January 31, 2016

Day By Day: 1936


Well, I have January under my belt and I'm having a great time with this series so far. I think the coming weeks and months will be more interesting with the premiere of Modern Times and Chaplin's trip with Paulette. I created a separate page for the series just to make it a little easier to follow. Of course, you can watch for updates here on the home page as well.

Click here to see a recap of January. 

January 29, 2016

A day with Charlie at his new studio

Chaplin with Grace Kingsley and Gale on the employment office set of A Dog's Life.

In January 1918, journalist Grace Kingsley, along with Los Angeles Times cartoonist "Gale" (aka Edmund Waller "Ted" Gale) visited Chaplin at his new Hollywood studio. The three had met before. In August 1916, Kingsley interviewed him at the Lone Star Studio, where his Mutual films were made. That interview, published in the LA Times,1 also featured cartoons by Gale (I'll post about that one at a later date). Chaplin was comfortable with Kingsley and seemed to open up to her in a way he seldom did with reporters. I've accompanied this post with real photos of the visit as well as Gale's drawings which depict Charlie not only as actor, director, and interviewee, but also as an anchor during the "stormy days" of war.

All quotes and cartoons below are from "Charlie Chaplin Begins Work In His New Studio," by Grace Kingsley, Los Angeles Times, January 20th, 1918.2


Gale's observations of Chaplin

After giving his guests a tour of his studio ("I think I could like this place if I didn't work here," he says), Chaplin answered questions about his future film plans. He tells Kingsley that his pictures henceforth will contain more character study and more story...
"And how will the public like that," inquires Charlie anxiously with his puzzled, quizzical little frown.
"What's your first story?" we ask.  "All about a dog!" grins Charlie pointing to a scrap of a mongrel that has crawled to his feet and is licking his hands....That's all we found out about the picture except that it has an employment bureau in it.3

Posing with a mirror. Kingsley is on the right.

Kingsley goes on to describe watching Chaplin rehearse the cast:
Just here in trooped a motley bunch of actors, and Charlie went to work. 
"And now," said Chaplin after an hour's hard rehearsal of the gang, "and now I think a little rehearsal will do us good." 
That's characteristic of the patience and hard work of the comedian, who really leads a double life--that of both actor and director. For Charlie Chaplin, the comedian with the Midas touch of comedy which has the power to turn the meanest "prop" into golden laughter, works like a whirlwind and notes every detail of both makeup and action on the part of his actors, and goes through every smallest part himself to show them. Why, he even dresses them sometimes when they don't get on their make-ups to suit him. 

The only prop in this scene, which was held in an employment agency, was a box filled with sawdust, the purpose of which was obvious. But Charlie didn't let the frayed-out-old-actory person use it for that. "Just flick your cigarette ashes in it--so" he prompted, and then he went through the part in a manner that showed him the artist he is, for the part was only a bit, yet you smiled and you laughed  and cried at the same time he did it. 
"This isn't a rehearse--this is the original hearse," exclaimed one of the actors as he stepped out of the strenuous scene, mopping his brow. 
Charlie's comedy seems entirely spontaneous--that's its wonderful charm. But beneath it all he has the mathematics of merriment, the logarithms of laughter, at his fingers' ends. 

Gale sketches Chaplin's interview with Kingsley

The result:

_________________________________________________________________________________

1"Beneath The Mask: Witty, Wistful, Serious Is The Real Charlie Chaplin," by Grace Kingsley, Los Angeles Times, August 20th, 1916
2Kingsley's 1918 article is also quoted in my piece from January 19th about Chaplin's new studio. Click here.
3The film is A Dog's Life, released April 14th, 1918.

January 28, 2016

Guéthary, France, 1931

When Chaplin was in Biarritz on his 1931 world tour, he attended a tennis match in Guéthary featuring three well-known French tennis champions: Henri Cochet, René LaCoste, and Martin Plaa. At the end of the game, the audience asked for a match between Chaplin and the champions. May Reeves, who was also in attendance, recalled that since he knew he was sure to lose, Chaplin decided to make a joke of it: "He slipped deliberately, ran after balls out of bounds, turned several times around himself and gesticulated so comically with his racket that the audience couldn't help splitting their sides. This was one of the most successful and original matches the champions ever played."

See more photos here.

At far left is Martin Plaa and next to CC in white, holding a racket, is Henri Cochet
With Henri Cochet. www.paysbasque1900.com

January 27, 2016

Day By Day: 1936

Monday, January 27th: In this interview with Sheilah Graham, published 80-years ago today in the Los Angeles Times, Chaplin reveals that his next film will be a talkie, that he is tired of being the "forgotten man of the movies," and why he would "rather not go" to the upcoming New York premiere of Modern Times on February 5th (his reasons are interesting).

Sadly, Ms. Graham reveals to her readers the entire plot of the Modern Times, including the ending.


Los Angeles Times, January 27, 1936


January 26, 2016

January 25, 2016

Day By Day: 1936

Saturday, January 25th: A colorized photo of Chaplin (with brown eyes!) appeared on the cover of the British fan magazine, Picturegoer.


Featured inside was a two-page spread on Modern Times, Chaplin's "eagerly awaited production." (I'm sorry some of the captions are blurry)


January 24, 2016

Day By Day: 1936

Friday, January 24th: Chaplin and Paulette Goddard attend the opening of Col. de Basil's Ballet Russes at the Philharmonic Auditorium in Los Angeles.

Chaplin looks at the Ballet Russes program. See it here.

It's well-known that Chaplin had a lifelong affection for ballet. According to his son, Charlie, Jr.: "Every time a ballet troupe came to town Dad would take in the performance, not once but several times. He knew the stories, the music, and all the parts by heart." He also incorporated ballet into a number of his films. But perhaps his greatest tribute to his love of ballet was his 1952 film, Limelight. It's not commonly known but the origins of the Limelight story can be traced back to projects he intended for Paulette in the late 1930s. One story involved a male dancer named Tamerlain and a female dancer (Paulette) who befriends him. He also toyed with the idea of making a film with a circus or vaudeville theme. In a story called The Passion Of Vaudeville, Chaplin plays an aging clown and Paulette plays his younger protégée. They marry but she eventually falls in love with a handsome younger artist. Sound familiar?

You can read more about these projects and how they evolved into Limelight in Charlie Chaplin: Footlights with The World of Limelight by David Robinson.  It's a fascinating story.

January 23, 2016

Actor Marvin Kaplan on Charlie Chaplin

In this recent interview, 89-year-old Kaplan, best known for It's A Mad, Mad, Mad, Mad World & the sitcom Alice, discusses meeting Chaplin in the late 1940s when he (Chaplin) was directing the play "Rain" for the Circle Theater & Kaplan was the stage manager.

Remembers Kaplan: "One time he did a handstand on a table--he was around 60 at the time!"

Read more here:

http://www.usatoday.com/story/entertainment/2016/01/21/saluting-marvin-kaplan/79076230/

Day By Day: 1936

Some news tidbits from 80 years ago this week:

Santa Ana Register, January 21, 1936.
The 1928 broadcast would have been the Dodge Bros. Radio Hour.
I wonder if any of those records are still around?

Variety, Jan. 22nd, 1936
The Rivoli opening was postponed until Feb. 5th., the London opening, Feb. 11th.
A sneak preview was also held in Glendale.

Oakland Tribune, Jan. 23rd, 1936

Detroit Free Press, January 23, 1936.
This one was new to me. Not sure how true it is.

This one is slightly out of order but I wanted save it for last. It's an interesting little interview with Douglas Fairbanks and Chaplin.

Delaware Co. Daily Times, Jan. 22, 1936
Fairbanks' film about Marco Polo was never made.
He eventually sold the rights to Sam Goldwyn who made a version of it in 1938 with Gary Cooper in the lead.

Coming up tomorrow: Charlie and Paulette attend a ballet opening.

January 22, 2016

On this day in 1927, Chaplin holds a press conference following his nervous breakdown in New York City

(This is an updated version of a post from a couple of years ago)


Shortly after Chaplin arrived in New York City on January 14th, he suffered a nervous breakdown in the apartment of his attorney, Nathan Burkan. His secretary, Toraichi Kono, told cameraman Rollie Totheroh, that Chaplin had attempted to commit suicide by trying to jump out the window.1 His fragile mental state was caused not only by the scandalous details of Lita Grey's divorce complaint but also by an article that was printed in the newspaper on January 15th2 which included some private thoughts about his marriage that he had told a reporter on the train between New York and Chicago, not expecting to be quoted. When Chaplin saw his secrets printed on the front page of the paper, he became "violently ill." In addition to his marital problems, the I.R.S. claimed Chaplin owed over one million dollars in back taxes.

A week later, Chaplin agreed to a press conference. About 50 reporters crowded into the dining room of the apartment. Chaplin "lolled against a window sill & looked about in bewilderment. He sought the eyes of Mr. Burkan, who stood across the room with his arms folded."

Photo by Apeda, 1927

Chaplin began the press conference by saying: "First, I want to thank the public and the press for their fairness in suspending judgement on me till the trial."

"How do you feel," asked a reporter.

"A little wobbly," replied Chaplin. "I'm able to take rides now. In fact, I feel fine."

Regarding his income tax troubles, Chaplin said: "Why, that's a complete surprise to me. I have a lot of accountants and they didn't tell me anything about it. So it's sort of a surprise. I don't pay any attention to the monetary end. No, I don't know anything about it."

Chaplin sighed at the mention of his wife and begged to be excused from saying that he still loved her. "Under the circumstances, I don't think that's a fair question," he said. However, he managed to say, "I respect her and I think she is ill-advised."

"What do you think of women now, do you like them?" he was asked.

"Of course, naturally," Chaplin replied gazing out the window at Central Park. "If you didn't like them. Life wouldn't be worth living....What is one's art but a love letter to some fair woman. I am glad I am not through with women.

"Do you expect to fall in love again?"

"I hope so, unless senility overcomes me."

He denied that he had anyone in mind at this time.


Chaplin said that Lita's request for $4000 a month temporary alimony for support of the children was evidence of her "gold-digging." "I don't think she has the mature responsibility to realize what she is doing or saying. I don't see why she needs $4000 a month....she wants it for herself."

Chaplin expressed fear that his marital problems might react upon him in a professional way. "My ability as an actor is very aerial, very frail--you don't know whether the spark will die."

"Have you read your wife's charges against you in the divorce complaint?"

"No, but I have heard enough about them."

Chaplin & attorney Nathan Burkan

When Chaplin was in doubt about a question his attorney would answer for him or he would confer with him first.

Finally, after "drooping wearily" on the edge of the bed, he blurted out a tirade about protecting his good name:
"I have asked you to ask me anything and nobody asked me just how I felt about this whole business, I'll tell you how I feel. I don't give a damn for the money. I don't give a damn for the trouble. I thank the public for being kind to me. But I am worrying more about what my sons will think of it in 10 years than I am about what the public thinks of it now. 
Put yourself in my position. An Englishman with pride of family; I have worked and my forefathers have worked for a living. I have made a few dollars and, I think, a good reputation. 
My greatest thought was that my few dollars would enable my sons to acquire culture and dignity and pride in their father. I gloried in that prospect. Now my ill-advised wife begins to drag the names of these boys through the courts.
This is what hurts. I am not worrying about money or charges against me. I am worrying about my name, not as it concerns me, but as it concerns my boys. For that reason alone I will fight to the end. 
I would like to make a funny picture, but how in the devil am I going to with my reputation at stake?
If I have a public life, then let it be scrutinized. If I have a private life, then let it be mine. Outside of being an actor, I don't amount to much, after all, but I have a good English name and hope I can be permitted to defend that name."
_________________________________________________________________________________

1"Roland H. Totheroh Interviewed," Timothy J. Lyons, ed. Film Culture, Spring 1972

2 The "breakdown" article can be read here. Scroll down to "Chaplin's Own Story," January 15, 1927 (near bottom): http://www.silentera.com/taylorology/issues/Taylor46.txt

According to the Gerith Von Ulm book, Charlie Chaplin: King Of Tragedy (and as per Kono), Charlie and the reporter played poker on the train for 6 hours while Charlie talked nonstop. I assume the reporter did not take notes during the interview because Charlie was under the impression that their conversation was "off the record," so one must question the accuracy of the content. To me, he doesn't say anything here that would lead to a nervous breakdown later, but he doesn't sound sane either. He rambles quite a bit and at times stretches the truth, i.e. his heartbreak over Lita falling out of love with him. It seems to me that his breakdown was a combination of everything that was happening in his life at the time.

Other sources:

January 23rd, 1927 issues of the New York Times, Boston Daily Globe, Chicago Daily Tribune, and The Atlanta Constitution.

January 19, 2016

A brief look at Charlie's new "workshop," which opened this month in 1918

The Chaplin Studios, 1918. (Panorama photo: Silent Traces by John Bengston)

The Chaplin Studios, still located at 1416 N. La Brea in Hollywood, was built on a five acre lemon orchard, a fact that pleased Chaplin. Showing off his brand new studio to reporter Grace Kingsley, he pointed out his "lucky" lemon trees:
See, here's a lemon orchard back of the stage. Think lemons must be my lucky fruit--can't escape 'em--had a lemon orchard back of us at Essanay, and one at the Lone Star--hope they keep the lemons in the orchards, though.1
"A Lemon."

When Chaplin purchased the land for the studio, a 10-room mansion, located at the north end of the property, was part of the deal. But Chaplin did not want to live at his studio. Instead, he told Kingsley, "Brother Sid and Mrs. Sid are going to try it."

Here's a postcard showing Syd outside his residence on the Chaplin Studio property. He lived there for several years.

Chaplin went on:
[There will be] none of the put-out-the-dog-and-let-in-the-cat-and-lock-the-cellar-door stuff for me at my workshop....But see, I've got a beautiful apartment--it's a large corner room, where there are bay windows and odd little dormer windows--this is to be a combination office and reception room, and there's a door I can dodge out of and climb a tree in the lemon orchard if I want to get away from anybody.
(Chaplin's office can be seen at the far right end of the studio in the top panoramic photo)

Charlie escaping from everybody

Kingsley noted that "for exercise and fun," Chaplin liked to "climb all over the skyscraping girders of the new stages."

Chaplin posing atop the scaffolding of the outdoor stage. 

This activity was confirmed in photographs and a letter Syd Chaplin wrote to First National Exhibitor's Circuit, Charlie's distributor, in which he describes seeing his brother lose his balance while doing a stunt high atop the 40-foot steel roof frame of the outdoor stage:

From Moving Picture World (Feb. 2, 1918):
A letter from Sid, the comedian's brother, ...caused no little apprehension on the part of the Circuit's officers. It stated that Charlie, while doing a bit of wire walking on the steel roof frame of the new studio lost his balance and came mighty near canceling his contract by a tumble to the hardwood studio floor, forty feet below. Charlie had gone aloft to get a look over the neighbor's back fences, and while up top was doing a bit of funny business for the benefit of the workmen employed on the floor below. He slipped, but caught himself. Sid says his heart almost quit work. When he found his voice he gave his valuable brother a "calling down" in more senses than one. He adds that he has been sticking closer than a brother ever since and that he finally induced order to keep him out of mischief.

From Moving Picture World, 2/2/1918
Chaplin left his footprints and signature on a cement path at the studio on January 21st, 1918.
Evidently the footprints are still there but the signature and date were taken out and moved to
 Red Skelton's home during the time Skelton owned the studio from 1958-62. 

1Grace Kingsley, "Charlie Chaplin Begins Work In New Studio," Los Angeles Times, January 20th, 1918

January 16, 2016

Day By Day: 1936: Charlie in the News

Thursday, January 16th:

Part of this series will be sharing little newspaper tidbits that I come across for a particular day.

This clipping is from the nationally syndicated column New York: Day By Day by O. O. McIntire. It has nothing to do with what was going on in Chaplin's life at the time but reveals what people all over the country were reading about him on this day in 1936.

Salt Lake Tribune, January 16th, 1936

January 15, 2016

National Hat Day

They're claiming on Twitter that it's National Hat Day, and no one wore a more iconic hat than Charlie.


But this so-called holiday also got me thinking that the Tramp didn't always wear his famous bowler. Sometimes he wore other hats. Take a look. 


I'm sure I missed one, but you get the idea.

With boxer Ted Lewis, 1918


These photos were taken in front of the 10-room house that sat on the north-end of the Chaplin studio lot.