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The Count

The Count

Comedy · 1916

A tailor's apprentice burns Count Broko's clothes while ironing them and the tailor fires him. Later, the tailor discovers a note explaining that the count cannot attend a dance party, so he dresses as such to take his place; but the apprentice has also gone to the mansion where the party is celebrated and bumps into the tailor in disguise…

Movie details

The Count

1916 Comedy 24m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

A tailor's apprentice burns Count Broko's clothes while ironing them and the tailor fires him. Later, the tailor discovers a note explaining that the count cannot attend a dance party, so he dresses as such to take his place; but the apprentice has also gone to the mansion where the party is celebrated and bumps into the tailor in disguise…

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over The Count?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Charlie Chaplin

Written by

Charlie Chaplin · Vincent Bryan · Maverick Terrell

Charlie Chaplin

Charlie Chaplin

Tailor's Apprentice

Edna Purviance

Edna Purviance

Miss Moneybags

Eric Campbell

Eric Campbell

The Tailor

Leo White

Leo White

Count Broko

Henry Bergman

Henry Bergman

Cast

Charlotte Mineau

Charlotte Mineau

Mrs. Moneybags (uncredited)

James T. Kelley

James T. Kelley

Butler (uncredited)

Court is in session

Put The Count on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Popcorn Loyalist

“It owes the canon nothing.”

The movie pursues immediacy and audience pleasure without begging institutions to certify its worth.

The prosecution The Big-Idea Head

“Easy pleasure, short half-life.”

It moves efficiently through the moment but offers little reason to keep arguing once the credits end.