We move on to discuss Chaplin's second year in films: 1915 at Essanay studios (release of a couple films lingered into 1916): This continues from the discussion of Chaplin's work in 1914 at Keystone (Charlie Chaplin Film by Film Thread ») With the move to Essanay, Chaplin made a huge career leap, increasing his weekly salary from $150 to $1250 and got a $10,000 signing bonus, sums that were a king's ransom over a century ago. He was also designated part of the "Essanay - Chaplin Brand;" had a more leisurely production schedule (releasing 13 films in 1915 compared with 36 in 1914); and bargained for more creative freedom, though this did not entirely work out in the end. He lost a few things too though. He left his original Tramp costume behind and had to shop for replacement clothing (personally I don't notice the difference). More significantly, he lost his whole cast of supporting players, all of whom remained at Keystone; and many of whom had become nearly as familiar fixtures in Chaplin films as Charlie himself. He would re-hire a couple of them later in his career (Mack Swain, Chester Conklin, and I think Edgar Kennedy); but not in the year when he had just jumped from the good ship Keystone - so he had to develop working relationships with a new cast of players. He never again worked with Fatty Arbuckle or Mabel Normand. I will be rediscovering these films as I watch them, as I previously owned then only on the 3 DVDs put out by Image. I just acquired the Flicker Alley BluRay versions, and will be watching these for the first time as I do this write up. I understand there are significant improvements in many areas in the prints and scores used, not just enhanced resolution from being HD. I will make some comments about how the 2 versions differ here and there but am not going to attempt thorough comparison. If other folks have comments about how they differ, and particularly if there is anything preferable about the Image DVD versions compared to the new ones, I would be interested to learn from you. My ratings of these films will be based on the same 10 point scale as the ratings of the Keystone films and his later shorts, but should not be considered comparisons with his later features, which I will have on their own scale. I am no longer going to list who directed, wrote and produced the films - because it is all Chaplin from this point forward.