Henry Bergman,
Charles Chaplin,
Jackie Coogan,
Babe London,
Edna Purviance
... see more 
,
Loyal Underwood
,
Tom Wilson
,
Albert Austin
Charlie Chaplin's fourth film for First National is generally considered a lightweight entry and a throwback to earlier days. It begins with Charlie, Edna and their two boys leaving their house (actua... read more lly a corner of Chaplin's studio at La Brea and De Longpre in Hollywood) for a day's outing. The family piles into the family flivver, and after Charlie's amusing efforts to keep the engine running, they arrive at a dock and board a crowded day cruiser. Charlie has a disagreement with another passenger (Tom Wilson), when he squeezes himself into a place on the bench next to the fellow's hefty wife, (Babe London). When Wilson tosses the famous derby onto the dock, Charlie races off the boat to get it. As the vessel pulls away from the dock, a large woman with a baby carriage tries to board, but ends up stretched between the dock and the boat. Charlie, returning with his hat uses her as a gangplank, then tries to pull her aboard with a grappling hook.Once the boat is under way, the passengers dance to the music of a small combo, but soon everyone is feeling the effects of the violently rocking cruiser. Charlie has to stop dancing with the lovely Edna to sit by the railing near the trombonist, whose own mal de mer turns the black man quite pale. Meanwhile, Edna and the kids are napping on deck chairs and Charlie decides to join them. In typical Chaplinesque fashion, he cannot seem to assemble his chair. Overcome by seasickness he collapses into the lap of the equally bilious Babe and is covered with a blanket by a helpful steward. When the lady's jealous husband returns with drinks he tries to attack Charlie, but becomes too nauseated to continue, of which the now recovered Charlie takes advantage.The return trip in the family car is equally eventful. Charlie runs afoul of a couple of traffic cops, is blocked by some irate pedestrians, one of whose foul language spurs Charlie to indicate the divine retribution awaiting him, and backs into a tar truck which spills its contents on the street. The cops, berating Charlie for blocking traffic, get stuck in the tar along with Charlie, but he cleverly steps out of his large shoes and drives off with his family, much to the amusement of the onlookers. This last scene may have originally been intended to occur earlier in the film, according to continuity sheets existing in the Chaplin archives, but was placed at he end of the film for the released version. ~ Phil Posner, Rovi
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