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Australian opera singer, Dame Nellie Melba, visits Chaplin, March 1918

August 18, 2016, 12:28 pm
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Melba is on Charlie's left, on his other side is Lady Susan FitzClarence. Source.

Melba described the meeting in her memoir, Melodies and Memories (1926):
I had long had a great desire to meet Charlie Chaplin, and as soon as we arrived at Los Angeles, on my long-delayed journey home, I set out for his studio in company with Lady Susan Fitzclarence (now Lady Susan Birch), my great friend.
No celebrity whom I have ever met so completely falsified my preconceived notions of them as Charlie Chaplin. He was then at the pinnacle of his fame as a comedian--a pinnacle which he still occupies in solitary state. But how little the world knew of the real man who was hidden behind the mask of humour!
I had expected, first of all, to meet an ugly, grotesque figure. Instead there advanced towards me a smiling, handsome, young man, small, but perfectly made, with flashing eyes and beautiful teeth. He was dressed quietly and well, and he spoke in a low musical voice that seemed to belong more to an English public schoolboy than to a knockabout comedian.
But it was not the superficial Charlie Chaplin that most surprised me, but the character of the man as revealed by his conversation. Instead of a brilliant clown, I found myself face to face with a philosopher, with a serious, almost melancholy attitude to life.
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DAY BY DAY: 1936

August 19, 2016, 6:14 am
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No, I haven't forgotten about this series. August 1936 was a very slow month for Chaplin but things pick up toward the end of the month and into September. I apologize for not posting the following on its anniversary.

Monday, August 17th: Charlie and Paulette attend a concert by conductor Leopold Stokowski at the Hollywood Bowl.

Behind them are King Vidor and Betty Hill (hidden by Charlie).
Close up of above photo.

Evidently the crowd was so large that Charlie and Paulette had to schlep to the Bowl from another street instead of being dropped off in their car at the front door (gasp): 

Los Angeles Times, August 23rd, 1936

Coming up: Chaplin wires his studio for sound, and makes an announcement about another film project. 

DAY BY DAY: 1936: A chronicle of one year of Chaplin's life.  
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Twelve-year-old violin prodigy, Yehudi Menuhin, visits the Chaplin Studios, 1928

August 22, 2016, 7:25 am
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Chaplin and Menuhin on the City Lights set.

Menuhin's father, Moshe, recalled the visit in his autobiography The Menuhin Saga (1984):
Yehudi's recital at the Shrine Auditorium [on December 17th, 1928], which brought him new acclaim, was attended by Jascha Heifetz and many other celebrities, including Charlie Chaplin. Chaplin invited Yehudi, [his teacher, Louis] Persinger, and me to spend a day with him at his studios in Hollywood. Chaplin cancelled all his work that day, declared a holiday for his employees, and then, on our arrival, gave us a personal tour and a private performance, complete with the famous Chaplin moustache, cane, hat and walk. But he also showed us his serious, philosophical side. It was a fascinating experience. This was on the day of our departure, and I began to get agitated about the possibility that we might miss our train. Yehudi and Persinger thought it was absurd to suggest giving up a minute of Charlie Chaplin to wait in a railway station. Chaplin himself would not let us leave until the very last moment. Then his chauffeur whisked us and our baggage to the railway station at top speed. Twice we were stopped by police. We barely made it to our train.



Almost twenty years later, in December 1947, Menuhin filmed a performance at the Chaplin Studios called Concert Magic. It is supposedly one of the first-ever concert films. The following are a few clips from the film showing some of the different background sets (None looked immediately familiar to me but feel free to comment if you recognize something):

Menuhin plays Bach - Praeludium Partita

Nicolo Paganini

Bach's "Erbarme Dich" with Eula Beal

Mendelssohn violin concerto
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Ninety years ago today, Chaplin and the rest of Hollywood (& the world) were stunned by the death of Rudolph Valentino

August 23, 2016, 7:58 am
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Chaplin arriving at the service for Valentino in Hollywood

Valentino died in New York City from peritonitis on August 23rd, 1926, only a few weeks after the premiere of his film The Son Of The Shiek.

Upon hearing the news, Chaplin sent the following telegram to Valentino's manager, George Ullman:

via Valentino Forever

Following an initial service in New York, Valentino's body was transported to Los Angeles by train and another service was held for him in Hollywood on September 7th. Chaplin suspended production of his film, The Circus, so he could attend the memorial.

Memorial service for Valentino. Chaplin is third from left.

The death of Rudolph Valentino is one of the greatest tragedies that has occurred in the history of the motion-picture industry. As an actor he achieved fame & distinction; as a friend he commanded love and admiration.
We of the film industry, through his death, lose a very dear friend, a man of great charm and kindliness.
--Chaplin's statement about the death of Valentino, Los Angeles Times, August 24th, 1926
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Moments With Chaplin

August 25, 2016, 7:13 am
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Lillian Ross, a longtime writer for the New Yorker magazine, met Charlie and Oona at a Hollywood party in 1948.* She remained a close family friend until Charlie's death in 1977. The following is an excerpt from her book Moments With Chaplin (1978):
Some of the moments I remember from Vevey had the atmosphere of something staged, real though they were. 
Charlie Chaplin heading for the tennis court, wearing white flannel trousers and a tennis shirt with a collar--a white cable knit sweater dashingly slung over his back, the sleeves tied in front. 
Charlie Chaplin playing tennis, racquet in his left hand, running for every ball, not liking to lose, and showing his dissatisfaction every time he lost a point, giving his all to the game, in total concentration, and never, never losing track of the score....
Charlie Chaplin sharing a bowl of peanuts  with three-year-old Annette. Chaplin's face would be down over the bowl, and he would be glaring in top performance, leaving no doubt as to who would get the last peanut. 

Charlie Chaplin in a long terry-cloth robe, his pure-white hair disheveled, leading a visitor at eight o'clock on a late-summer morning down his lawn to his swimming pool, all the white looking whiter in contrast to the shadows cast by the trees on the smooth green lawn.
Charlie Chaplin at the pool, saying, "I go up and down the pool once then out. I keep the water warm. It's not easy to go from a warm bed into a cold pool. I like it as long as it's warm."
Poolside at the Manoir.
L-R: Rex Harrison, CC (in white robe), Jerry Epstein, and Kay Kendall.
 Charlie Chaplin sitting in front of a big fire in the fireplace of his living room for a quick drink before dinner.  Gin-and-tonic usually. "I look forward to that one drink at night," he would say....
Charlie Chaplin comforting Victoria, at the age of eleven, after she had seen "Limelight" for the first time. ("I couldn't help crying at the end, when you died," Victoria said to her father. "Oh, my dear," Chaplin said, on the verge of tears himself. "Oh, my dear. That's sweet. So sweet.")
With the author.
 Charlie Chaplin at the piano in his living room, playing music he had composed for his pictures, humming along with his own playing, while his face expressed every emotion experienced by everybody in each picture, and simultaneously talking: "I can't play anybody's music but my own. I never took a lesson. I never even saw a piano up close until I was twenty-one. As soon as I touched the piano, I could play. The same with the violin."
Charlie Chaplin, at five o'clock in the morning, heading quietly for his study, to work alone on his autobiography, as he did every morning (In 1962, on an afternoon in early September, I sat with him on his terrace as he read parts of his book manuscript to me, the tortoiseshell-rimmed glasses a bit down on his nose, his reading dramatic to the point of melodrama, his devotion to his subject unself-conscious and complete. "I use Fowler's 'The King's English' as my guide," he told me during a breather. "I do all my own editing. I'm very particular. I like to see a clean page, with no erasures. I'm entirely self-taught.")
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*Ross is still alive and in 2008 interviewed Charlie's grandson, James Thiérrée. 
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Day By Day: 1936

August 28, 2016, 5:38 am
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Thursday, August 27th: Film Daily reports that the Chaplin Studios are being wired for sound. 




Friday, August 28th: Chaplin announces that he has purchased the films rights to the D.L. Murray novel, Regency.

It seems that Chaplin was already beginning to lose interest in "Production No. 6" (probably the Stowaway story). He would be consumed with the Regency project well into 1937.

Also noteworthy in the following article is that the Chaplin Studios were being used as "headquarters" for the upcoming Hollywood Bowl production of Everyman. The cast rehearsed on the studio stage and the sets were built on the lot.

Los Angeles Times, August 28th, 1936

Saturday, August 29th - Sunday, August, 30th: Charlie and Paulette spend the weekend at Catalina.

Catalina Islander, September 3rd, 1936

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"Brooding over the score" for MONSIEUR VERDOUX

August 29, 2016, 11:49 am
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Everybody's Weekly, October 25th, 1947

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Aloha, Kakou!

September 2, 2016, 8:05 am
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Chaplin visits the Kilauea volcano in Hawaii, October 1917

Chaplin aboard the Mauna Kea, Oct. 13th, 1917

The following article describes Chaplin's departure from Honolulu aboard the Mauna Kea bound for Hilo and the volcano.


Honolulu Star-Bulletin, October 15, 1917


Chaplin and Demosthenes "Monty" Lycurgus, the owner of the Volcano House Hotel.

Honolulu Star-Bulletin, October 27, 1917

More photos at the volcano. With Chaplin are Edna Purviance (seated), Rob Wagner (in white), and Tom Harrington (in dark jacket behind Edna).



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"Studio closed. Labor Day"

September 3, 2016, 11:25 am
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This production report shows that the Chaplin Studio was closed on Labor Day, September 1st, 1952. It also records Chaplin's final days in Hollywood--Sept. 5th being the last day he ever set foot in the studio he built in 1918. The next day, he left California for London for the premiere of Limelight, not to return until 1972.



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THE COUNT, released 100 years ago today

September 4, 2016, 9:05 am
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The Count was a struggle for Chaplin from the beginning. He built a set, as he often did, "with not an idea in my head."1 This lack of inspiration caused him a great deal of anxiety: "When I arrive in the morning I'm usually gloomy, especially when I haven't any idea what I'm going to do in a scene...," he told journalist Grace Kingsley in August 1916, "tears bedew my eyes as I put on my makeup, and I weep sadly as I step out on the stage."2

His first plea for help went out to his brother, Sydney, who was in New York at the time. How much Charlie counted on him for brainstorming gags and scenario possibilities is evident in their correspondence when Syd was away.
Wiring him at the Hotel Bonta in New York City, July 31, while he would have been filming The Count, Charlie pleaded: "Have you any suggestions for scenes? Have dining room and ballroom. I am playing a count but an imposter to win an heiress but cannot get story straight. Wire me some gags if possible. Playing in Chaplin make-up in fancy dress ball." Charlie's problems with this story continued, however, causing him to film the mostly one-man-show One A.M. in the meantime. By August, the situation was so dire that Charlie's butler and Man Friday, Tom Harrington, wired Sydney again:
"Charlie is very depressed condition for past two weeks. Doesn't seem able to get mind around to his story. He wishes nearly every other day that you were here...Think it very important for his future success for you to drop everything in New York and come here immediately at least three or four weeks. Charlie hasn't been sick but whenever he gets into difficult situation, which doesn't work out satisfactorily, he always wishes Syd were here."
Five days later Charlie wired his brother himself: "The last two pictures have given me great worry and I need you here to help me. Drop everything and arrange to be in Los Angeles by August 12 to help me in directing next picture. Wire answer immediately."3
Why was Sydney tormenting his brother this way?  It seems Sydney felt "used" by Mutual and that they weren't paying him what he thought he was worth. A settlement seems to have been reached because Sydney eventually returned to California.4

The Count's ballroom scene appears to have caused Chaplin the most stress. He told Grace Kingsley:
"And as for these gray hairs"--indicating those about his temple over his right ear--"I got them all the other day trying to be funny in a ballroom scene. I think any comedian who started out to be funny in a ballroom would have his career blighted at the outset." 5
Illustration by Gale for Grace Kingsley article, Los Angeles Sunday Times, Aug. 20th, 1916 

Charlie wasn't the only one driven crazy by this scene. Chester Courtney, an old music hall acquaintance who had been given a job at the studio, recalled:
If anyone were to play "And They Call It Dixieland" in my hearing I should run, screaming! It nearly lost me my sanity, thanks to Charlie. He kept a studio band playing it for weeks learning to dance with Edna Purviance."6
Despite all the problems, The Count was well-received among critics and fans, who had been disappointed with his last film One AM.  The public felt that Chaplin had made a come back of sorts.
The inimitable comedian returns to the type of motion picture farce in which he gained his fame and is seen in his familiar baggy trousers, cutaway coat at least two sizes too small, his dinky derby, diminutive moustache and slender cane, not forgetting the celebrated brogans.7
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1 Charles Chaplin,  My Autobiography, The Bodley Head, 1964
2Grace Kingsley, "Beneath The Mask: Witty, Wistful, Serious Is The Real Charlie Chaplin," Los Angeles Sunday Times, August 20th, 1916
3 Lisa K. Stein, Syd Chaplin: A Biography, McFarland, 2011
4ibid
5 Grace Kingsley, "Beneath The Mask: Witty, Wistful, Serious Is The Real Charlie Chaplin,"Los Angeles Sunday Times, August 20th, 1916
6Chester Courtney, "The Real Charles Chaplin,"Film Weekly, Feb. 1931
7Moving Picture World, September 2nd, 1916
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Article 0

September 7, 2016, 7:16 am
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Hey guys,

I'm taking a bit of a break but I'll be back in a few days. I hope everyone is having a good week.

❤️

Jess
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DAY BY DAY: 1936

September 10, 2016, 5:29 am
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Thursday, September 10th: Charlie and Paulette attend the premiere of the play "Everyman" at the Hollywood Bowl.

Other guests in the Chaplin Box were (counter-clockwise from bottom right): Anita Loos, her niece Mary Anita Loos, Robert Cobb, owner of the Brown Derby (and creator of the "Cobb Salad") and John Emerson, husband of Anita.



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New York, September 1923

September 11, 2016, 11:45 am
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Note the broom balanced on his foot.


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With Maurice Chevalier in Juan-les-Pins, Summer 1931

September 12, 2016, 8:34 am
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Joyeux anniversaire, M. Chevalier (September 12th, 1888)

Playing boules.

Photos from "Charlie Chaplin Intime" by May Reeves, Voila magazine, May 26th, 1934
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Chaplin's "last message to America"

September 13, 2016, 6:57 am
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Chaplin photographed by Richard Avedon on September 13th, 1952, his last day in the U.S.


Avedon described the session in an interview with the New York Times in 1991:
On the day before Charlie Chaplin left the United States for what turned out to be exile in Europe, he telephoned the photographer Richard Avedon. Not believing it was Chaplin, Mr. Avedon told the caller, "This is President Roosevelt," and hung up.
For months, Mr. Avedon had been writing to the actor asking for a sitting, drawing no response. But in his next call on that day in 1952, Mr. Chaplin was convincing, and a meeting was set.
Mr. Avedon recalled that when Chaplin arrived at the studio, he told himself: "This is Charlie Chaplin! There is a Charlie Chaplin!"
Mr. Avedon sent all his helpers out of the studio. The two worked alone. "I was a wreck," he said. "I did the pictures as simply as I could."
"Are you finished?" Mr. Chaplin asked. "I could do something for you." He bent down, concealing his face, and put a finger on each side of his head. He came up with a violently grotesque expression, then turned it into a smile.
"This was his last message to America," Mr. Avedon said. "The sitter offered the photographer this gift that arrives once in a lifetime."

--NYT, September 15th, 1991
An alternate, less commonly-seen, pose from the session.

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Day By Day: 1936

September 15, 2016, 6:50 am
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Friday, September 18th - Sunday, September 27th:Charlie and Paulette attend the Pacific Southwest Tennis Tournament at the Los Angeles Athletic Club. 

With Fred Perry (above & below) who was defeated by Don Budge in the singles championship.
Charlie & Fred seem to be admiring Paulette's bracelet.
Hollywood magazine, December 1936.
 Paulette is also holding a camera in the top photo.
In this photo with Mary Astor, Paulette is wearing a dress that she wore
 during her trip to the Far East with Charlie earlier in the year.


Day By Day: 1936: An account of one year of Charlie Chaplin's life.
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Chaplin and others at the premiere of THE GOLD RUSH, June 1925

September 19, 2016, 7:11 am
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This photo is currently up for sale on eBay.* It appears to be from the Hollywood premiere of The Gold Rush.

Douglas Fairbanks and Mary Pickford are at far left with Gloria Swanson. I'm not sure who the women are on either side of Charlie. That might be Norma Talmadge at far right. Someone more knowledgable may be able to identify them. I think there is something a little fake-looking about this photo. The background looks airbrushed out. Or it could be a composite of individual photos from the premiere.


*The eBay seller lists Paulette Goddard as being in the photo. Of course, she is not. And the photo they include of the back is for a different picture.
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Article 0

September 23, 2016, 1:33 pm
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Hey there,

Sorry to be missing in action again. I've been having some dental work done recently (extractions, root canals, you name it) so I haven't been feeling too great. I hope to be back in action again soon.

Have a good weekend.

Jess


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90 years ago today: A fire destroyed the set of The Circus

September 28, 2016, 5:31 am
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The studio production report for September 28th, 1926 read: "Were shooting scenes in entrance to dressing rooms on enclosed stage. Fire broke out and whole interior of stage was burned--burning sets, props, etc."

It was Chaplin himself who first noticed the blaze while walking from the main circus set to the dressing room set where flames were already licking the canvas walls of the tent. "Chaplin, shouting the alarm, converted his entrance into a hasty exit. Miss [Merna] Kennedy and other members of the company also fled from the stage as the flames bit into the flimsy canvas and rolled toward the upper beams. As they ran, the skylight cracked from the heat and sent showers of glass falling around them."1

While firemen battled the blaze, cameraman Rollie Totheroh shot 250 feet of film which reportedly shows Chaplin "dashing about in his bathrobe among firemen, flames, and drenching water."2 Evidently this film is no longer in existence, however  a stills photographer captured shots of a distraught-looking Chaplin, still in costume, gazing at the burned-out circus set (below). Totheroh's film of the catastrophe was shown in theaters as pre-publicity for The Circus.



Film stills exist of Chaplin wearing the same checkered robe he is wearing above, in a dressing room scene with Henry Bergman that was never used in the film.


The fire caused $40,000 worth of damage and may have been started by a short circuit in the Klieg lights.3 The studio was put back into partial operation while the circus set was rebuilt. In the meantime, Chaplin came up with scenes that could be filmed elsewhere, including a scene with Merna strolling down Sunset Blvd en route to a cafe, as well as a scene inside the cafe. But neither were used in the final film.

The crew of The Circus pose next to a "No Smoking On Stage" sign following the fire.

More photos here.
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1Los Angeles Times, September 29, 1926. Some reports state that the glass skylights were broken by the firemen in an attempt to contain the fire.
2Motion Picture, January 1927
3L.A. Times 9/29/26; Film Daily 9/30/26
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ONE A.M., released 100 years ago today

August 7, 2016, 6:25 am
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"Charlie Chaplin said that if any man could appear absolutely alone and hold attention for two full reels, he believed he could do it," wrote Alexia Durant of Photoplayer's Weekly.1 And that's exactly what Chaplin accomplished in his fourth release for the Mutual Film Corporation. Except for a brief appearance at the beginning by Albert Austin, the film is a complete solo performance.


Chaplin plays a wealthy drunk who arrives home in the wee hours and tries to go to bed. "One A.M. was unusual for me," he later wrote, "it was a solo act which took place in a very restricted space: an exercise in mime and technical virtuosity, with no plot or secondary characters. I arrive home drunk early one morning to find everything in the house against me."2


It was an experiment he never repeated. Not only was the film the least popular of the Mutuals but Chaplin himself never thought too highly of it. According to biographer Theodore Huff, he was said to have summed up One A.M. with the remark: “One more film like that and it will be goodbye Charlie.” 



1July 15, 1916
2Chaplin, My Life In Pictures, 1974
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