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Happy Father's Day
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Misc.
The following are some odds and ends from newspapers and magazines that I have kept tucked away in a folder because I found them humorous or revealing in some way and I thought I might use them at some later date. But alas I never did, so here you go. I hope you enjoy them.
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| Bisbee Daily Review, July 29, 1917 |
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| Atlanta Constitution, August 28, 1925 |
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| Hollywood, January 1934 |
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| Winnipeg Tribune, October 28, 1916 Of course, it's Albert Austin, not Alfred. |
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| Picture Show, Feb. 21, 1920 |
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| Hollywood, January 1942 |
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| Santa Ana Register, July 25, 1925 |
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| Picture Show, April 2nd, 1921 |
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| Atlanta Constitution, July 25, 1925 |
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Golfing in Hawaii, 1917
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| Motion Picture, March 1918. Click to enlarge. |
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Chaplin at the Hearst Castle, San Simeon, 1933
The center of attention, as always.
Photos by Martin Munkasci
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| Marion Davies is at right (on the phone), the blonde in black is Carmel Snow, editor of Harper's Bazaar. Charlie has a ring on his nose, perhaps imitating a bull. |
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| Marion is at far left. The woman in the hat next to Charlie might be Anita Loos. |
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Hollywood premiere of THE GOLD RUSH at Grauman's Egyptian Theater
More than 15,000 fans, held in check by ropes and police, gathered outside the theater on the evening of June 26th, 1925 to watch the celebrities descend from their cars. Among those in attendance were: Douglas Fairbanks and Mary Pickford, Gloria Swanson, Mabel Normand, Rudolph Valentino, John Barrymore, Lillian Gish, Marion Davies, Irving Thalberg and Norma Shearer, who were on their first date. Chaplin's then wife, Lita Grey, did not attend.*
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| Cover of premiere program. See the inside here. |
A novel presentation of the celebrities present was accomplished by unreeling a special movie showing a procession of stars in specially acted incidents with Fred Niblo as master of ceremonies, both in film and on the stage.The applause for Mabel Normand's entry was second only to that of Charlie himself.
Rudolph Valentino in the screen introduction was presented in a bathing suit and bathrobe as an oceanside victim of auto thieves. At this point a noise of running feet in the aisles attracted attention to a racing figure which was Rudy, sure enough, in a bathrobe. Niblo reproached the sheik for appearing in such a costume, whereupon Rudy nonchalantly unpeeled the checkered robe and revealed the proprieties of a tuxedo.1
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| Chaplin at the premiere. |
When the film was over Chaplin received an ovation and made his way to the stage but was "too emotional, he explained, to make much of a speech and then, characteristically, he proceeded to deliver a fairly good one."2
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| John Barrymore, Douglas Fairbanks, Charlotte Pickford, and Mary Pickford at the opening. |
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| Chaplin with Sid Grauman |
Afterward a party was held for Charlie at the home of Sam Goldwyn. The celebrations continued the next afternoon with a "bachelor lunch party" at the Montmartre attended by the "back wash of the Chaplin premiere of the night before. Charlie himself with Douglas Fairbanks, Harry d'Arrast, and Robert Fraser." Charlie was clad in a "snappy sports outfit, white buckskin shoes, white serge trousers with a black hair line, and a form-fitting khaki coat. He received visits from many admirers at his table." Interestingly, a "nattily turned out" Syd Chaplin was also there, but "lunched with Hawaiian friends."4
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1Rosalind Shaffer, "All The Old Guard of Movieland Sees Chaplin Premiere,"Chicago Daily Tribune, July 5, 1925
2David Robinson, Charlie Chaplin: His Life and Art, 1985
3Chicago Daily Tribune, July 5, 1925
4Rosalind Shaffer, Chicago Daily Tribune, July 5, 1925
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Day By Day: 1936
Sunday, June 28th: In The News
Chaplin has spent most of the month lying low since his return to California. In the following article, published in the Los Angeles Times eighty years ago today, he discusses his very ambitious future film plans:
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Coming up: Chaplin has a very busy week ahead with the United Artists Sales Convention & the Actor's Fund Benefit. Stay tuned...
Day By Day: 1936: A chronicle of one year of Chaplin's life.
Chaplin has spent most of the month lying low since his return to California. In the following article, published in the Los Angeles Times eighty years ago today, he discusses his very ambitious future film plans:
Coming up: Chaplin has a very busy week ahead with the United Artists Sales Convention & the Actor's Fund Benefit. Stay tuned...
Day By Day: 1936: A chronicle of one year of Chaplin's life.
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Charlie, c.1959
From La Manoir De Mon Père by Eugene Chaplin (Thanks, D) with the caption:
"Voila ce qu'était mon père a mes yeux; un homme heureux." ("Here is my father in my eyes: a happy man.")
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This photo may have been taken in Majorca. The same time as this one.
"Voila ce qu'était mon père a mes yeux; un homme heureux." ("Here is my father in my eyes: a happy man.")
This photo may have been taken in Majorca. The same time as this one.
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Georgia Hale, 1930
Here's Georgia (left) with Eduardo Ugarte, Leonor Orstein, Edgar Neville (holding a rifle), José López Rubio and Tono. Ugarte, Neville, and Rubio were Spanish writers/filmmakers. Tono was a Spanish comedian (Ornstein was his wife). All had recently come to Hollywood from Spain and had spent time with Chaplin, especially Neville, who even had a bit part in City Lights. It's possible Chaplin took this photo.
And because I enjoy finding similarities in photos. I noticed that Georgia is wearing the same jacket in the photos below taken at Catalina Island, also in 1930, with Chaplin & a group of Russian filmmakers.
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| Source |
And because I enjoy finding similarities in photos. I noticed that Georgia is wearing the same jacket in the photos below taken at Catalina Island, also in 1930, with Chaplin & a group of Russian filmmakers.
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| GH, Ivor Montagu, Sergei Eisenstein, Eduard Tisse, and CC (looking through binoculars) |
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| Tisse, CC, GH, and Eisenstein |
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| Same group, except Grigori Alexandrov replaces Tisse, and Charlie & Georgia decide to hold hands. |
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Day By Day: 1936
June 30th-July 2nd: Chaplin attends the annual United Artists Sales Convention at the Ambassador Hotel.
Chaplin announced during the proceedings that he would make two pictures during the 1936-37 production season, including one starring Paulette in a leading role. (Of course, he never made them.)
Read more about the convention here.
I couldn't find a photo of Chaplin at this meeting but here is one from the July 1935 convention. Chaplin's dyed hair indicates that he was in the midst of filming Modern Times.
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Day By Day: 1936: A chronicle of one year of Chaplin's life.
Chaplin announced during the proceedings that he would make two pictures during the 1936-37 production season, including one starring Paulette in a leading role. (Of course, he never made them.)
Read more about the convention here.
I couldn't find a photo of Chaplin at this meeting but here is one from the July 1935 convention. Chaplin's dyed hair indicates that he was in the midst of filming Modern Times.
Day By Day: 1936: A chronicle of one year of Chaplin's life.
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Charlie covers the world
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It's that time of year again...
Happy 4th!
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Japanese actors & filmmakers at the Chaplin Studio, 1925
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| Photo source: Charles Chaplin In Japan by Ono Hiroyuki |
Third from left is actor Sojin Kamiyama. Next to Chaplin (in striped tie) is Osamu Rokusha, manager of the Shochiku Cinema Company in Tokyo, who evidently spent several months apprenticing at the Chaplin Studios. Harry d'Arrast and & Toraichi Kono are on the far right.
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Editing LIMELIGHT, 1952
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| Click to enlarge |
With Chaplin are cameraman Rollie Totheroh (in vest and tie), assistant producer Jerry Epstein (in dark sweater), and editor Joseph Engel (first and second photo at right). Limelight was Chaplin's last film made at his own studio in Hollywood.
Jerry Epstein recalls what it was like editing the film with Chaplin:
Charlie and I worked in the cutting room for a little over six months. Charlie never allowed anyone but himself to edit his films. The cutter's job was merely to assemble every sequence into long shot, medium shot and close-up, and splice the film together after Charlie had decided where he wanted the cuts.
It could have been clear sailing, but we had a bungler as our editor. Cutting rooms are usually well-ordered: all the film takes are labelled and easily located. Ours was in total chaos; our editor couldn't find anything. The minute Charlie asked for a take, he began shaking and opening every tin in sight. Rolls of film tumbled onto the floor. It was like a W.C. Fields film. I thought Charlie would have a stroke. His precious Limelight! Luckily I knew each take by heart, and was always able to locate what Charlie wanted. The editor, meanwhile, would be muttering, "But that was never filmed; there's no such take!" --Jerry Epstein, Remembering Charlie, 1989.
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Chaplin films on TCM today
If you live in America and need a diversion from all the horrible news of the day, TCM will be showing three Chaplin films back to back, starting with Modern Times at noon (EST), City Lights at 1:30p, and Limelight at 3:00p.
http://www.tcm.com/schedule/?ecid=mainnav2schedule
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LAUGHING GAS + "Charlot Has A Toothache"
Laughing Gas
Released July 9th, 1914
Written and directed by Charles Chaplin
Charlie portrays a dental assistant who winds up impersonating his boss, Dr. Pain. This film may have been inspired by a Fred Karno sketch called, "The Dentist." Although Chaplin did not appear in the sketch, he was likely familiar with it. He revisits dental humor again forty-three years later in A King In New York.
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1May Reeves, The Intimate Charlie Chaplin
2Patrice Chaplin, Hidden Star
Released July 9th, 1914
Written and directed by Charles Chaplin
Charlie portrays a dental assistant who winds up impersonating his boss, Dr. Pain. This film may have been inspired by a Fred Karno sketch called, "The Dentist." Although Chaplin did not appear in the sketch, he was likely familiar with it. He revisits dental humor again forty-three years later in A King In New York.
Chaplin himself hated going to the dentist & toothaches frightened him. May Reeves remembered hearing "prolonged howls" coming from their bathroom in France in 1931. When she went to see what was the matter, Charlie was standing in front of the mirror moaning and holding his cheek."Undoubtedly," wrote May, "he was rehearsing for a film entitled Charlot Has A Toothache." His moaning and pain-induced facial expressions were so comic that they made her laugh and thus he began to laugh as well. In the end, Charlie was only afraid that he might have a toothache.1
Years later, Oona Chaplin recalled a visit to the dentist office in Lausanne. This time there was no laughter:
Years later, Oona Chaplin recalled a visit to the dentist office in Lausanne. This time there was no laughter:
When he was getting on we thought we should take Charlie to the dentist...And we went to Lausanne and got Charlie into the dentist's surgery and promised him nothing would hurt. The girl was so nice and gentle and she examined his mouth and said, 'Oh dear, your teeth are packed with tartar.' And she gave a prod and he'd had enough. He got the girl's prong, threw it on the floor, and said, 'My teeth are perfectly packed with tartar and they're going to stay that way.' And he never went back.2
2Patrice Chaplin, Hidden Star
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THE VAGABOND
Chaplin's third Mutual film was released 100 years ago today.
Chester Courtney, a fellow comedian with the Fred Karno troupe, who was employed by Chaplin at the time, recalled watching the final scene (above) being filmed: "Both Chaplin & Edna were in tears, and, as he took his last farewell, lifted his narrow, pathetic shoulders in a wistful gesture of resignation and sloped away towards the evening light, there was not a tearless eye among the 20 persons who watched spellbound."
The story goes that Chaplin filmed an alternate ending to The Vagabond in which Charlie attempts suicide by throwing himself into the river. He is rescued by a homely maiden (played by Phyllis Allen) but plunges back into the water after one look at her face. It is up for debate whether or not this footage exists, or ever existed. However, two contemporary trade magazines described this second ending: A pre-release blurb in the June 24, 1916 issue of Reel Life (a Mutual publicity magazine) and in an apparent review in the July 29, 1916 issue of the New York Clipper. Both describe Chaplin's suicide attempt being thwarted by a "buxom country maiden" (Phyllis Allen) who had befriended him.* Reel Life goes further and describes Allen's character as a farm woman whom Charlie has been flirting with in order to get such things as free eggs. That's why, when he attempts suicide, she jumps in to rescue him. There is a brief scene in the final film where Charlie gets some eggs from a farm woman but we don't see her face. Here is a screenshot:
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Below is a real shot of Phyllis from behind (from The Rounders).
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I don't think the farm woman is Phyllis because her hair is lighter and she just seems smaller to me. But I could be wrong. Nevertheless, Phyllis does appear in the movie at the end (at least I think it's her). She is the other woman (below, second from left) who arrives in the car with Charlotte Mineau. I haven't watched the Mutuals in a while but I don't recall seeing Phyllis in any of the other films so it's interesting that Chaplin cast her in this one.
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Sources:
The Chaplin Archive, ed. by Paul Duncan
Chaplin's Vintage Year by Michael Hayde
Chaplin: His Life & Art by David Robinson
www.nitrateville.com
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| A classic Chaplin entrance showing only his familiar feet. |
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| We get to see a lot of Chaplin's left-handed fiddle playing in this film. |
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| Edna, the Gypsy Drudge |
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| His crazed violin playing for Edna causes him to fall into the tub. A precursor to the final scene in Limelight. |
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| An artist, played by Lloyd Bacon, takes an interest in Edna. Bacon went on to become a successful director. Among his credits are the Busby Berkeley musicals 42nd Street and Footlight Parade. |
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| "Goodby, little girl" or is it? |
Chester Courtney, a fellow comedian with the Fred Karno troupe, who was employed by Chaplin at the time, recalled watching the final scene (above) being filmed: "Both Chaplin & Edna were in tears, and, as he took his last farewell, lifted his narrow, pathetic shoulders in a wistful gesture of resignation and sloped away towards the evening light, there was not a tearless eye among the 20 persons who watched spellbound."
The story goes that Chaplin filmed an alternate ending to The Vagabond in which Charlie attempts suicide by throwing himself into the river. He is rescued by a homely maiden (played by Phyllis Allen) but plunges back into the water after one look at her face. It is up for debate whether or not this footage exists, or ever existed. However, two contemporary trade magazines described this second ending: A pre-release blurb in the June 24, 1916 issue of Reel Life (a Mutual publicity magazine) and in an apparent review in the July 29, 1916 issue of the New York Clipper. Both describe Chaplin's suicide attempt being thwarted by a "buxom country maiden" (Phyllis Allen) who had befriended him.* Reel Life goes further and describes Allen's character as a farm woman whom Charlie has been flirting with in order to get such things as free eggs. That's why, when he attempts suicide, she jumps in to rescue him. There is a brief scene in the final film where Charlie gets some eggs from a farm woman but we don't see her face. Here is a screenshot:
Below is a real shot of Phyllis from behind (from The Rounders).
I don't think the farm woman is Phyllis because her hair is lighter and she just seems smaller to me. But I could be wrong. Nevertheless, Phyllis does appear in the movie at the end (at least I think it's her). She is the other woman (below, second from left) who arrives in the car with Charlotte Mineau. I haven't watched the Mutuals in a while but I don't recall seeing Phyllis in any of the other films so it's interesting that Chaplin cast her in this one.
Sources:
The Chaplin Archive, ed. by Paul Duncan
Chaplin's Vintage Year by Michael Hayde
Chaplin: His Life & Art by David Robinson
www.nitrateville.com
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Charlie and Gloria "give them something to talk about."
The photos in this post were taken by Katherine Hungerford, a photographer who spent 1922-23 in Hollywood taking pictures of movie stars for a lecture. In 1949, she wrote a book about her experience called Early Hollywood Crazy Quilt. The following is an excerpt from her book in which she describes taking these photos of Charlie & Gloria:
I stopped for lunch at Armstrong & Carleton, a popular movie star restaurant rendezvous. I had just started to order when Charlie Chaplin and Gloria Swanson came in and sat down at a table near my own. I could hardly taste my own food as I waited for them to finish their lunch. Then I boldly went over, introduced myself and showed them some of the pictures I had taken, especially of Mary and Doug. They seemed interested and enjoyed looking at the pictures.
Then I followed through with the punch line, ‘‘May I please have a picture of you two? ” And just to complicate things I had to ask them to go with me across the street where the sun was good, as I could only take snapshots. They were very obliging and followed me.
On the way over Gloria whispered to Charlie, “I don’t know whether it is wise for us to pose together.”
Charlie replied, “Oh, let’s give them something new to talk about.”
Gloria had just returned from Paris with a new wardrobe costing $10,000. On the day I photographed her, she wore one of her new dresses, a lovely navy blue crepe and with this a small flower hat made of a lighter shade of blue flowers, which was most becoming. She had dainty feet and small hands. I had my black and white silk parasol with me for the California sun could be very hot at times, so I asked Gloria if she would like to hold the parasol. After taking her alone, I snapped a few of her with Charlie, but he was cutting up so, she could not keep a straight face. Nearby I saw a young boy leaning against his bicycle gaping at the performance, and I asked him to lend me the bike. Charlie took my parasol and got on the bicycle and I took some snaps like that. He acted like a youngster. By that time a large crowd had gathered and we all had lots of fun. I could hardly hold the camera still I was laughing so hard at Charlie’s antics.
I finally said trying to sound most business-like, “Mr. Chaplin, you must remember I’m not taking moving pictures.”
Later on, I astonished Charlie’s publicity director by showing him these pictures. “How in the world did you manage to get them? ” he asked. “Charlie hardly ever poses for anyone.”
But I knew the secret lay in treating him like a person and not an actor.
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"Mr. Chaplin's Daily Program"
A peak at Charlie's daily schedule from Motion Picture Magazine, May 1918.
Charlie "flies around like a bee in a bottle" and "works like lightning until 3 A.M. when everyone is used up." But he is also chauffeured around in his "machine" to fancy nightclubs and restaurants.
Charlie "flies around like a bee in a bottle" and "works like lightning until 3 A.M. when everyone is used up." But he is also chauffeured around in his "machine" to fancy nightclubs and restaurants.
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| Click to enlarge |
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Chaplin outside the Hotel Claridge in Paris, 1921
Happy Bastille Day
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Article 1
Sending love to Nice.
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| Charlie and Syd at the Hotel Imperial, 1931 |
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