http://discoveringchaplin.blogspot.com/2012/07/photo-of-chaplin-by-hartsook-c.html
July 31, 2014
Throwback Thursday
My inaugural post on Discovering Chaplin from two years ago this month.
http://discoveringchaplin.blogspot.com/2012/07/photo-of-chaplin-by-hartsook-c.html
http://discoveringchaplin.blogspot.com/2012/07/photo-of-chaplin-by-hartsook-c.html
July 30, 2014
July 29, 2014
Charlie & May Reeves, French Riviera, Summer 1931
I'm not sure of the identity of the fellow on the left (he looks a little like Frank J. Gould, Chaplin's host during the first part of his stay on the Riviera) nor the woman on the right, but the man is holding a siamese cat. Charlie and May had two pet siamese cats during their time in France (see picture here, scroll to the bottom). I wonder if this is one of them?
Chaplin with photographer James Abbe, in and out of costume, 1922
"When I have photographed Charlie Chaplin in character his mustache has fitted his role. When I have asked Charlie to remove his mustache and be himself he has readily acquiesced, revealing Charlie the shy, introspective, elusive person who has never been quite understood, and never quite understood himself." James Abbe, Boston Globe, 1932
July 27, 2014
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July 25, 2014
Chaplin and his attorney, Nathan Burkan, New York City, January 14, 1927
"Sometimes he would sit, one foot tucked under him, slashing at the leather cushion with one of his limber bamboo canes, as if in an effort to whip out an idea." --Harry Crocker describing Charlie sitting on a divan in his bungalow during a story conference, "A Tribute To Charlie," Academy Leader, 1972
"At first he sat quite formally, both gray-topped shoes on the floor. As he grew more interested in the discussion, he curled his left leg up under him." (Katherine Eggleston Roberts, "Charles Spencer Chaplin: What Makes The World Laugh," Success Magazine, October 1925)
July 24, 2014
Charlie vs. "The Rookie"
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| Evening News (Harrisburg, PA) May 12, 1927 |
The trial began in New York on May 5th 1927. Jurors and counsel were given printed sheets of paper with parallel columns containing a synopsis of "The Rookie" on one side and Shoulder Arms on the other. Chaplin's film was also shown in court as evidence.
Leo Loeb took the witness stand first. Chaplin's attorney, Nathan Burkan, read 81 of the 159 long scenes of Shoulder Arms and after each reading asked the witness if there was anything in that scene that he could recall as having been taken from his scenario & to point out any similarity between the two. Mr. Loeb tried to explain that while no two scenes were exactly alike, his play had inspired Shoulder Arms & was an elaboration of it.
Chaplin spent two days on the witness stand. The first day, May 9th, he arrived in court with his attorney Nathan Burkan and his valet, Toriachi Kono. He was clad in a dark gray suit, blue shirt & matching collar, derby hat, his token button-up shoes, and carrying an ivory-headed snakewood cane on his arm.* He "threaded his way through a crowd of girls employed by the building" and took a seat at the defense table. When he was called to the stand, he handed his hat and cane to Kono.
In the witness chair, Chaplin put one foot underneath him and sat on it. In answer to questions by his attorney, Chaplin stated that his name was Charles Spencer Chaplin, he was 38 years old and was writer and director of his pictures. Mr. Burkan asked Chaplin if he had used Mr. Loeb's scenario when writing Shoulder Arms. Chaplin replied:
"I did not. I never saw the scenario, nor did anyone ever call my attention to it." After a pause he turned to the jury and, with a right hand slightly elevated, he added, "On my word of honor, gentlemen, and on my oath."
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| Chaplin on the witness stand. |
In reply to another question, he explained:
"My pictures are conceived as I go along. The creative mind doesn't work from detailed directions."
Chaplin explained that he thought of Shoulder Arms while he was campaigning in 1918 for the Third Liberty Loan.
While on the witness stand, Chaplin nervously swung his arms and legs and fidgeted in his chair.
Under cross-examination by Loeb's attorney Mortimer Hays Chaplin said that he thought the "whole case was absurd." "Do you still think so?" asked Mr. Hays. "Yes, I do, to be candid about it," answered Chaplin.
On several occasions during Mr. Hay's questioning, Chaplin "shrugged his shoulders and grinned ruefully to the amusement of spectators as they recognized the shoulder movement so often depicted on screen."
Hays handed Chaplin a synopsis of "The Rookie" and asked him to look at the first scene. "Chaplin scrutinized the paper with expressions of exaggerated concentration which brought general laughter. He shrugged with a pathetic gesture of frustration and the spectators rocked in their seats."
"I'm afraid I can't read it," he apologized to Hays, "I forgot to bring my glasses."
Nathan Burkan offered up his glasses and Chaplin "tried them on his nose and then stared blankly at the paper. His expression and pantomime of his inability to see brought more laughter in which Judge Bondy joined."
Judge Bondy leaned over the bench and proffered Chaplin the judicial spectacles. The actor took them with a bow, tried them frontwards, backwards, as a monocle with the extra glass riding over one ear, and then as a magnifying glass.
"I can read!" he cried with a happy smile and the crowd cheered.
There was more laughter when Chaplin described the original opening of Shoulder Arms and a scene showing Charlie quarreling with "my wife." Chaplin sensing the situation added "that is, she was supposed to be my wife in the picture." This brought even more laughter.
Chaplin said that he had gone over the Loeb scenario and that it was a "one, two, three, commonplace plot. Mine is the story of the inadequacy of a poor frail human being, immersed in the war."
Chaplin had been patient under the sharp questioning of Hays but he became annoyed when the lawyer insisted on a yes or no answer to his questions.
"Don't you see a similarity between your picture and the scenario of Mr. Loeb?" Hays asked. Chaplin replied, "Yes, but..."
"Answer yes or no," Hays demanded. "There is a similarity in a general way, in background. But there is absolutely no similarity in action, thought, and the whole psychology."
Chaplin once accused Hays of talking in generalities and asserted he did not know what the lawyer meant by his questions.
"Hays questioned him about a bunkhouse scene in his play, handed the printed play to him and asked: 'Do you see where it is written?' 'You mean the bunk,' queried Chaplin, and the lawyer replied, 'No, I mean the bunkhouse.' Chaplin interrupted to say 'This is the bunk.' This set the crowd off again. He grinned cheerfully when Judge Bondy rebuked him."
"Shoulder Arms is one of your greatest pictures, isn't it?" asked Hays.
"Modesty forbids an answer," Chaplin replied. "It was a lot of hard work."
Chaplin's testimony ended on May 10th. The next day a deposition by Sydney Chaplin was read in court by Nathan Burkan. Syd said he was a "gag" man during the making of Shoulder Arms and that he didn't know where his brother derived the idea of the film.
Tom Harrington, Chaplin's valet in 1918, corroborated other testimony by witnesses that Chaplin was on his Liberty Loan tour in the south in April 1918 when Loeb's scenario was received and rejected by the studio.
The case ended in a mistrial on May 12th when jurors failed to agree on a verdict. Chaplin won the case when it was retried in November.
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*One reporter noted that Chaplin's ensemble included "no display of jewelry."
Sources:
New York Times, May 10-11, 1927
Portsmouth Daily Times, May 10, 1927
Reading Times, May 10, 1927
Chaplin Sees The World blog
Please check out (& bookmark) Lisa Stein Haven's new blog about the upcoming publication of "A Comedian Sees The World."
http://chaplinseestheworld.blogspot.com/
http://chaplinseestheworld.blogspot.com/
July 22, 2014
July 21, 2014
Chaplin on the set of THE GREAT DICTATOR
Next to Charlie is (I think) studio secretary Catherine Hunter.
July 19, 2014
Charlie's Real Life Story
In January 1927, Chaplin filed a suit against Pictorial Review magazine to halt the publication of a series of articles by his former publicist, Jim Tully, aka the "hobo author." His complaint asserted that the articles consisted of "statements that are false and untrue and tend to bring this plaintiff into disrepute and subject him to scorn and ridicule."1 He also objected to the use of his name and image in the advertising for the articles. Data for the biography was compiled by Tully during his two years of employment at the Chaplin Studios. He even stated that he "took the job with this story in view. Throughout that time I gathered copious notes. I'm sure that my articles are correct."2 Chaplin eventually lost the case.
After four years of searching, I now have all four installments of Pictorial Review series (published January-April 1927), which were called, "Charlie Chaplin: His Real Life Story." I don't find the articles to be overly biased or slanderous against Chaplin--no more than anything else one would have read about him at the time. Other people, such as Lita Grey, are ridiculed far worse than Chaplin in the piece. I have always been a fan of these portraits of Chaplin and Tully's is an interesting and revealing one. Three years later, Tully wrote two articles for New Movie magazine called "The Unknown Charlie Chaplin."3 This account is basically a highly abridged version of the Pictorial Review series.
Tully would not be as kind to Charlie in his subsequent writings nor his chapter about about him in his 1943 book, A Dozen & One. The latter I found to be downright mean-spirited at times. This was not out character for Tully, though. He was notorious in his day for raking movie stars over the coals.
Below is an excerpt from the first installment of "Charlie Chaplin: His Real Life Story" in which Tully describes his first meeting with Charlie:
I first met Chaplin about five years ago. Ex-hobo and ex-pugilist, I had just blossomed forth as an author with his first book, and an invitation had been extended to me for a diner at the great comedian was the guest of honor.4 I arrived--the cotton bulging in the shoulders of my ill-fitting suit--self-conscious and ill at ease. I faced the reception as an ordeal. ...
Chaplin arrived late, dressed in evening clothes. I afterward learned that he was tardy for all appointments. Upon being introduced to me, he said , "Well, well, Jim Tully, we're fellow vagabonds under the skin--what do you say?" Placing an arm in mine, he walked with me to the table. With fine intuition he noted my discomfiture and kept saying, "Fine, Jim, fine--fine--glad you're here, Jim--mighty glad!"
Chaplin's appearance surprised and pleased me. It was as if the caricature of a tramp had stepped from the pages of a funny paper and had suddenly changed into a handsome, well-dressed man. His face was remarkable--full of character and personality. His teeth were even, large, and white. His manner was gay, childish, benign, and to me full of tender consideration. His hair was slightly streaked with gray and rolled in a huge irregular wave back from his forehead. Over his face passed varying expressions--like dark, white, gray, and blue clouds racing across the sun. Even if Chaplin were unknown in the world, he would undoubtedly be a popular man at any social gathering. He is facile and pleasing, with moods that change like early March weather in his native England.
When we had seated ourselves at the table there seemed to be present all the knives and forks in the world. Chaplin was placed at the end of the table. I was close to him. Catching me looking his way as I fumbled for the right fork, he said, "Don't look at me, Jim. I pick the wrong one every time." Everybody laughed, and I felt easier.
Chaplin has the gift for making people love him.
I watched him closely--the fine head and the waving hair, the large, even, white teeth, the deep lines that must have been written in the corners of his eyes at boyhood. All these I noted. And save for some awkward gestures while eating, he had the poise and the polite, nonchalant manners of a duke.
The dinner passed in a jovial manner. Everybody laughed and talked gaily but myself. Chaplin was the life and soul of the gathering. He sang. He danced and made fun of everybody. His versatility astounded me. As a final touch to his impromptu performance Chaplin suddenly started mimicking a fat local banker at the opera. "Yes, yes," he said between snores, "go right on, Caruso--I'm listening."
I have since met many famous entertainers at dinner, but Chaplin is king of them all. ...
When the party broke up Charlie walked with me to his waiting limousine. He was almost gentle. I had never met a human so charming and kind. "We'll meet again, Jim," he said. "I like you."...
Two days after the party a fine autographed picture of Charlie came to me. Upon it was written, "My fellow comrade."
Three weeks later, while walking about Hollywood, I met him. We were both alone. A heavy mood was upon him. Being lonely, and this I came to know was a frequent state with him, he was genuinely glad to see me.
"I'm weary of this town," he fretted. "It drives me crazy--it's awful--awful!"
"Yes, it's terrible," I returned.
"Yes--yes," he answered quickly.
"But you have friends here, Charlie--everything in the world--all your heart could wish for."
"You make me laugh, Jim. I haven't a thing--not a thing. There isn't a person in town I want to talk to." He paused. "None of us have much, Jim--we're all a lot of kids afraid of the dark--and we're glad when daylight comes. It's no good to have fifty million people know you--when---"
"But, Charlie," I cut in, "suppose you were me--trying to write when nobody cares a rap--"
"It would be fine, Jim--I'd like it--work is all that matters--you'll find out as you go along. You can't lose yourself in anything long--unless it's something you're creating--something out of your soul."
The last words were said with finality--brows wrinkling.
"There's not much difference in any of us--more money--more bother--more people you don't want to see--" he lifted his hand, finger pointing. "You're going along, Jim--you'll learn a lot of things I've learned. We've both had a lot of grief as kids--money'll bring you just another kind of grief--that's all."
He walked now, with head down, body swinging nervously, oblivious of people who turned to look at Charlie Chaplin.
A great mimic, a quick mentality. Chaplin absorbs all that is necessary for him to know. Abrupt in conversation, his wondering brain bruising itself against all abstract ideas, he yet goes straight and true to many questions which puzzle more learned men. He does not actually think his way to the answers--he feels it.
His interests are not in art--not in work primarily--not in lands or ships at sea--but people. Behind the mask of the clown there is a defeated dramatist--a weary and sad man lost in a sea of wonder. (Pictorial Review, January 1927)_________________________________________________________________________________
1Los Angeles Times, January 8, 1927
2ibid
3New Movie, July-August 1930.
4The occasion was a party given by producer Ralph Block.
July 17, 2014
July 16, 2014
Footage of Chaplin and Marion Davies at the premiere of Marion's film FLORODORA GIRL (1930)
The footage of Chaplin at the beginning is from the premiere of The Circus in 1928. Actual footage of Chaplin from the Florodora Girl premiere starts around the 4:46 mark. You'll notice that his hair is dyed black for the filming of City Lights. Lots of other stars can be seen as well.
Click here to see a some still shots of Charlie and Marion at the premiere.
Click here to see a some still shots of Charlie and Marion at the premiere.
July 14, 2014
Chaplin with boxer Georges Carpentier, Paris, 1921
Lita Grey Chaplin was involved in a long affair with Carpentier, who was married, after her divorce from Charlie. One evening in 1931, Georges & Lita were kidnapped and robbed by four men with guns outside a New York City theater where Lita had just finished performing. The robbers had seen Lita's act and were attracted to her expensive jewelry. The couple were driven a mile in Lita's car before they were released unharmed.
July 12, 2014
1966 World Cup
One hot summer's night, England played West Germany in the World Cup Final. Oona, Charlie, and I decided to take a ride around London. We listened to the match on my car radio. After playing overtime, England put in the winning goal. There was pandemonium in the streets. That evening, all London ran wild.
There, in my car, the three of us were weeping with joy. England victorious over Germany. It seemed like the end of the Second World War! For Charlie, football was the working man's sport; he was always thrilled by the enormous crowds that went to soccer games. "There's no audience like them in the world," he said. He loved the way they sang, cheered, and waved their banners. We never forgot the thrill of that evening--July 30th, 1966--when England won the coveted Cup! --Jerry Epstein, Remembering Charlie, 1989
July 11, 2014
Chaplin with the Earl of Dunmore and Arthur Letts, 1918
The Maurice Bessy book incorrectly identifies these two men as aviation pioneers Orville and Wilbur Wright but that couldn't have been possible since Wilbur died in 1912 and Orville, who was 47 at the time, didn't match the age of the visitors. The men were correctly ID'd, however, in a 1919 issue of Picture Show. Thanks to Dominique for solving this photo mystery.
Grace Kingsley described the Earl of Dunmore's visit with Chaplin for the L.A. Times:
*Henry Bergman was born in California but studied in Germany for many years. Chaplin associates, such as Rollie Totheroh, and others who knew him have said that he spoke with a German accent.
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| Photo/caption from Charlie Chaplin by Maurice Bessy. |
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| Photo/caption from Picture Show, June 28, 1919. |
Grace Kingsley described the Earl of Dunmore's visit with Chaplin for the L.A. Times:
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| Los Angeles Times, March 1, 1918* |
July 10, 2014
The death of Norman Spencer Chaplin (aka The Little Mouse) is recorded on a Chaplin Studio daily production report for "Charlie's Picnic", July 10, 1919
Charlie's Picnic would later be released as A Day's Pleasure.
July 7, 2014
Birth announcement for Norman Spencer Chaplin, born July 7, 1919
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| Los Angeles Times, July 8, 1919 |
When Mildred went into labor the night before, Chaplin wrapped her in a blanket and drove her to the hospital himself. He insisted on being present at the birth but eventually "passed away in a dead faint and had to be carried out."1
Mildred had wanted to name the baby Charles Spencer Chaplin, Jr., but Charlie protested and chose the name Norman Spencer instead because he felt Charles was a name with which "liberties could be taken" and "Norman can't be shortened."2
Sadly, Norman was born with an intestinal deformity and died three days later. Mildred recalled years later that "Charlie took it hard. Funny thing, isn't it--that's the only thing I can remember about Charlie...that he cried when the baby died."3
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1Mildred Harris, "The Private Life of Charlie Chaplin," Winnipeg Tribune, April 1936
2Los Angeles Times, July 10, 1919. Chaplin also protested 6 years later when Lita Grey wanted to name their first born son after him but he eventually acquiesced.
3Lita Grey Chaplin, My Life With Chaplin, 1966.
July 6, 2014
July 5, 2014
July 3, 2014
Autographed photos of Charlie and Paulette in Singapore, 1936
Charlie's photo is signed: Best Wishes, Charlie Chaplin. Paulette's says: Sincerely Paulette Goddard.
July 2, 2014
July 1, 2014
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