
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USA
23 Mar 1934
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USA
Releases by Country
Japan
16 Sep 2012
- Theatrical limited Old Town Taito International Comedy Film Festival
Spain
30 Mar 1918
- Theatrical
USA
07 Aug 1916
- Theatrical
08 Feb 1920
- Theatrical re-release
23 Mar 1934
- Theatrical re-release
Popular reviews
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The best of the Chaplin Mutual Comedies so far. A Charlie one-man show. It’s just him, coming home very drunk and struggling his way to bed. That's gonna be one hell of a headache in the morning. Haven’t we all been there? This one is a must-watch for fans.
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Among the many lovely things about this almost one-man performance, which shows a man's drunken attempts to get upstairs to bed after a night out, are the ways the space and the gags are gradually revealed to us; I was especially amused to notice a First Aid kit dangling at the edge of the frame just as Chaplin's attempts to get upstairs became harrowing, even violent. And I loved that so many of his household objects -- his bed, a stair rug, the table, rugs throughout the living room -- spin, turn and revolve, mimicking The Drunk's own head-spinning drunkenness and dispassionately exacerbating it. Elegant and hilarious.
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Comforting to know that stumbling home so drunk you're not even able to find your bed has been a pastime for many, many, many years. The idea of depicting that experience as a form of slapstick obstacle course is simple but very funny.
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Speaking as someone who has been drunk in a tux before, I would feel more attacked if Chaplin hadn't absolutely nailed it here.
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It's mostly The Tramp stumbling around his house drunk off his ass—which, don't get me wrong, has a certain relatable charm to it, and it's as precisely choreographed as any of Charlie's other work, of course—but the biggest laugh comes right at the beginning. The Tramp arrives at home after struggling his way out of the taxi, but oh no! It seems he's forgotten his key! So he climbs in through the window instead, and after navigating past a fish bowl and around some slippery carpets, he finally finds his key. At last! Now he can open the door! So he exits his home by once again climbing through the window, and unlocks the front door from the outside.
Things must be done in the proper way, after all!
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It shouldn’t be underestimated just how many times Charlie threw himself down those stairs 🤕
The clock pendulum and pull-down bed would be lethal even if you were stone cold sober.
I would say this was Chaplin’s best set up to this point in his career, and he extracts every ounce of humour out of it. It’s a one-man tour de force.
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Chaplin, acting drunk, in a house full of fun props. Sometimes that can be a lot more satisfying than the whole stories with their love interests and burly bully rivals and so on. Also: relateable.
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As soon as I saw that swinging clock I knew it was going to fuck Charlie Chaplin up.
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I suspect, though I have no idea how one would go about proving it, that this is the oldest Chaplin film that remains generally well-known among Chaplin fans whose interest in his work goes deeper than the five big features. If I'm right, it's justified, since this was also the best Chaplin film up to that point, and not by any little margin. It's "pure" comedy in a way he'd already been moving away from, and would continue to move away from even more as time went on: basically just two sets, in which virtually every element of set decoration is turned into playground equipment, for Chaplin to indulge in a genuine virtuoso turn, working with no co-stars and playing…