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Rest In Peace, Sir Charles (April 16, 1889 - December 25, 1977)

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This photo reminds me of the story Charlie's son, Eugene, told in the extras to the documentary, The Forgotten Years, about one of the family's pet cats lying on Charlie's chest after he died and not letting anyone near him.

Publicity still for THE PILGRIM

Lying on the beach, c. 1921

Working on the manuscript to My Autobiography, 1960

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This photo was taken by Yves Debraine, who took many photos of the Chaplin family in Switzerland including the family photo that would appear on their Christmas card each year.

Charlie escorts Lupe Velez to the premiere of Lilac Time starring Colleen Moore, October 1928

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I've read that Charlie had a secret relationship with Lupe for a brief time. I'm not sure if that's true but here's what Lupe said about it in 1929:
Of course, every time you go out with mens in Hollywood, they put it in newspapers. I go once with Charlie Chaplin. Just once-- to the opening of "Lilac Time." They say we are going together. But I like Charlie. I love to listen to him. He has so many brains. He is-- what you say?-- a geen-i-oos.  His talk teach me somethings. I want to learn things in this country. Of course, I flirt with him. I flirt with every mans, but that means nothing. (Lupe Velez, "The Love-Life Story of Lupe Velez," Motion Picture, January 1929)

With violinist Yehudi Menuhin on the set of City Lights

Article 18

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This tribute video features footage from Charlie’s funeral which was held on this day in 1977 (the funeral footage can also be found on the DVD Charlie ChaplinThe Forgotten Years).

Video by ChaplinsViolin

BBC Radio 3 program, "Chaplin & Music," will be broadcast Dec. 29th @ 12:15 (UK time)

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The program will include interviews with people who have worked on or with Chaplin's compositions. Click the link for more details:


The program should be available for 7 days after initial broadcast

Directing A WOMAN OF PARIS

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Charlie acts out the kitchen scene for Adolphe Menjou (who is standing behind him), including showing him what to do with his cigarette.

Charlie & Paulette at a wrestling match, February 1935

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Note Charlie's dyed hair for the filming of Modern Times and, in the top photo, his glasses. Charlie began wearing glasses in the early 1920s. He seemed to be a bit vain about wearing them in public, or at least being photographed wearing them, because there are many photos where he is holding them in his hand as if he just removed them for the cameras. He wore them more often as he got older.

With Harry Lauder (left), 1918

Charlie & his entourage point as Lita Grey signs her contract to be his leading lady in The Gold Rush, March 2nd, 1924

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From left: Chaplin’s publicist Eddie Manson, Lillian Spicer (Lita’s mother), Asst Dir. Chuck Reisner, CC, publicist Jim Tully, Lita, Henry Bergman, Asst. Dir. Eddie Sutherland, and studio manager Alf Reeves.

Mitsouko

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Mitsouko bottle, c. 1930s
It's well-known among Chaplin fans that his favorite cologne was Guerlain’s Mitsouko. He would keep several bottles of the fragrance in his home and at his studio. People who were close to Charlie remember the scent well.  Lita Grey, recalling her first visit to Charlie's house, wrote, "The fresh air on the veranda was most welcome, as the entire house reeked of Guerlain's Mitsouko." Georgia Hale remembered that before going out for the evening, Charlie would pour some Mitsouko onto his hands and then smooth his tie down with it. "This was always his finishing touch." Charlie, Jr. believed the scent was an "integral part" of his father's personality and that he couldn't smell the "woodsy" fragrance without turning around and expecting to see his father standing next to him. Peggy Hopkins Joyce, during her brief affair with Charlie, would prance about his "bachelor's den" sprinkling Mitsouko on the rugs and cushions because she thought his house "smelled terrible."
Harry Lang of Photoplay observed that Charlie used "a great deal of a certain perfume for which he pays $40 per two-ounce container. He sprinkles it around his dressing room." Another Photoplay article from 1929 similarly noted that Charlie's perfume was "a special masculine kind that he buys in bulk by the ounce. He sprays it on his kerchief and hair."

Charlie was also fond of Guerlain's L'Heure Bleue, one of Mitsouko's sister fragrances. In 1926, Vanity Fair magazine asked Charlie to list ten requirements for the "ideal woman". According to number 8: "She uses only a faint eau de toilette during the day, but sprays herself plentifully with L’Heure Bleue upon retiring."

The Mitsouko scent has been reformulated in recent years and is not exactly the same as it was when it came out in 1919. Ever since I first became a Chaplin fan, I was curious about the scent. It wasn't easy to track down, but I finally came across a bottle at a small perfume kiosk at a local mall. I was surprised by its muskiness, but it wasn’t bad. I would have to say that it is definitely an exotic fragrance. I have a friend who loves to wear Mitsouko. She believes it is a classic, well-made scent from another era. Nothing like the cheap, chemical-laden stuff you find at the perfume counter nowadays.
Vintage Mitsouko ad




Sources:
Charlie Chaplin, Jr., My Father, Charlie Chaplin, 1960
Lita Grey Chaplin, Wife Of The Life Of The Party, 1998
Georgia Hale, Charlie Chaplin: Intimate Close-ups, 1995
Harry Lang, "No Talkies For Charlie," Photoplay, May 1930
Glenn Mitchell, The Chaplin Encyclopedia, 1997
David Robinson, Chaplin: His Life and Art, 1985
Gerith Von Ulm, Charlie Chaplin: King Of Tragedy, 1940
Alma Whitaker, "How They Manage Their Homes," Photoplay, June 1929


Autographed photo of Charlie with visitors to the studio, December 1927

Photos by Edward Steichen, 1925

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I'm sorry about the size of this one.


Charlie, c. 1944

Recipe for a Charlie Chaplin cocktail from the book Old Waldorf Bar Days (1931)

New Year's Eve, 1948

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Oona, who is pregnant with Josephine, gets a kiss on the hand from artist Ernst van Leyden at a party given by Sam Spiegel. Charlie is in the background.

"Auld Lang Syne"

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Charlie said that certain songs created the mood for his films. For The Immigrant, it was an old song called “Mrs. Grundy," for Twenty Minutes Of Love, a popular two-step called "Two Much Mustard" set the mood, for City Lights it was Jose Padilla's "La Violatera" & lastly, for The Gold Rush, the mood was created with "Auld Lang Syne," which Charlie hears the revelers singing in this poignant scene in the film.

Article 5

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Here's wishing my fellow Chaplinphiles a safe & happy New Year's Eve!

Love,
Jess
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