Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Adeel Hail Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

Aneesa Wardle The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Sarita Rafferty There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

Jay Raskin Reviewers here so far seem to be apologizing that this isn't a later Chaplin film. Perhaps if they understood the circumstances under which it was made, they would appreciate it for what it is.In 1913, Mack Sennett had contracted to produce three one reel comedies a week. By the end of 1913, they were so popular that he contracted to produce four. Producing 30 minutes of comedy every week was strenuous. Everybody at Keystone felt overworked. Now they were commanded to produce four reels Lead comedian Fred Mace had quit in June 1913. His replacement, Ford Sterling told Sennett that he was getting better offers and would also quit soon. Sennett hired vaudeville comedian Charlie Chaplin to replace Ford. The problem was that Chaplin had never made a film before. He was about to enter a comedy factory where he would be punched, slapped, kicked, pushed and fall down again and again for 12 hours a day, six days a week, 50 weeks a year.Ford was gracious enough to stay on for a few months to help Chaplin get accustomed to the pace. This is a film that was probably written for Sterling by Lehrman. Sterling has the starring role. If Chaplin had not signed with Keystone, probably Lehrman himself or Eddie Dillon or a half dozen other actors at keystone could have played the part or the rival lover that Chaplin plays. It was a simple Keystone formula picture: two men fight over the same beautiful girl. Chaos breaks out. Cops come. A chase ensues and when it ends so does the picture.The movie begins as its title says "Between Showers." It has rained and Ford Sterling's umbrella has been ruined. He is going to steal an umbrella. What is great about Sterling is that he talks directly to the audience. He tells them exactly what he is going to do. He breaks the separation between the audience and the actor (the invisible fourth wall). Sterling talks to the audience like they're his best friend. He tells the audience straight out, "Watch me while I steal this umbrella," as if he is doing something the audience is going to find daring and funny. It is a little strange that he would pick a cop to steal the umbrella from, but it just makes the silly heist even sillier.At this point, we skip to Sterling being noble and helping a pretty woman, Peggy Pearce across a street. The street is flooded and she will get soaked if she tries to cross it. Sterling foolishly gives her his newly stolen umbrella and goes to find a board to help her cross. At this point he first encounter the tramp, Charlie Chaplin. Chaplin also finds the woman quite fetching and he also tries to help her. Sterling and Chaplin begin some great slap-stick fighting. This is the main motif for the rest of the film.What is marvelous is how perfectly Sterling and Chaplin match. They both have perfect comic timing and look as if they have been working together for years. If Sterling was not about to leave Keystone and strike out on his own and if Chaplin had not just been hired, it is possible that they would have have been the movie's first great comedy team with the large sized Sterling finding the perfect foil and stooge in the small sized Chaplin. There is something wonderful in watching Chaplin getting knocked down, popping right up and fighting back and refusing to let the bigger sized Sterling intimidate him.Again, you have to see Chaplin here as just an actor in a Keystone formula movie. The formula is funny, and Chaplin is executing it perfectly, but it is not really Chaplin's film. It would be another month before he would really start making his own films.The writer-director Henry Pathe Lehrman, also deserves a lot of credit. He was apparently struggling bitterly with Chaplin to get him to adapt to Keystone's breakneck style and pace. For this round, at least, he won.

Michael_Elliott Between Showers (1914) ** 1/2 (out of 4) After a rainy day a woman (Emma Bell Clifton) is trying to get across a muddy street when a man (Ford Sterling) offers to help but soon a Tramp (Charles Chaplin) tries to help as well. Soon the two men are fighting and others jump in. This was Chaplin's fourth film as an actor, the third playing the Tramp and in my opinion the first one where he could call himself the star. It's rather amazing to see how far advanced Chaplin was even though he hadn't yet turned the character into the masterpiece we all know him for. Just look at how Chaplin acts compared to everyone else in the film. I'm certainly not saying the others are bad but they are typical of what you'd see in a Keystone film and then there's Chaplin doing his magic. The first five minutes are the best when Chaplin is losing his balance as he tries to flirt with the woman and eventually has one of his feet fall in. The joke that happens when he pulls his foot out is priceless. The rest of the film is rather routine and I doubt too many will find laughter but if you want to see Chaplin evolve then this here is important.

Akihse The ten minute short film Between Showers is best seen, perhaps, as a historical document. More than ninety years old, it serves as a reminder that movies has both changed and not changed since that time. This is obviously a silent, which calls for a visual kind of humour. The plot is thus fairly straight forward and serves as an excuse for the characters to fall on their butts and fight in an overly theatrical manner, judged by today's standards anyway. However, it is interesting to see Chaplin's crude and early attempts at what he and others (Jackie Chan to name one of our contemporaries) would later perfect – well timed physical humour. No doubt intended as entertainment for the moment, Between Showers lacks the social commentary of the 22 years younger masterpiece Modern Times, but it contains a seed, albeit small, of the breathtaking acrobatics displayed therein.Of historical interest.

23skidoo-4 Although Chaplin still had many kinks to work out of his Little Tramp character by the time he made this, his fourth movie, Between Showers nonetheless shows tremendous improvement over his first attempts at developing a screen persona. In the first, Making a Living, he played a rich villain. In Kid Races at Venice and Mabel's Strange Predicament, the Tramp made his debut, but was portrayed as a rather mean-spirited, and in the Mabel Normand film, almost lecherous, jerk.But Between Showers, for the first time, presents the Little Tramp as a somewhat noble, almost heroic character, who comes to the aid of a damsel in distress (here portrayed by an Edna Purviance prototype). He still has rough edges, but Chaplin was starting to flesh out the character.The plot of Between Showers is an illustration of how delightfully simple and high concept early silent comedies could be. A man steals an umbrella -- that's pretty much the plot, with a little (attempted) romance tossed in for good measure. It's a fun little film, and fascinating to watch from the perspective of observing how Chaplin is slowly crafting his most famous character.