Charlie Chaplin Films

 

All Surviving Films of Charlie Chaplin

(Only one film is lost: Her Friend the Bandit from 1914.)

KEYSTONE (1914) — All Survive Except ONE

Surviving Keystone Films (1914):






  • Cruel, Cruel Love

  • The Star Boarder

  • Mabel at the Wheel

  • Twenty Minutes of Love

  • Caught in a Cabaret

  • Caught in the Rain

  • A Busy Day

  • The Fatal Mallet

  • The Knockout

  • Mabel’s Busy Day

  • Mabel’s Married Life

  • Laughing Gas

  • The Property Man

  • The Face on the Bar Room Floor

  • Recreation

  • The Masquerader

  • His New Profession

  • The Rounders

  • The New Janitor

  • Those Love Pangs

  • Dough and Dynamite

  • Gentlemen of Nerve

  • His Musical Career

  • His Trysting Place

  • Tillie’s Punctured Romance

  • Getting Acquainted

  • His Prehistoric Past

LOST: Her Friend the Bandit (1914)

ESSANAY (1915–1916) — ALL SURVIVE

  • His New Job

  • A Night Out

  • The Champion

  • In the Park

  • A Jitney Elopement

  • The Tramp

  • By the Sea

  • Work

  • A Woman

  • The Bank

  • Shanghaied

  • A Night in the Show

  • Police

  • Triple Trouble (released 1918 from Essanay footage)

MUTUAL (1916–1917) — ALL SURVIVE

  • The Floorwalker

  • The Fireman

  • The Vagabond

  • One A.M.

  • The Count

  • The Pawnshop

  • Behind the Screen

  • The Rink

  • Easy Street

  • The Cure

  • The Immigrant

  • The Adventurer

FIRST NATIONAL (1918–1923) — ALL SURVIVE

  • A Dog’s Life

  • The Bond

  • Shoulder Arms

  • Sunnyside

  • A Day’s Pleasure

  • The Kid

  • The Idle Class

  • Pay Day

  • The Pilgrim

UNITED ARTISTS FEATURES (1923–1952) — ALL SURVIVE

  • A Woman of Paris (1923)

  • The Gold Rush (1925)

  • The Circus (1928)

  • City Lights (1931)

  • Modern Times (1936)

  • The Great Dictator (1940)

  • Monsieur Verdoux (1947)

  • Limelight (1952)

LATE WORK — ALL SURVIVE

  • A King in New York (1957)

  • A Countess from Hong Kong (1967)

Summary

Charlie Chaplin’s filmography is almost completely intact. Every film survives except one early Keystone short, making his body of work one of the most accessible and best‑preserved in cinema history.

If you want, Connie, I can also prepare:

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