Charley Chase Megapack Hot! -

Highly innovative films where Chase utilized his musical talents, seamlessly blending song, dance, and verbal wit with physical comedy.

The Charley Chase MegaPack is a treasure trove of comedy classics, offering a comprehensive look at the life and career of a comedic legend. Through its curated collection of films, this MegaPack provides a fascinating glimpse into the evolution of comedy and the art of filmmaking during the 1920s and 1930s. As a testament to Chase's enduring appeal, the MegaPack serves as a reminder of the power of comedy to transcend time and continue to entertain audiences today.

: High-quality transfers of his peak silent era (1925–1926) , including "Jimmy Jump" era shorts where his character first found its footing.

16 two-reel comedies from 1924 to 1927. This set includes the masterpieces: Mighty Like a Moose (selected for the National Film Registry), Bad Boy , April Fool , and Mama Behave . The shorts are directed mostly by Leo McCarey and feature the lovely Katherine Grant. Charley Chase MegaPack

A classic "morning after" comedy. Chase wakes up late for his wedding. He must drive across town in his pajamas while a dead body keeps falling out of his car. It is frantic, high-speed, and brilliantly edited.

In 1936, Chase left Hal Roach Studios and signed with Columbia Pictures, where he spent the final years of his life directing and starring in shorts. At Columbia, Chase shifted his focus heavily toward directing, guiding the careers of other comedy legends. Notably, he directed some of the most acclaimed and surreal short films starring The Three Stooges, including the classic Violent Is the Word for Curly (1938).

They are presented in their original Black & White format. The sets feature digital restorations but preserve the original 1.33:1 full-screen aspect ratio of the 1920s. Highly innovative films where Chase utilized his musical

Most "MegaPack" physical collections are organized by era to track his evolution from a silent film star to a pioneer of sound comedy:

He spent the night cataloging: timestamps, faces, the exact position of the mysterious figure in each scene. He wrote notes in the margin of the booklet. At dawn, exhausted, Charley walked home under an indifferent sky, the crate’s lid clanging like a promise closing behind him.

Many feared Chase would fail when sound arrived. Wrong. These volumes (covering 1929-1931) prove that Chase was a natural for talkies. His dialogue is sharp, and his pacing modern. Some of the rarest material is here; the soundtracks for the 1929 shorts were misplaced for over 90 years before being restored for this release. As a testament to Chase's enduring appeal, the

While Chaplin was the Tramp and Keaton the Great Stone Face, Charley Chase was the pleasant, well-meaning young man who just wanted things to go right. His screen persona was that of a polite, slightly put-upon everyman. He didn't seek chaos; chaos found him, usually through the simplest of misunderstandings.

Chase's genius fully blossomed at the Hal Roach Studios. Initially hired as a director, he helped shape the studio’s output, even supervising the first entries in the series. However, when Harold Lloyd left the studio in 1923, Chase stepped in front of the camera permanently to fill the void. It was here, collaborating with legendary director Leo McCarey (later famous for Duck Soup and The Awful Truth ), that Chase hit his stride.