Viewers accustomed to the Charlie Chaplin of CITY LIGHTS and MODERN TIMES may be startled to see just how rowdy his early Keystone comedies could get. In some cases these movies amount to little more than 10 or so minutes of wild slapstick, and when the prints are in poor condition even rudimentary plot-lines become incoherent. A few of the Keystones display a degree of finesse and are well worth watching (I'd put THE STAR BOARDER and THE NEW JANITOR on the short list of Charlie's more enjoyable early works), while others are of interest only to Chaplin buffs determined to see all his work, even the scrappy and incoherent stuffwhich brings us to LAUGHING GAS. Charlie plays a dentist's assistant in this one, more of an office custodian than an actual dentist, although he takes an active role in anesthetizing patients with a mallet. This short presents Charlie at his most violent: hurling bricks, kicking butts, and fighting with practically everybody, especially Mack Swain. I enjoy good slapstick, but I found this one exasperating to watch. Admittedly, the print I saw was in bad shape and thus difficult to follow, especially towards the end, but I suspect that even if a pristine camera negative of LAUGHING GAS turned up in a vault somewhere it wouldn't make much difference, quality-wise. For audiences of 1914 it was an exciting novelty to see the knockabout action of vaudeville and burlesque transferred to the new medium, but for today's viewers it's difficult to find genuine comedy in something like this.<br /><br />Chaplin was still in his apprenticeship at this point and had only recently started directing his films. He obviously didn't care whether viewers liked his screen alter ego or not, but just wanted to keep the tempo fast and frantic. (Or was he trying to please his boss, Mack Sennett?) It's clear that the action in this film, like most of the Keystones, was loosely improvised from scene to scene, without any larger sense of purpose. On that level, comedy buffs may be interested to compare this early, "unedited" Chaplin with the later perfectionist who demanded multiple takes. Typical gag: Charlie, pretending to be the dentist while his boss is away, flirts with a pretty young patient, then takes a pair of pincers, pinches her nose, and yanks her face over for a kiss. Okay, it's a little on the rough side but a decent gag. But overkill sets in rapidly as Charlie repeats the business three or four more times (maybe it got a big laugh on the set?) to diminishing returns. Later, there's a nicely performed bit of physical comedy: Charlie follows his employer's wife up some stairs, stumbles, attempts to steady himself by grabbing her, and yanks her dress off. It's startling and cleanly performed without looking over-rehearsed, and stands as the funniest bit in the film, but once you've seen that you've seen the highlight. Otherwise, it's non-stop fighting. Silent comedy buffs with a special interest in Chaplin's work from the very beginning may want to see LAUGHING GAS, but there's no strong reason to seek it out otherwise unless you crave slapstick in its most chaotic form.<br /><br />Incidentally, the actress playing the dentist's wife (i.e. the one who loses her dress) is Alice Howell, who went on to star in a series of her own. Stan Laurel later cited her as one of the finest comediennes of the silent screen. I haven't seen enough of her work to form an opinion myself, but the nice little scene she has in this film whets my appetite to see more of her films.