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1957
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Day By Day: 1936
May 1st - May 3rd, 1936: Charlie & Paulette visit Hongay (Hong Gai) and Port Courbet on the northern coast of Vietnam.*
*At that time, northern Vietnam was known as Tonkin.
Coming up in Day By Day: 1936: The Chaplin party returns to Hong Kong.
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| Charlie and Paulette (can you find her?) near a waterfall in Hongay. |
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| Charlie in Hongay |
*At that time, northern Vietnam was known as Tonkin.
Coming up in Day By Day: 1936: The Chaplin party returns to Hong Kong.
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Interview with Chaplin from 1921
This interview was new to me so perhaps it will be new to you as well. It's from October 1921. Chaplin had just returned to America from his first trip abroad since becoming a film star. The first part is a bit tongue-in-cheek but the rest reads like a typical Chaplin interview. He discusses the European view of American films, his thoughts on censorship, Pola Negri, whom he'd just met, and life after death, among other things. The interviewer is film critic James W. Dean.
(Note: You might notice a couple of typos, including the unreadable line above "It's still falling down." I think that line is an error.)
(Note: You might notice a couple of typos, including the unreadable line above "It's still falling down." I think that line is an error.)
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| Wilkes-Barre Times Leader, October 28th, 1921 |
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Chaplin's World
Here's a short news piece about the Chaplin's World museum, which opened last month. It features some clips of Michael and Eugene talking about their father. There is also some nice home movie footage including a very short clip near the beginning of Charlie with his eldest son, Charlie, Jr., his daughter-in-law, Susan, and their daughter, Susan Maree, Charlie's first grandchild, who was born in 1959. This footage was new to me.
Below are some photos of Charlie, Jr. and his daughter at the Manoir. Stepmom Oona is in the second photo. Fun tidbit: Charlie, Jr. and Oona were almost exactly the same age. They were born 9 days apart in May 1925 (Charlie: May 5th, Oona: May 14th)
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Below are some photos of Charlie, Jr. and his daughter at the Manoir. Stepmom Oona is in the second photo. Fun tidbit: Charlie, Jr. and Oona were almost exactly the same age. They were born 9 days apart in May 1925 (Charlie: May 5th, Oona: May 14th)
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"I am Charlie Chaplin, Jr.!"
A couple of days ago I posted an interview with Charlie from 1921. So today, on what would have been his 91st birthday, here is an interview with his eldest son, Charlie, Jr., from 1950. At 25, he already seems overwhelmed by the burden of having his father's name.
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| St. Louis Post-Dispatch, July 8th, 1950 |
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Chaplin with members of his stock company on the set of his first Mutual film, THE FLOORWALKER, c. April 1916
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| L-R: Henry P. Caulfield (Manager of the Lone Star Studio), Leo White, Edna Purviance, Chaplin, Charlotte Mineau, Eric Campbell, Lloyd Bacon and Vincent Bryan (scenario editor/writer). |
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| Same group, different pose Front Row: Caulfield, White, Edna, CC, Mineau, Bacon. Back row: Bryan, Campbell |
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Day By Day: 1936
May 7th-8th, 1936: Return to Hong Kong, and a quick trip to Canton
On Thursday, May 7th, Charlie, Paulette, her mother, Alta, and valet Frank Yonemori arrived in Hong Kong from Haiphong (Vietnam) on the S.S. Canton. This was their second visit to Hong Kong. They spent two days here back in March.
Interviewed after their arrival, Chaplin said of their visit to Java and Indochina: "It was good to get away from crowds for a while and not be bothered by people all the time...But it has been rather tiring, being on the move all the time. We are very tired." 1
Asked if he has done any work while he's been away, Chaplin replied: "Yes, a bit. I wrote about 6,000 words for a new film. The whole scenario will be about 20,000 words. It will be a scenario for Miss Goddard, not for myself." 2
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Modern Times had its gala premiere that evening at the King's Theater in Hong Kong, however Charlie and Paulette did not attend. Instead they took the night boat to Canton where they spent one day before returning by train the next evening. 3 To this day, it is believed that Charlie and Paulette were married in Canton, however no record of the marriage has ever been found. 4
Coming up tomorrow: The group departs for Japan in a rush.
Day By Day: 1936
1Straits Times, May 15th, 1936
2ibid
3Hong Kong Sunday Herald, May 10th, 1936
4The Canton rumor began in 1942 when Paulette filed for divorce in Mexico. The petition reportedly stated that their marriage took place in Canton in June 1936. (Boston Globe 6/5/42) The problem with this story is that Charlie and Paulette were not in Canton in June. In fact, they arrived back in America on June 4th. Further adding to the confusion: After their return, Frank the valet told Charlie, Jr. & Sydney that their father and Paulette were married "at Hong Kong on the boat" to which Chaplin "laughingly" agreed (Charles Chaplin, Jr, My Father, Charlie Chaplin). Paulette told a friend in 1938 that she and Charlie were married on a boat in China, but she didn't say where. (Gilbert, Opposite Attraction) Thirty years later in My Autobiography, Chaplin wrote that he and Paulette were married during their travels in 1936, but provided no further details.
On Thursday, May 7th, Charlie, Paulette, her mother, Alta, and valet Frank Yonemori arrived in Hong Kong from Haiphong (Vietnam) on the S.S. Canton. This was their second visit to Hong Kong. They spent two days here back in March.
Interviewed after their arrival, Chaplin said of their visit to Java and Indochina: "It was good to get away from crowds for a while and not be bothered by people all the time...But it has been rather tiring, being on the move all the time. We are very tired." 1
Asked if he has done any work while he's been away, Chaplin replied: "Yes, a bit. I wrote about 6,000 words for a new film. The whole scenario will be about 20,000 words. It will be a scenario for Miss Goddard, not for myself." 2
Modern Times had its gala premiere that evening at the King's Theater in Hong Kong, however Charlie and Paulette did not attend. Instead they took the night boat to Canton where they spent one day before returning by train the next evening. 3 To this day, it is believed that Charlie and Paulette were married in Canton, however no record of the marriage has ever been found. 4
Coming up tomorrow: The group departs for Japan in a rush.
Day By Day: 1936
1Straits Times, May 15th, 1936
2ibid
3Hong Kong Sunday Herald, May 10th, 1936
4The Canton rumor began in 1942 when Paulette filed for divorce in Mexico. The petition reportedly stated that their marriage took place in Canton in June 1936. (Boston Globe 6/5/42) The problem with this story is that Charlie and Paulette were not in Canton in June. In fact, they arrived back in America on June 4th. Further adding to the confusion: After their return, Frank the valet told Charlie, Jr. & Sydney that their father and Paulette were married "at Hong Kong on the boat" to which Chaplin "laughingly" agreed (Charles Chaplin, Jr, My Father, Charlie Chaplin). Paulette told a friend in 1938 that she and Charlie were married on a boat in China, but she didn't say where. (Gilbert, Opposite Attraction) Thirty years later in My Autobiography, Chaplin wrote that he and Paulette were married during their travels in 1936, but provided no further details.
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Charlie's mother, Hannah Chaplin
"They can say what they want about my mother--she is greater than I will ever be. She was a great actress. I've never seen anyone like her--she was good to me when I was a kid--she gave me all she had--and asked nothing back--and I've got no mother complex either. She was just a good fellow." --Charles Chaplin (Pictorial Review, January 1927)
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Day By Day: 1936
Saturday, May 9th: The Chaplin party departs Hong Kong aboard the Japanese ship, Kashima Maru, bound for Shanghai.
Upon leaving Chaplin told the press that he needed to be back in the States by the end of June in order to comply with U.S. immigration laws:
I'm not sure why U.S. Immigration said he had to be back at the end of June. If he was allowed six months, he should have had until August since they left in February. Nevertheless, he returned on June 4th.
Coming up: Chaplin has a chance meeting with a famous French poet/playwright somewhere between Hong Kong and Shanghai.
Day By Day: 1936
Upon leaving Chaplin told the press that he needed to be back in the States by the end of June in order to comply with U.S. immigration laws:
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| Hong Kong Daily Press, May 11th, 1936 |
I'm not sure why U.S. Immigration said he had to be back at the end of June. If he was allowed six months, he should have had until August since they left in February. Nevertheless, he returned on June 4th.
Coming up: Chaplin has a chance meeting with a famous French poet/playwright somewhere between Hong Kong and Shanghai.
Day By Day: 1936
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Chaplin's megaphone and clapboard
This megaphone and clapboard, from the collection of Robert Florey, assistant director on Monsieur Verdoux (1947), were sold in a 2004 Christie’s auction. The megaphone is from the early 1930s, but was also used during the filming of The Great Dictator (1940), according to Florey. You can see Charlie using a very similar megaphone, below, on the set of Modern Times (1936).
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Day By Day: 1936
May 11th-12th: Chaplin meets Jean Cocteau
On Monday, May 11th, sailing between Hong Kong and Shanghai aboard the Kashima Maru, Chaplin received a note from a fellow passenger who wanted to meet him. The passenger was Jean Cocteau, who was traveling around the world with his lover, Marcel Khill, retracing the steps of Phileas Fogg. In his memoir, My Journey Round The World, Cocteau described their initial meeting:
Although neither knew the other's language they "conversed effortlessly" with Khill occasionally acting as interpreter. "Chaplin brought out each word," Cocteau remembered, "and laid it on the table well in view, stood back from it and set it at the angle where it caught most light. The words he thus exhibited for my benefit were easy to transpose from one tongue to the other."
Cocteau was delighted that Paulette, who knew French well, refused to act as interpreter: "If I lend a hand, they get all cluttered up with details; left to themselves they stick to essentials." Cocteau felt this remark illustrated her "sleight of mind."
Years later, Chaplin himself recalled their discussion in My Autobiography:
But, according to Chaplin, "our enthusiasm had reached a climax...and neither of us showed up....We had had more than the glut of each other." He wrote that they spent the rest of the voyage dodging each other in hallways and breaking appointments.
Cocteau remembered it quite differently. "We joined forces, shared our meals and the journey alike; to such an extent did we form the habit of living together that we found it painful to part company in San Francisco." Nevertheless, Cocteau recognized Chaplin's shyness and detachment: "He mistrusts even friendship and its obligations and the rough-and-ready contacts it imposes. The sudden fancy he took for me was, I gathered, quite exceptional; indeed there were moments when it seemed almost to alarm him, and I grew conscious of an aloofness, as though, after letting himself go, he were shrinking back into himself."
He also observed Chaplin's relationship with Paulette:
Chaplin spent much of the voyage to Shanghai writing in his cabin, remembered Cocteau. "I might pass out tomorrow in my bath," Chaplin told him. "But I don't count. Really, I don't exist. Only these papers exist--and they do count." Cocteau felt that Chaplin loved work and everything else "profoundly bored him. No sooner is he lured away from work than he starts yawning, his body sags, his eyes go lustreless and he sinks into a "little death.'"
On Tuesday, May 12th, they arrived in Shanghai. That evening, Charlie and Paulette met Cocteau for dinner at the Cathay Hotel. Afterward they went to a Chinese cabaret, where Cocteau noticed Chaplin yawning. He spent most of the night "sulky" and when all other diners left their tables and took to the dance floor, he remained seated. "He was a brown study, and I could see he was put out by the stares of all and sundry, their eagerness to detect the film-star in the man."
Later in the evening, Paulette suddenly rose and told everyone at the table that she "wanted to see Shanghai." So Cocteau and Marcel agreed to give Paulette a tour of the city's nightlife while Chaplin returned to the hotel to sleep.
The next morning, the Chaplin party, as well as Cocteau and Khill, departed for Japan (and eventually the U.S.) aboard the SS President Coolidge.
Stay tuned for more in my Day By Day: 1936 series.
Sources:
Jean Cocteau, Round The World Again In 80 Days
Chaplin, My Autobiography
Robinson, Chaplin: His Life & Art
On Monday, May 11th, sailing between Hong Kong and Shanghai aboard the Kashima Maru, Chaplin received a note from a fellow passenger who wanted to meet him. The passenger was Jean Cocteau, who was traveling around the world with his lover, Marcel Khill, retracing the steps of Phileas Fogg. In his memoir, My Journey Round The World, Cocteau described their initial meeting:
So Charlie Chaplin was on board. The news took my breath away. Some days later, Chaplin was to say to me: "The real function of one's work is to enable friends like us to cut out preliminaries; you and I have always known each other." But I had no notion on that first day that the desire to meet was mutual.
I decided to write a short note to Chaplin. In it I mentioned my presence on board and my devotion to his personality, But, when he came down to dinner with Paulette Goddard, his behaviour convinced me that he meant to travel incognito.
It turned out that he had not received my note...After dinner I retired to my cabin. As I was undressing, someone knocked at the door. I opened it, and there stood Charlie and Paulette. My note had only just been delivered. Inclined at first to suspect a practical joke, Chaplin had dashed up to the purser's office on the main deck to see the passenger-list. Reassured, he had run down the stairs, four steps at a time, and here he was, answering my note in person. ...
I was struck by the marvelous spontaneity, the suddenness and candor of this fantastic meeting, for which surely our horoscopes, and nothing else, can have accounted. Here, on the China Seas, a myth was taking substance in our midst. Passepartout [Marcel Khill] was gloating over the idol of his youth. Chaplin was shaking his white curls, taking off his glasses and putting them on again, and, between bursts of laughter, turning to the girl beside him. "Isn't it marvelous! Simply marvelous!"
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| Sketch of Chaplin by Cocteau |
Although neither knew the other's language they "conversed effortlessly" with Khill occasionally acting as interpreter. "Chaplin brought out each word," Cocteau remembered, "and laid it on the table well in view, stood back from it and set it at the angle where it caught most light. The words he thus exhibited for my benefit were easy to transpose from one tongue to the other."
Cocteau was delighted that Paulette, who knew French well, refused to act as interpreter: "If I lend a hand, they get all cluttered up with details; left to themselves they stick to essentials." Cocteau felt this remark illustrated her "sleight of mind."
Years later, Chaplin himself recalled their discussion in My Autobiography:
That night we sat up into the small hours, discussing our theories of life and art. Our interpreter spoke slowly and hesitantly while Cocteau, his beautiful hands spread on his chest, spoke with the rapidity of a machine gun, his eyes flashing an appealing look at me, then at the interpreter, who spoke unemotionally: 'Mr Cocteau--he say--you are a poet--of ze sunshine--and he is a poet of ze--night.'"Their philosophical conversation went on until four in the morning, promising to meet at one o'clock for lunch.
But, according to Chaplin, "our enthusiasm had reached a climax...and neither of us showed up....We had had more than the glut of each other." He wrote that they spent the rest of the voyage dodging each other in hallways and breaking appointments.
Cocteau remembered it quite differently. "We joined forces, shared our meals and the journey alike; to such an extent did we form the habit of living together that we found it painful to part company in San Francisco." Nevertheless, Cocteau recognized Chaplin's shyness and detachment: "He mistrusts even friendship and its obligations and the rough-and-ready contacts it imposes. The sudden fancy he took for me was, I gathered, quite exceptional; indeed there were moments when it seemed almost to alarm him, and I grew conscious of an aloofness, as though, after letting himself go, he were shrinking back into himself."
He also observed Chaplin's relationship with Paulette:
Paulette left us for a while. Bending towards me, Charlie murmured with a mysterious air, "And then--I always feel so sorry...." Sorry for what--for that small, prickly cactus, for that lioness with her glorious mane and claws, for that huge Rolls Royce with his luxury and sleek leather? That would be Chaplin all over; his heart works that way. He is sorry for everything and everyone; for us, for his vagabond self, and for her--that poor little waif whom he brings everywhere with him, so that he can give her food when she is hungry, put her to bed when tired, and spare her innocence the perils of city life. And, suddenly, I no longer saw the Hollywood star in her page's uniform of glossy satin, or the prosperous white-haired film director in mustard-yellow tweeds--but only that pale, curly-haired little fellow with the flippant cane, limping his way about the world and leading by the hand a little girl, the victim of incessant police traps and the ghoulishness of the cities.
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| Cocteau drawing of young man sleeping (Marcel Khill), inscribed to Paulette: "á Paulette, la petite fille trés pure, ce souvenir de notre rencontre et d'une amitie de toujours. Jean." [to Paulette, the very pure little girl, this remembrance of our meeting and of a friendship forever. Jean.] George Glazer Gallery |
Chaplin spent much of the voyage to Shanghai writing in his cabin, remembered Cocteau. "I might pass out tomorrow in my bath," Chaplin told him. "But I don't count. Really, I don't exist. Only these papers exist--and they do count." Cocteau felt that Chaplin loved work and everything else "profoundly bored him. No sooner is he lured away from work than he starts yawning, his body sags, his eyes go lustreless and he sinks into a "little death.'"
On Tuesday, May 12th, they arrived in Shanghai. That evening, Charlie and Paulette met Cocteau for dinner at the Cathay Hotel. Afterward they went to a Chinese cabaret, where Cocteau noticed Chaplin yawning. He spent most of the night "sulky" and when all other diners left their tables and took to the dance floor, he remained seated. "He was a brown study, and I could see he was put out by the stares of all and sundry, their eagerness to detect the film-star in the man."
Later in the evening, Paulette suddenly rose and told everyone at the table that she "wanted to see Shanghai." So Cocteau and Marcel agreed to give Paulette a tour of the city's nightlife while Chaplin returned to the hotel to sleep.
The next morning, the Chaplin party, as well as Cocteau and Khill, departed for Japan (and eventually the U.S.) aboard the SS President Coolidge.
Stay tuned for more in my Day By Day: 1936 series.
Sources:
Jean Cocteau, Round The World Again In 80 Days
Chaplin, My Autobiography
Robinson, Chaplin: His Life & Art
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Accidents will happen...
During the filming of The Great Dictator (1940).
While filming one of the ghetto scenes with Paulette, Chaplin's left hand was caught in a slamming gate, breaking his middle finger.
"Leading lady (and Mrs. Chaplin) Paulette Goddard quickly called a car and rushed Chaplin to Hollywood Hospital, where they found themselves completely ignored by the hospital doctors & staff. After an interminable wait, Goddard approached a doctor and said that Mr. Chaplin's case needed immediate attention. The doctor looked more closely at Chaplin and his finger, then immediately apologized, stating, according to the original press book of The Great Dictator,'When I saw you both coming in in makeup, I thought it was a couple of Hollywood jokers having a little fun at our expense.'" (Hooman Mehran, "Second Thoughts On The Great Dictator," Chaplin: The Dictator & The Tramp, BFI, 2004)
Watching the film closely, you can see Chaplin favoring his finger in certain scenes, including the one right before the gate closes, which suggests that he reshot this scene after the accident.
You can clearly see a bandage on Charlie's finger in the coin-eating scene.
And at the October 1939 funeral of Ford Sterling.
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| L-R: Harold Lloyd, Mack Sennett, Barney Oldfield, CC, Douglas Fairbanks, Donald Crisp and Charlie Murray. |
During the filming of Easy Street (1917).
In the scene where Charlie pulls the lamppost down on the bully (Eric Campbell), the lamp's sharp metal edge cut across the bridge of his nose requiring stitches. The injury contributed to a delay in the release of the film.
During the filming of The Circus (1928).
Chaplin told journalist Egon Kisch in 1929 that he was scratched so badly by the monkeys while filming the tightrope scene that he had to be under a doctor's care for six weeks. Kisch noted that Chaplin had "two clearly visible wounds." (Egon Erwin Kisch, "I Work With Charlie Chaplin," 1929)
During the filming of The Idle Class (1921).
In his autobiography, Charlie mentions a "slight accident" with a blowtorch while filming the scene below. "The heat of it went through my asbestos pants, so we added another layer of asbestos." (My Autobiography, 1964)
Naturally, the press took this story and ran with it.
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| Capital Times, May 11, 1921 |
The "studio hospital"? Must have been next to the Chaplin Studio restaurant.
Adding that Edna "helped smother the flames" was a nice touch at the end.
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Oona O'Neill's screen test for THE GIRL FROM LENINGRAD
This is probably from early 1943. Oona had already met Chaplin. The man talking in the background is the film's producer, Eugene Frenke. Oona was offered the role of "Tamara" in the film but backed out shortly after her marriage to Chaplin in June. Her role was then given to Mimi Forsythe.* The film was eventually released under the title Three Russian Girls.
Happy birthday, Oona (May 14, 1925)
*Los Angeles Times, July 14, 1943
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THE FLOORWALKER, released 100 years ago today
The idea for The Floorwalker, Chaplin's first film for the Mutual Film Corporation, came to him during a visit to New York in February 1916:
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One day when time was desperately short he was walking up Sixth avenue at Thirty-third street when an unfortunate pedestrian slipped and skidded down the escalator serving the adjacent elevated station. Everybody but Chaplin laughed. But Mr. Chaplin's eyes lit up. Also he lit out — for the studio in Los Angeles.
Thus was "The Floorwalker" born. Mr. Chaplin did not care a whoop about the floorwalker person as a type — what he sought were the wonderful possibilities of the escalator as a vehicle upon which to have a lot of most amusing troubles. "The Floorwalker" was built about the escalator not the floorwalker. (Terry Ramsaye, "Chaplin and How He Does It,"Photoplay, Sept. 1917)The film also marked the screen debut of our favorite Chaplin film villain, Eric Campbell.
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Another mystery solved
In the latest issue of the French Chaplin-related publication "La Naissance de Charlot," Thierry Matthieu has identified the woman in these famous photos with Chaplin. She is definitely NOT Mary Thurman, as we have been lead to believe these last few years.
Matthieu himself reveals her identity here: www.silentcomedymafia.com
The photo he posts is from the Chicago Herald-Examiner, July 24th, 1921. What a find!
Thanks to Dominique for giving me a heads up on this new bit of info--and for letting me know about this Chaplin publication, which I knew nothing about. Too bad I don't read French!
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Matthieu himself reveals her identity here: www.silentcomedymafia.com
The photo he posts is from the Chicago Herald-Examiner, July 24th, 1921. What a find!
Thanks to Dominique for giving me a heads up on this new bit of info--and for letting me know about this Chaplin publication, which I knew nothing about. Too bad I don't read French!
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Day By Day: 1936
Saturday, May 16th: The "distinguished passengers" arrive in Kobe
The Chaplin party arrived aboard the SS President Coolidge, not the Kashima Maru, as stated in the article. They will proceed to Yokohama following a short, one-day side trip to Kyoto. I'll have more on that tomorrow. This visit was their second to Japan during this tour. They made a very brief stop in Yokohama and Tokyo back in March.
Chaplin paid his first visit to Kobe almost exactly four years before on May 14th, 1932.
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Day By Day: 1936: A document of one full year of Chaplin's life.
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| South China Morning Post, May 26, 1936 |
The Chaplin party arrived aboard the SS President Coolidge, not the Kashima Maru, as stated in the article. They will proceed to Yokohama following a short, one-day side trip to Kyoto. I'll have more on that tomorrow. This visit was their second to Japan during this tour. They made a very brief stop in Yokohama and Tokyo back in March.
Chaplin paid his first visit to Kobe almost exactly four years before on May 14th, 1932.
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Day By Day: 1936: A document of one full year of Chaplin's life.
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Day By Day: 1936
May 16th-17th: Kyoto
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Shortly after their arrival in Kobe on the 16th, Charlie and Paulette (and Alta and Frank) drove to Kyoto. They spent one night at the famous Hiiragiya Inn, where they are pictured below having tea.
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The next morning (the 17th), Charlie & Co. set off for Yokohama.
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Day By Day: 1936: A document of one year of Chaplin's life
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| Valet Frank Yonemori at left. |
Shortly after their arrival in Kobe on the 16th, Charlie and Paulette (and Alta and Frank) drove to Kyoto. They spent one night at the famous Hiiragiya Inn, where they are pictured below having tea.
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| Another rare sighting of Frank at right. Where's Alta? |
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| Charlie and Paulette pose with hostess Taguchi Yae |
The next morning (the 17th), Charlie & Co. set off for Yokohama.
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Day By Day: 1936: A document of one year of Chaplin's life
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February 1925
Given the date it's possible this photo was taken outside of the courthouse during the Amador trial.
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Chaplin in Juan-les-Pins, summer 1931
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Day By Day: 1936
May 18th - May 22nd: Yokohama/Tokyo
The Chaplin party arrived in Yokohama from Kyoto on (circa) May 18th. They will spend a week traveling between there and Tokyo before departing for the States on the 22nd.
The photos below were taken on May 20th in Tokyo. They show Charlie and Paulette with geisha singer Ichimaru (holding instrument in top photo) and French violinist Jacques Thibaud.
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Day By Day: 1936
The Chaplin party arrived in Yokohama from Kyoto on (circa) May 18th. They will spend a week traveling between there and Tokyo before departing for the States on the 22nd.
The photos below were taken on May 20th in Tokyo. They show Charlie and Paulette with geisha singer Ichimaru (holding instrument in top photo) and French violinist Jacques Thibaud.
Day By Day: 1936
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