This might be the Siamese cat named Monkey that Chaplin brought to Switzerland from Hollywood. He preferred cats over dogs as pets because he thought dogs carried germs and made too much noise--although that didn't keep Paulette, Oona, or his children from having them.
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Cover of Italian magazine, Epoca, 1954
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Photo by the Sussman Studio, Minneapolis, c. 1911
This photo was taken during Chaplin's first tour of America with the Fred Karno Company. Note the ring on his finger, which is unusual since he rarely wore jewelry.
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World Tour Revisited: Chaplin attends the Ice Carnival benefit at the Grosvenor House in London, November 18th, 1931
The benefit was arranged by the Duchess of Sutherland to aid the Royal Northern Hospital.
1Daily Mail, November 20th, 1931
L-R: Lady Milbanke, CC, the Prince of Wales, & the Duchess of Sutherland. Some say this photo shows that the Prince was not happy about being seated next to a screen comedian, but in reality, the two had already met (their initial meeting taking place in Biarritz a couple of months before). The Prince took "a great fancy" to Charlie & even invited him to Fort Belvedere, his country home.
The Grosvenor House had an ice rink and Chaplin took a spin on it, but not on skates: "He noticed a small boy dressed to imitate his screen make-up and proceeded to chase him. Eventually they met, and the comedian carefully rearranged the famous bowler hat at the correct angle and then altered the position of the moustache, to the delight of his small imitator." 1 (The Duchess of Sutherland is on the right)
Chaplin poses with his imitator and another young performer.
1Daily Mail, November 20th, 1931
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Susan Maree Chaplin at her grandfather’s Walk Of Fame ceremony, 1972.
Susan is the daughter of Charles, Jr. (the eldest son of Charlie Chaplin & Lita Grey).
Chaplin’s name was omitted from the original list of stars to appear on the Walk Of Fame in 1956 because of ill feelings about his left-wing politics at the time. Many property owners said that if Chaplin’s star went in, they wanted out. In 1960, Charlie Chaplin, Jr. sued the Hollywood Chamber Of Commerce because of his father’s omission. It would take several years and Charlie’s return to the states before the issue would finally be resolved. Charlie, Jr. fought very hard for his father to get a star but, sadly, did not live long enough to see it, he died in 1968 at age 42.
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Chaplin at his make-up table, c. 1919
(Source: Chaplin: Genius Of The Cinema/Jeffrey Vance)
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"The real and the shadow Charlie Chaplin"
(New Movie Magazine, July 1930)
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Paulette Goddard and the crew of Modern Times
Front row: Paulette (far left), asst. director, Carter De Haven (middle), continuity secretary, Della Steele (far right). Back row: cameramen Ira Morgan (second from left), Rollie Totheroh (behind camera) and Mark Marlatt (second from right) |
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A NIGHT IN THE SHOW, released November 20th, 1915
Chaplin twelfth film for Essanay is based on Fred Karno’s music hall sketch “Mumming Birds” (known as “A Night In An English Music Hall” in the States) in which Chaplin played “The Inebriated Swell." In this film version, Chaplin plays two roles, the tipsy tuxedo-clad, Mr. Pest, and the drunken bum, Mr. Rowdy, who wreak havoc on a theater during a vaudeville performance.
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Chaplin after editing The Immigrant? or A Dog's Life?
Like many fans, I have always been under the assumption that this photo of Chaplin was taken after the editing of A Dog's Life. I'm not sure if it has ever been positively I.D.'d from that time period, although it appears in a couple of books/magazines with that caption. This photo is also included in Chaplin's My Life In Pictures, but he doesn't give a date for the photo, saying only that he looks "bleary-eyed, like a murderer."
I have to admit that I never thought too much about the date of the photo until just a couple of days ago. I was flipping through my new copy of Chaplin's Vintage Year by Michael J. Hayde when I came upon the photo of bleary-eyed Charlie with the caption that it was taken after the editing of The Immigrant as "per Carlyle Robinson."* Carlyle Robinson? When did Carlyle Robinson ever mention this photo? Surely it wasn't in his Liberty magazine article about Chaplin from 1933. I've read that article more than once but don't recall anything about this photo. So I pulled out my copy of the article to double-check it. Much to my surprise, right there on the fifth page, was the photo with the caption about The Immigrant. I have to admit that I've had this article for a number of years and never once noticed this caption. Sometimes I wonder if what they say about blondes is really true. Anyway, in the article, Robinson also states that after editing was completed on The Immigrant, Chaplin's "beard had grown...his hair was a matted mess" and he was "collarless, haggard, and dirty." Just like in the photo, although I don't think he looks all that bad.
Next, being the skeptic that I am, I questioned whether or not Robinson was correct. While I thought the building in the background looked a bit like the Chaplin Studios (the dressing rooms, etc.), I thought I would compare it with pictures of the Lone Star Studios (Chaplin's studio during his year at Mutual). I immediately went to Silent Traces by John Bengston because I knew it would have photos of the Lone Star Studio. I have to say the windows (& the building itself) look very similar to the ones behind Charlie.
I'm not sure if the Chaplin Archive has an actual date for this photo because I'm curious how it ever came to be associated with A Dog's Life--possibly because Chaplin spent several days and nights cutting that film as well. However, at this point I'm pretty much convinced that this photo was taken after The Immigrant (or at least during the Mutual period).
*Carlyle Robinson was Chaplin's press agent from c. 1917-1932.
Alternate photo with Rollie Totheroh (from Variety advertising supplement for the Warner/MK2 DVDs, 2003) |
I have to admit that I never thought too much about the date of the photo until just a couple of days ago. I was flipping through my new copy of Chaplin's Vintage Year by Michael J. Hayde when I came upon the photo of bleary-eyed Charlie with the caption that it was taken after the editing of The Immigrant as "per Carlyle Robinson."* Carlyle Robinson? When did Carlyle Robinson ever mention this photo? Surely it wasn't in his Liberty magazine article about Chaplin from 1933. I've read that article more than once but don't recall anything about this photo. So I pulled out my copy of the article to double-check it. Much to my surprise, right there on the fifth page, was the photo with the caption about The Immigrant. I have to admit that I've had this article for a number of years and never once noticed this caption. Sometimes I wonder if what they say about blondes is really true. Anyway, in the article, Robinson also states that after editing was completed on The Immigrant, Chaplin's "beard had grown...his hair was a matted mess" and he was "collarless, haggard, and dirty." Just like in the photo, although I don't think he looks all that bad.
Photo and caption (upper right) from "The Private Life Of Charlie Chaplin" by Carlyle Robinson, Liberty, 1933 (reprinted in Liberty in 1972) |
Next, being the skeptic that I am, I questioned whether or not Robinson was correct. While I thought the building in the background looked a bit like the Chaplin Studios (the dressing rooms, etc.), I thought I would compare it with pictures of the Lone Star Studios (Chaplin's studio during his year at Mutual). I immediately went to Silent Traces by John Bengston because I knew it would have photos of the Lone Star Studio. I have to say the windows (& the building itself) look very similar to the ones behind Charlie.
I'm not sure if the Chaplin Archive has an actual date for this photo because I'm curious how it ever came to be associated with A Dog's Life--possibly because Chaplin spent several days and nights cutting that film as well. However, at this point I'm pretty much convinced that this photo was taken after The Immigrant (or at least during the Mutual period).
*Carlyle Robinson was Chaplin's press agent from c. 1917-1932.
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Photo by Hartsook, c. 1915
Another pose I have not seen before.
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Charlie's JFK Connection
In the early stages of the screenplay for A Countess From Hong Kong, the character of Ogden Mears, played by Marlon Brando, was loosely based on President John F. Kennedy (in the original story, Mears was planning to run for president.) After Kennedy was assassinated, however, Chaplin revised the story because he didn’t want to offend the Kennedy family, especially Mrs. Kennedy.
Several years after Countess was released, producer and Chaplin family friend, Jerry Epstein, met Pierre Salinger, Kennedy’s press secretary. Epstein recalled their conversation in his book, Remembering Charlie:
Charlie with Marlon Brando on the set of A Countess From Hong Kong |
"He said that Kennedy had planned to do something about Chaplin’s exile. Salinger was supposed to visit him and invite him back to the United States. But of course in the meantime Kennedy had been killed. Salinger also mentioned that he’d seen A Countess From Hong Kong. ‘I know who that picture was based on’ he told me. ‘Mr. Chaplin captured it very accurately.' So I guess we didn’t disguise the Kennedy aspect too well."
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2014 silent film benefit calendars
The calendar features silent film artwork and birthdays of silent-era film stars and personalities, as well as notable marriages, deaths, film openings, and other significant dates. Total net proceeds (after printing expenses) are used to benefit silent film restoration.
http://www.mont-alto.com/Calendar.html
http://www.mont-alto.com/Calendar.html
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Intro to The Chaplin Revue (1959)
Chaplin narrates over footage from the unreleased film How To Make Movies (1918)
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Chaplin gives a radio broadcast in support of Roosevelt's "Buy Now" campaign, October 24th, 1933
Broadcasting nationally from Columbia outlet KHJ in Los Angeles, Chaplin appealed to the country to show its support for Roosevelt's N.R.A. (National Recovery Adminstration). It had been five years since Chaplin's last national radio broadcast, so this was the first time many listeners had heard his voice and were "surprised and thrilled at his British accent." He began his 900-word speech by saying:
When I was notified from Washington to speak in behalf of the N. R. A., I was asked to be serious. So when I am asked to be serious, I shall be serious. Like the young lady at a Jewish ball, when a young gentleman went up to her and said: ‘Excuse me, are you dencing?' she answered: ‘Are you esking” ‘Sure, I'm esking.’ ’Den, I’m dencing.’ So, like the young lady, then I am serious."He continued....
As you know, the code of the N. R. A. is for reducing the hours of labor, raising the wages to a higher level and increasing the purchasing power of the people. Whether this can be accomplished or not depends upon the patriotism and goodwill of every citizen of this country.
Stressing the necessity of “buying now," he said:
Those who are fortunate enough to have money should spend it. Be like the little boy who was given 10 cents and was asked what he would do with it. He said: ‘I'm going to buy an ice cream soda!' But, said the giver: ‘Wouldn't you like to give it to a missionary to help the savages in Africa?'‘Sure, but I'll buy an ice cream soda and ask the soda clerk to do that.'Chaplin then referred to the "11,000,000 unemployed":
Naturally this appeal is not made to them. But there are 90,000,000 people in America, myself included, who have means--who have the purchasing power to buy now and can help to put those unemployed back to work. After all, we are not making any sacrifices. On the contrary, it is to our advantage if we buy now, because prices are bound to rise later on.Concluding, he said:
In March when all the banks were closed the people cried for action. Now President Roosevelt has given us that action. The Government has given us a program, and now it is our turn for action. 1
1Boston Globe, October 24th, 1933
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With Upton Sinclair, c. 1930
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On the roof of the Ritz Carlton Hotel, New York City, August 4th, 1925
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Charlie marries Lita Grey in Mexico, November 25th, 1924
The ceremony was performed at 5:00 in the morning in Empalme, Mexico1 by a justice of the peace who spoke through an interpreter. Those in attendance were Chaplin’s valet, Toraichi Kono, his lawyer, Nathan Burkan, members of Lita’s family, Charlie's publicist Eddie Manson, and his friend, Chuck Riesner.
Sixteen-year-old Lita 2, who was three months pregnant and suffering from morning sickness, was flanked by her mother. Chuck Riesner stood next to the groom, who held a lighted cigarette between his fingers and puffed on it nervously throughout the ceremony. "Words cannot describe how grim [it] actually was." recalled Lita. When it was over, Charlie awkwardly kissed his bride on the cheek. She was then congratulated by her mother and Chuck, who had tears in his eyes. Lita looked around for Charlie but he had already left.
Afterward, the wedding party gathered for breakfast, but Charlie was not in attendance. Lita remembered that "it felt as if we had gathered for a wake instead of a wedding." She did not see him again until that evening in the drawing room of the train headed back to Los Angeles. At one point, she overheard him tell his entourage, "Well, boys, this is better than the penitentiary but it won't last long."
When Lita finally entered their compartment, Charlie yelled loudly enough that others on the train heard him, "What are you coming in here for? You made me marry you."3
In her book, Wife Of The Life Of The Party, Lita described what happened next:
"Charlie, how about the wedding?" asked a reporter.
Charlie replied: "I don't want any publicity."
"Are you going back to Hollywood?"
"I don't want any publicity."
"The public is yearning to know about your romance."
Charlie snapped back: "The public knows all about everything already. My life's an open book."5 & 6
The reporters followed Chaplin's car twenty miles to his Beverly Hills house. They were stopped only by his security gate. Once Charlie and Lita were inside, he issued the following statement:
"Just tell everybody we are happy, thankful, and glad to be home."
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1 Charlie attempted to marry Lita in Mexico on October 14th, but when they filed the application, they were told that by Mexican law they had to wait 30 days before the marriage could take place.
2Lita falsely gave her age as 19 on her marriage certificate.
3 Lita Grey Chaplin's divorce complaint, reprinted in Wife Of The Life of The Party. Lita also states in her complaint that she and Charlie became engaged in May 1924 and that Chaplin "seduced" her under the promise of marriage and that is how she became pregnant.
4 Lita once told the "jump from the train" story in a TV interview and she said that she couldn't tell if Charlie was kidding or not and that maybe he was just being sarcastic.
5Chicago Daily Tribune, November 28th, 1924
6 I've never understood why Charlie schlepped Lita all the way to Mexico to marry her when he could have had the ceremony in the privacy of his home and avoided all the publicity and headaches. Lita herself wondered the same thing and said his behaviour reminded her of someone who was "deranged."
Sixteen-year-old Lita 2, who was three months pregnant and suffering from morning sickness, was flanked by her mother. Chuck Riesner stood next to the groom, who held a lighted cigarette between his fingers and puffed on it nervously throughout the ceremony. "Words cannot describe how grim [it] actually was." recalled Lita. When it was over, Charlie awkwardly kissed his bride on the cheek. She was then congratulated by her mother and Chuck, who had tears in his eyes. Lita looked around for Charlie but he had already left.
The couple at a train station in Shorb, CA the day after their wedding. |
Afterward, the wedding party gathered for breakfast, but Charlie was not in attendance. Lita remembered that "it felt as if we had gathered for a wake instead of a wedding." She did not see him again until that evening in the drawing room of the train headed back to Los Angeles. At one point, she overheard him tell his entourage, "Well, boys, this is better than the penitentiary but it won't last long."
When Lita finally entered their compartment, Charlie yelled loudly enough that others on the train heard him, "What are you coming in here for? You made me marry you."3
In her book, Wife Of The Life Of The Party, Lita described what happened next:
In our stateroom, Charlie said to me, "Don't expect me to be a husband to you, for I won't be. I'll do certain things for appearances' sake. Beyond that, nothing."
My throat was dry and I felt nauseated. "Please, would you get me a drink of water?"
"Get it yourself. You might later claim I tried to poison you." I staggered to my feet to get the water.
After watching me for several minutes, Charlie said, "Come on, I'll take you outside. The air will do you good." Standing on the platform of the observation car, I stared at the couplings of the train below, breathing deeply the cold night air. Charlie broke his aggressive silence and said to me, "We could put an end to this misery if you'd just jump."4At a deserted station in Shorb, CA, Charlie and Lita disembarked from the train and dodged the press as they moved quickly to an awaiting limousine. One exchange went like this:
"Charlie, how about the wedding?" asked a reporter.
Charlie replied: "I don't want any publicity."
"Are you going back to Hollywood?"
"I don't want any publicity."
"The public is yearning to know about your romance."
Charlie snapped back: "The public knows all about everything already. My life's an open book."5 & 6
The reporters followed Chaplin's car twenty miles to his Beverly Hills house. They were stopped only by his security gate. Once Charlie and Lita were inside, he issued the following statement:
"Just tell everybody we are happy, thankful, and glad to be home."
Charlie and Lita in Shorb. |
1 Charlie attempted to marry Lita in Mexico on October 14th, but when they filed the application, they were told that by Mexican law they had to wait 30 days before the marriage could take place.
2Lita falsely gave her age as 19 on her marriage certificate.
3 Lita Grey Chaplin's divorce complaint, reprinted in Wife Of The Life of The Party. Lita also states in her complaint that she and Charlie became engaged in May 1924 and that Chaplin "seduced" her under the promise of marriage and that is how she became pregnant.
4 Lita once told the "jump from the train" story in a TV interview and she said that she couldn't tell if Charlie was kidding or not and that maybe he was just being sarcastic.
5Chicago Daily Tribune, November 28th, 1924
6 I've never understood why Charlie schlepped Lita all the way to Mexico to marry her when he could have had the ceremony in the privacy of his home and avoided all the publicity and headaches. Lita herself wondered the same thing and said his behaviour reminded her of someone who was "deranged."
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Chaplin with the Prince of Siam (left), Oct.1924
It might just be the shadows, but I think Chaplin has a (real) mustache here. I read somewhere that he would occasionally grow a mustache or a beard just for the heck of it.
Also, considering how gray Charlie's hair had become by this time, he must have dyed it for The Gold Rush, which was in production in late 1924. You only hear of him dying it for The Circus and later films, but his hair is much darker in TGR than it is here.
Also, considering how gray Charlie's hair had become by this time, he must have dyed it for The Gold Rush, which was in production in late 1924. You only hear of him dying it for The Circus and later films, but his hair is much darker in TGR than it is here.
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Lobby card for The Rink (reissue), c. 1920s
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c.1960s
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