The art of charlie chaplin

The Art of Charlie Chaplin The Art of Charlie Chaplin A Film-by-Film Analysis KYP HARNESS McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Harness, Kyp, ¡964– The art of Charlie Chaplin : a film-by-film analysis / Kyp Harness p cm Includes bibliographical references and index ISBN-¡3: 978-0-7864-3¡93-9 softcover : 50# alkaline paper ¡ Chaplin, Charlie, ¡889–¡977 — Criticism and interpretation I Title PN2287.C5H33 2008 79¡.4302'8092 — dc22 2007036790 British Library cataloguing data are available ©2008 Kyp Harness All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher Cover photograph ©2008 Shutterstock Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 6¡¡, Je›erson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 — The Tramp — Keystone — Essanay 39 — Mutual 58 — First National: A Dog’s Life, Shoulder Arms, Sunnyside, A Day’s Pleasure 84 —The Kid 94 — First National: The Idle Class, Payday, The Pilgrim 101 —A Woman of Paris 109 —The Gold Rush 117 10 —The Circus 128 11 —City Lights 136 12 —Modern Times 148 13 —The Great Dictator 160 14 —Monsieur Verdoux 175 15 —Limelight 187 16 — The King in Exile 197 Filmography 205 Chapter Notes 213 Bibliography 217 Index 219 v For Allison, Ava and Clay Preface S ometimes the iconic status of an artist obscures the real achievements and accomplishments of that artist — and the human being behind the artist This seems especially true in the case of Charles Chaplin, whose image has come to be accepted as a symbol of the premiere art form of the twentieth century, which he played a large role in creating and developing When images become so familiar, it is di‡cult to see them anew — to appreciate the reality for which the symbol is a metaphor This has been my task in creating the present volume I sought and viewed every one of Chaplin’s films in chronological order, the better to become acquainted with the reality behind the symbol, the artist behind the icon In my previous book, I used the same technique with the films of the comedy team Laurel and Hardy formed by Chaplin’s old music hall touring roommate Stan Laurel In the case of Stan and Ollie, I had made the point that they achieved profundity and greatness through their sheer lack of pretension, through their pure devotion to simple comedy Chaplin was quite di›erent in that from his earliest films he was hugely ambitious, and throughout his career sought to enlarge his art to include drama, tragedy, political and social commentary, and philosophy His story is the story of the better part of the twentieth century, of which he was, in the popular sense, the defining artist His films take us from the rustic suburbs of Edendale, California, in ¡9¡4 to Pinewood Studios of London, England, in ¡967 We are able to observe a clown from the British Music Hall introduce an evolving art form as he progresses from the flickering cartoonlike antics of his earliest silent films to the dramatic, sophisticated, complex, and often sharply satiric comedy for which he has become known As in my previous book, I have relied here on two basic volumes to provide historical background David Robinson’s Chaplin: His Life and Art is likely to remain the definitive work on Chaplin — exhaustive and extensive, it was written with full access to the Chaplin archives, and is the best overall view of Chaplin personally and professionally Preface As well, there is Chaplin’s own volume, My Autobiography, an impressive, engrossing, idiosyncratic work which is, of course, invaluable to anyone with an interest in Chaplin To trace the growth of Chaplin’s art has been a privilege, and to have experienced the totality of his insights into the human experience is to be awed by this dynamic, brilliant, still controversial figure, who looms— despite his small size — in our collective subconscious ¡ The Tramp W ho was Charlie Chaplin? A half-century ago, or even a quarter-century ago, it would have seemed preposterous to even ask the question He was the first of the global superstars, a defining figure of the twentieth century The image of the alter ego he created, the Tramp, was a symbol to all the human population of cinema, of laughter, of Everyman — of humanity itself, coping in a life and a world spinning out of balance, always triumphing, just barely, over a grim and ruthless reality The symbol survives, surfacing in the most unlikely places, recognizable to those oblivious of its creator, nearly a century after the Tramp first tumbled into the world’s consciousness But what lives behind the symbol, what hidden world gave birth to the tiny splay-footed creature who haunts this place, even peripherally, as generation after generation passes through? Who was Charlie Chaplin? First and foremost, Chaplin was a clown Presumably, the human animal has had at the heart of its existence, since the time of its achievement of consciousness, the need to laugh, at itself and others Presumably there have been those since the dawn of time who have preformed the function of fulfilling that need, of giving their fellow humans something to laugh at At the most basic level, the clowns who induce the purest laughter are those who have made of their bodies instruments entirely attuned to the activity of arousing amusement, in a sphere beyond words, beyond rational thought Certainly innumerable such clowns came and went on waves of laughter in the vast stretches of time before the invention of the motion picture camera But it is hard to believe that any of them were more accomplished, more supernaturally gifted and ethereally graceful, more sublimely comical and connected to the root and heart of all laughter than Charlie Chaplin He was a master of pantomime — silence was the domain over which he was most assuredly the king He had absolute body control, and his gestures— the mere flick of his fingers, the tiniest glint of his eye —conveyed more thought and emotion than pages of dialogue from the most profound of writers His artistry was in the very subtlety of his movements, his gestures— uniquely 208 Filmography A Night in the Show— Two reels— Released November 20, ¡9¡5 Costarring Edna Purviance, Charlotte Mineau, Dee Lampton, Leo White, Wesley Ruggles, John Rand, James T Kelley, Paddy McGuire, May White, Bud Jamison, Phyllis Allen Charlie Chaplin’s Burlesque on Carmen— Four reels— Released April 22, ¡9¡6 Compiled by Leo White Costarring Edna Purviance, Ben Turpin, Leo White, John Rand, Jack Henderson, May White, Bud Jamison, Wesley Ruggles, Frank J Coleman, Lawrence A Bowes The film was expanded to double its intended length by Leo White after Chaplin left Essanay Police— Two reels— Released May 27, ¡9¡6 Costarring Edna Purviance, Wesley Ruggles, James T Kelley, Leo White, John Rand, Fred Goodwins, Billy Armstrong, Bud Jamison The Mutual Company (¡9¡6–¡9¡7) All films directed and written by Charles Chaplin The Floorwalker—Two reels—Released May ¡5, ¡9¡6 Photographed by Frank D Williams Costarring Eric Campbell, Edna Purviance, Lloyd Bacon, Albert Austin, Lloyd Bacon, Leo White, Charlotte Mineau, James T Kelley The Fireman— Two reels— Released June ¡2, ¡9¡6 Photographed by Frank D Williams Costarring Edna Purviance, Lloyd Bacon, Eric Campbell, Leo White, Albert Austin, John Rand, James T Kelley, Frank J Coleman The Vagabond— Two reels— Released July ¡0, ¡9¡6 Photographed by Frank D Williams Costarring Edna Purviance, Eric Campbell, Leo White, Lloyd Bacon, Charlotte Mineau, Albert Austin, John Rand, James T Kelley, Frank J Coleman One A.M.— Two reels— Released August 7, ¡9¡6 Photographed by Rollie Totheroh Costarring Albert Austin The Count— Two reels— Released September 4, ¡9¡6 Photographed by Rollie Totheroh Costarring Edna Purviance, Eric Campbell, Leo White, May White, Charlotte Mineau, Albert Austin, Stanley Sanford, John Rand, James T Kelley, Leota Bryan The Pawnshop— Two reels— Released October 2, ¡9¡6 Photographed by Rollie Totheroh Costarring Henry Bergman, Edna Purviance, John Rand, Albert Austin, Wesley Ruggles, Eric Campbell, James T Kelley, Frank J Coleman Behind the Screen— Two reels— Released November ¡3, ¡9¡6 Photographed by Rollie Totheroh Costarring Eric Campbell, Edna Purviance, Henry Bergman, Lloyd Bacon, Albert Austin, John Rand, Leo White, Frank J Coleman, Charlotte Mineau, Leota Bryant The Rink— Two reels— Released December 4, ¡9¡6 Photographed by Rollie Totheroh Costarring Edna Purviance, James T Kelley, Eric Campbell, Henry Bergman, Lloyd Bacon, Albert Austin, Frank J Coleman, John Rand, Charlotte Mineau, Leota Bryan Easy Street— Two reels— Released January 22, ¡9¡7 Photographed by Rollie Totheroh Costarring Edna Purviance, Eric Campbell, Albert Austin, Henry Bergman, Loyal Underwood, Janet Miller Sully, Charlotte Mineau, Tom Wood, Lloyd Bacon, Frank J Coleman, John Rand The Cure— Two reels— Released April ¡6, ¡9¡7 Photographed by Rollie Totheroh Costarring Edna Purviance, Eric Campbell, Henry Bergman, Albert Austin, John Rand, James T Kelley, Frank J Coleman, Leota Bryan, Tom Wood, Janet Miller Sully, Loyal Underwood Filmography The Immigrant— Two reels— Released June ¡7, ¡9¡7 Photographed by Rollie Totheroh Costarring Edna Purviance, Kitty Bradbury, Albert Austin, Henry Bergman, Loyal Underwood, Eric Campbell, Stanley Sanford, James T Kelley, John Rand, Frank J Coleman, Tom Harrington The Adventurer— Two reels— Released October 22, ¡9¡7 Photographed by Rollie Totheroh Costarring Edna Purviance, Henry Bergman, Marta Golden, Eric Campbell, Albert Austin, Toraichi Kono, John Rand, Frank J Coleman, Loyal Underwood, May White, Janet Miller Sully, Monta Bell First National (¡9¡8–¡923) A Dog’s Life— Three reels— Released April ¡4, ¡9¡8 Photographed by Rollie Totheroh Costarring Edna Purviance, Mut, Sydney Chaplin, Henry Bergman, Charles Reisner, Albert Austin, Tom Wilson, M.J McCarty, Mel Brown, Charles Force Shoulder Arms—Three reels—Released October 20, ¡9¡8 Photographed by Rollie Totheroh Costarring Edna Purviance, Sydney Chaplin, Jack Wilson, Henry Bergman, Albert Austin, Tom Wilson, John Rand, Park Jones, Loyal Underwood The Bond— Half-reel — Released December ¡6, ¡9¡8 Photographed by Rollie Totheroh Costarring Edna Purviance, Sydney Chaplin, Henry Bergman, Dorothy Rosher A propaganda film in support of war bonds Sunnyside—Three reels—Released June ¡5, ¡9¡9 Photographed by Rollie Totheroh Costarring Edna Purviance, Tom Wilson, Tom Terriss, Henry Bergman, Loyal Underwood, Tom Wood, Helen Kohn, Olive Burton, Willie Mae Carson, Olive Alcorn A Day’s Pleasure—Two reels—Released 209 December ¡5, ¡9¡9 Photographed by Rollie Totheroh Costarring Edna Purviance, Marion Feducha, Bob Kelly, Jackie Coogan, Tom Wilson, Babe London, Henry Bergman, Loyal Underwood, Albert Austin, Jessie Van Trump The Kid—Six reels Released February 6, ¡92¡ Photographed by Rollie Totheroh Costarring Edna Purviance, Jackie Coogan, Baby Hathaway, Carl Miller, Granville Redmond, May White, Tom Wilson, Henry Bergman, Charles Reisner, Raymond Lee, Lillita McMurray, Edith Wilson, Baby Wilson, Nelly Bly Baker, Albert Austin, Jack Coogan Sr The Idle Class— Two reels— Released September 25, ¡92¡ Photographed by Rollie Totheroh Costarring Edna Purviance, Mack Swain, Henry Bergman, Allan Garcia, John Rand, Rex Storey, Lillian McMurray, Lillita McMurray, Loyal Underwood Pay Day—Two reels—Released April 2, ¡922 Photographed by Rollie Totheroh Costarring Phyllis Allen, Mack Swain, Edna Purviance, Sydney Chaplin, Albert Austin, John Rand, Loyal Underwood, Henry Bergman, Allan Garcia The Pilgrim— Four reels— Released February 26, ¡923 Photographed by Rollie Totheroh Costarring Edna Purviance, Kitty Bradbury, Mack Swain, Loyal Underwood, Charles Reisner, Dinky Dean, Sydney Chaplin, May Wells, Henry Bergman, Tom Murray United Artists All films produced by Charles Chaplin A Woman of Paris— Eight reels Released October ¡, ¡923 Assistant director: Edward Sutherland Photographed by Rollie Totheroh with Jack Wilson Art director: Arthur Stibolt Starring Edna Purviance, Adolphe Menjou, Carl Miller, Lydia Knott, Charles French, Clarence Geldert, Betty Morrissey, Malvina Polo, 210 Filmography Henry Bergman, Harry Northrup, Nelly Bly Baker Chaplin contributes a cameo as a porter The Gold Rush— Nine reels Released June 26, ¡925 Assistant directors: Charles Reisner, Edward Sutherland, Henrie d’Abbadie d’Arrast Photographed by Rollie Totheroh, with Jack Wilson, Mark Marlatt Art director: Charles D Hall Costarring Georgia Hale, Mack Swain, Tom Murray, Betty Morrissey, Kay Delseys, Joan Lowell, Malcolm Waite, Henry Bergman, John Rand, Heinie Conklin, Albert Austin, Allan Garcia, Tom Wood, Stanley Sanford The Circus— Seven reels Released January 6, ¡928 Assistant director: Harry Crocker Photographed by Rollie Totheroh, with Jack Wilson, Mark Marlatt Art director: Charles D Hall Costarring Merna Kennedy, Allan Garcia, Harry Crocker, Henry Bergman, Stanley Sanford, George Davis, Betty Morrissey, John Rand, Armand Triller, Steve Murphy City Lights— Eight reels Released February 27, ¡93¡ Assistant directors: Harry Crocker, Henry Bergman, Albert Austin Photographed by Rollie Totheroh, with Mark Marlatt, Gordon Pollock Music by Charles Chaplin Music director: Alfred Newman Art director: Charles D Hall Costarring Virginia Cherrill, Florence Lee, Harry Myers, Hank Mann, Eddie Baker, Tom Dempsey, Eddie McAuli›e, Willie Keeler, Allan Garcia, Henry Bergman, Albert Austin, John Rand, Tiny Ward, Robert Parrish Modern Times— Eight reels Released February ¡¡, ¡936 Assistant directors: Carter De Haven, Henry Bergman Photographed by Rollie Totheroh with Ira Morgan Music by Charles Chaplin Music director: Alfred Newman Art director: Charles D Hall Costarring Paulette Goddard, Henry Bergman, Stanley J Sanford, Chester Conklin, Hank Mann, Louis Natheaux, Stanley Blystone, Allan Garcia, Sam Stein, Juana Sutton, Dr Cecil Reynolds, Myra McKinney The Great Dictator—¡26 minutes Released December ¡6, ¡940 Assistant directors: Dan James, Robert Meltzer, Wheeler Dryden Photographed by Karl Struss, Rollie Totheroh Music by Charles Chaplin Musical director: Meredith Willson Art director: J Russell Spencer Costarring Paulette Goddard, Jack Oakie, Henry Daniell, Reginald Gardiner, Billy Gilbert, Maurice Moskovitch, Emma Dunn, Bernard Gorcey, Paul Weigel, Grace Hayle, Carter de Haven, Chester Conklin, Hank Mann, Eddie Gribbon, Richard Alexander, Leo White Monsieur Verdoux—¡22 minutes Released April ¡¡, ¡947 Assistant directors: Robert Florey, Wheeler Dryden Photographed by Curt Courant, Rollie Totheroh Music by Charles Chaplin Music director: Rudolph Schrager Art director: John Beckman Costarring Martha Raye, Isobel Elsom, Marilyn Nash, Robert Lewis, Mady Correl, Allison Roddan, Audrey Betz, Ada-May, Marjorie Bennett, Helen High, Margaret Ho›man, Irving Bacon, William Frawley, Fritz Leiber Limelight—¡43 minutes Released October 23, ¡952 Assistant director: Robert Aldrich Assistant producers: Wheeler Dryden, Jerome Epstein Photography: Karl Struss Photographic consultant: Rollie Totheroh Music by Charles Chaplin Music director: Ray Rasch Songs by Charles Chaplin, Ray Rasch Art director: Eugene Lourie Choreography: Charles Chaplin, Andre Eglevsky, Melissa Hayden Costarring Claire Bloom, Buster Keaton, Sydney Chaplin, Norman Lloyd, Marjorie Bennett, Wheeler Dryden, Nigel Bruce, Barry Bernard, Leonard Mudie, Snub Pollard, Loyal Underwood, Charles Chaplin Jr., Filmography Geraldine Chaplin, Michael Chaplin, Josephine Chaplin Attica–Archway A King in New York—¡05 minutes Released September ¡2, ¡957 Assistant Director: Rene Dupont Associate producer: Jerome Epstein Photography: George Perinal Music by Charles Chaplin Arranged by Boris Sarbeck Conducted by Leighton Lucas Art director: Allan Harris Costarring Oliver Johnston, Dawn Addams, Maxine Audley, Jerry Desmonde, Sidney James, Joan Ingrams, Michael Chaplin, John McLaren, Harry Green, Robert Arden Universal A Countess from Hong Kong—¡20 minutes Released January 2, ¡967 Assistant Director: Jack Causey Produced by Jerome Epstein Photography by Arthur Ibbetson Art director: Robert Cartwright Music: Charles Chaplin Musical director: Lambert Williamson Musical associate: Eric James Starring Marlon Brando, Sophia Loren, Sydney Chaplin, Tippi Hedren, Patrick Cargill, Margaret Rutherford, Michael Medwin, Oliver Johnston, John Paul, Angela Scoular, Geraldine Chaplin Chaplin makes a cameo appearance as an aged ship steward As of this writing, all of the Chaplin Keystones are being restored in an international project by the British Film Institute, Progetto Chaplin and Lobster Films Until the completion of this project, these seminal films circulate in much the same way as they have over the past ninety years— in versions whose tattered decrepitude testify to the great popularity of the original prints, as well as to their status as public domain works The 211 Keystone films can be found repackaged on a vast array of cheap DVD and VHS products, sometimes confusingly retitled; an exception to this is David Shepard’s restoration of Tillie’s Punctured Romance, available from Image Entertainment A definitive collection of the Keystones does not exist at present: one of the better bets for now is Brentwood’s Charlie Chaplin: 57 Classics DVD set, which features 26 of the 35 films Chaplin made at Keystone, along with substandard versions of his later Essanay and Mutual work Chaplin’s Essanay work is better represented by David Shepard’s restorations, available on DVD through Image Entertainment The series includes Shepard’s recreation of Charlie Chaplin’s Burlesque of Carmen as Chaplin himself intended it, as referred to in this text The twelve short films Chaplin made at Mutual are best represented by The Chaplin Mutual Comedies: 90th Anniversary Edition The restorations— again by David Shepard — allow these important works to look as good as they have at any time since their release The package includes the thorough if somewhat hagiographic ¡975 documentary, The Gentleman Tramp, as well as Chaplin’s Goliath, a ¡996 documentary on Eric Campbell originally made for Scottish television All of Chaplin’s films from his First National era through to A King in New York are available in two box sets sanctioned by the Chaplin estate, put out by MK2 The packages include deleted scenes among a variety of 212 Filmography extras, as well as Richard Schickel’s begrudging documentary Charlie: His Life and Art It might be noted that the versions of A Dog’s Life, The Pilgrim, and Shoulder Arms here are from the ¡959 compilation The Chaplin Revue, and su›er from the “stretch printing” used in that film Stretch printing, by which frames were reprinted to match the film with a soundtrack, lessens the e›ectiveness of the movement in the films: since Chaplin’s art is movement, it might be best to seek out the restorations of these works produced by David Shepard for Image Entertainment The “stretch printing” dilemma was later solved, as the other First National titles on the MK2 set are fine The set also includes, thankfully, Kevin Brownlow’s restoration of the original ¡925 version of The Gold Rush, as well as the later ¡942 Chap- lin-narrated version, which is— unfortunately, in this writer’s opinion — more prevalent today A Countess from Hong Kong is available from Universal on DVD Other documentaries of interest are The Unknown Chaplin, the DVD of the original BBC series in which Kevin Brownlow and David Gill unearthed a vast trove of Chaplin outtakes dating from his Mutual days to Modern Times This excellent series shows how Chaplin created his art extemporaneously on camera, and features lengthy routines excised from The Circus and City Lights which would have been the highlights of the works of any other comedian As well, there is Charlie Chaplin: The Forgotten Years, an odd and moving film made for Swiss television on Chaplin’s declining years in Switzerland Chapter Notes Chapter ¡ ¡4 Charlotte Chandler, Hello, I Must Be Going: Groucho and his Friends (New York: Doubleday, ¡978), p 46¡ ¡5 Robinson, Chaplin: His Life and Art, p 98 ¡6 Chaplin, My Autobiography, p ¡43 ¡7 Maltin, The Laurel and Hardy Book, p ¡0 ¡8 Chaplin, My Autobiography, pp ¡49–50 ¡9 Op cit 20 Ibid., p ¡52 2¡ Ibid., p ¡88 22 Charles Chaplin, My Life in Pictures (New York: Grosset and Dunlap, ¡975), p 279 23 Chaplin, My Autobiography, p ¡57 24 Robinson, Chaplin: His Life and Art, p ¡33 25 Chaplin, My Autobiography, p ¡60 26 Robinson, Chaplin: His Life and Art, p ¡32 27 Ibid., p ¡3¡ ¡ Quoted in Leonard Maltin, The Laurel and Hardy Book (New York: Curtis Books), p Paulette Goddard, as quoted in “It Happened One Night” by Earl Wilson, New York Post, April ¡4, ¡972 Quoted in David Robinson, Chaplin: His Life and Art (Winnipeg: Paladin Books, ¡986), p 63¡ Chapter ¡ Gerald Mast and Bruce F Kawin, A Short History of the Movies (London: Longman, 2003), p ¡¡ David Shipman, The Story of Cinema, vol ¡: From the Beginnings to Gone with the Wind (London: Hodder and Stoughton, ¡982), p ¡7 Shipman, The Story of Cinema, pp ¡8–9 Charles Chaplin, My Autobiography (London: The Bodley Head, ¡964), p ¡46 Ibid., p ¡5 Robinson, Chaplin: His Life and Art, p ¡8 Chaplin, My Autobiography, p ¡6 Ibid., p ¡8 Robinson, Chaplin: His Life and Art, p 47 ¡0 Ibid., p 95 ¡¡ Ibid., p ¡¡0 ¡2 Ibid., p 93 ¡3 Richard Anobile, The Marx Brothers Scrapbook (New York: Darien House, ¡973), p ¡4 Chapter ¡ Chaplin, My Autobiography, p ¡64 Ibid., p ¡69 Robinson, Chaplin: His Life and Art, p ¡89 Ibid., p ¡4¡ Ibid., p ¡59 Ibid., p ¡44 Ibid., p 437 Quoted in The National Enquirer, ¡97¡ Chaplin, My Autobiography, p 253 ¡0 Ibid., p 330 213 214 Chapter Notes ¡¡ Ibid., p 304 ¡2 Ibid., p 29¡ ¡3 Chaplin, My Life in Pictures, p 3¡ ¡4 Robinson, Chaplin: His Life and Art, p ¡45 ¡5 Chaplin, My Autobiography, p ¡73 Chapter ¡ Chaplin, My Autobiography, p ¡88 Ibid., p 205 Robinson, Chaplin: His Life and Art, p ¡67 Ibid., p ¡7¡ Ibid., p ¡78 Ibid., p ¡92 Chapter ¡ Chaplin, My Autobiography, p 208 Ibid., p 230 Chapter ¡ Chaplin, My Autobiography, p 230 Robinson, Chaplin: His Life and Art, p 746 Chapter ¡ Chaplin, My Autobiography, pp 220–¡ Ibid., p 29¡ Robinson, Chaplin: His Life and Art, p 298 Chapter ¡ Robinson, Chaplin: His Life and Art, p 302 Ibid., p 32¡ Chaplin, My Autobiography, p 2¡6 Robinson, Chaplin: His Life and Art, p 3¡9 Chapter ¡ Pierre Berton, Klondike (Toronto: McClelland and Stewart, ¡958), p 244 Ibid., pp 43–48 Chaplin, My Autobiography, pp 299–300 Robinson, Chaplin: His Life and Art, p 337 Chaplin, My Autobiography, p 208 Op cit Chapter ¡0 ¡ Robinson, Chaplin: His Life and Art, p 360 Chapter ¡¡ ¡ Shipman, The Story of Cinema, p 200 Ibid., p 20¡ Robinson, Chaplin: His Life and Art, p 4¡¡ Ibid., p 577 Chaplin, My Autobiography, p 323 Op cit Chapter ¡2 ¡ Buster Keaton with Charles Samuels, My Wonderful World of Slapstick (New York: Doubleday, ¡960), p ¡26 Robinson, Chaplin: His Life and Art, p 389 Chaplin, My Autobiography, p 4¡¡ Ibid., p 377 Ibid., p 33 Robinson, Chaplin: His Life and Art, p 458 Chapter ¡3 ¡ Ian Kershaw, Hitler (London: Longman, ¡99¡), p 27 Op cit Ibid., p 28 David Welch, Hitler: Profile of a Dictator (London: Routledge Press, ¡998), p ¡6 Ibid., p ¡5 Ibid., p ¡8 Kershaw, Hitler, p ¡42 Welch, Hitler: Profile of a Dictator, p 20 Ibid., pp ¡4–¡5 ¡0 Robinson, Chaplin: His Life and Art, p 493 ¡¡ Chaplin, My Autobiography, p 3¡6 ¡2 Op cit ¡3 Ibid., p 386 Chapter Notes ¡4 Garson Kanin, Hollywood (New York: Viking Press, ¡974), pp ¡57–58 ¡5 Robinson, Chaplin: His Life and Art, p ¡55 ¡6 Chaplin, My Autobiography, p 399 ¡7 Ibid., p 388 ¡8 Robinson, Chaplin: His Life and Art, p 484 ¡9 Chaplin, My Autobiography, p 382 20 Ibid., pp 387–88 2¡ Robinson, Chaplin: His Life and Art, p 508 22 Chaplin, My Autobiography, p 322 23 Quoted in James Bacon, Hollywood Is a Four Letter Town (Chicago: Henry Regnery, ¡976), p 29 24 Keaton, My Wonderful World of Slapstick, p 269 Chapter ¡4 ¡ Chaplin, My Autobiography, p 4¡2 Ibid., p 4¡¡ Robinson, Chaplin: His Life and Art, p 437 Ibid., p 632 Chaplin, My Autobiography, p 444 215 Chapter ¡5 ¡ Chaplin, My Autobiography, p 2¡6 Ibid., p 448 Ibid., p 447 Robinson, Chaplin: His Life and Art, p 547 Ibid., p 570 Chapter ¡6 ¡ Chaplin, My Autobiography, p 458 Robinson, Chaplin: His Life and Art, p 547 Chaplin, My Life in Pictures, p 306 Chaplin, My Autobiography, p 348 Robinson, Chaplin: His Life and Art, p 6¡5 Quoted in Pam Grady, “Inheriting the Limelight,” July ¡4, 2004, filmstew com Robinson, Chaplin: His Life and Art, p 628 Quoted on DVD, Charlie Chaplin: The Forgotten Years Bibliography Anobile, Richard The Marx Brothers Scrapbook New York: Darien House, ¡973 Bacon, James Hollywood Is a Four Letter Town Chicago: Henry Regnery, ¡976 Berton, Pierre Klondike Toronto: McClelland and Stewart, ¡958 Chandler, Charlotte Hello, I Must Be Going: Groucho and His Friends New York: Doubleday, ¡978 Chaplin, Charles My Autobiography London: Bodley Head, ¡964 _ My Life in Pictures New York: Grosset and Dunlap, ¡975 Kanin, Garson Hollywood New York: Viking Press, ¡974 Keaton, Buster, with Charles Samuels My Wonderful World of Slapstick New York: Doubleday, ¡960 Kershaw, Ian Hitler London: Longman, ¡99¡ Maltin, Leonard, ed The Laurel and Hardy Book New York: Curtis Books, ¡973 Mast, Gerald, and Bruce F Kawin A Short History of the Movies London: Longman, 2003 Robinson, David Chaplin: His Life and Art Winnipeg: Paladin Books, ¡986 Shipman, David The Story of Cinema, Vol.¡: From the Beginnings to Gone with the Wind London: Hodder and Stoughton, ¡982 Welch, David Hitler: Profile of a Dictator London: Routledge Press, ¡998 217 Index Chaplin, Hannah (mother) ¡¡–¡3, 74, ¡¡¡, ¡54, ¡73, ¡9¡ Chaplin, Michael (son) ¡99, 203 Chaplin, Sydney (brother) ¡¡–¡3, ¡4, 37, 47, 56, 58, 76, 84, 85–6, 88–9, ¡06, ¡28, ¡54, ¡63, 20¡ Chaplin, Sydney (son) ¡9¡, 203 The Chaplin Revue 20¡ “Charlie Chaplin’s Burlesque on Carmen” 54–5, 56 Chase, Charley 28 Cherrill, Virginia ¡4¡, ¡46–7 Chilkoot Pass ¡¡7–8, ¡27 Churchill, Winston ¡7¡ The Circus ¡28–35, ¡37, ¡43, ¡48, ¡49, ¡87, ¡88, ¡92, 203 Citizen Kane 49 City Lights 7, 37, 74, ¡36–47, ¡48, ¡49, ¡50, ¡57, ¡66, ¡73, ¡75, ¡83, ¡88 Clark, Petula 202–3 Conklin, Chester ¡7, ¡9, 29–30, 3¡–2, 35, 37, ¡55, ¡56, ¡68 Coogan, Jackie 94–5, 96–¡00 Cooper, Gary 20¡ “The Count” 68–9, 73, 82, 83, 20¡ A Countess from Hong Kong 20¡–3 Crocker, Harry ¡43 “Cruel, Cruel Love” 20 “The Cure” ¡3, 76–8, 83 “The Adventurer” 8¡–3, ¡08, ¡23 Allen, Phyllis 36 Arbuckle, Roscoe ¡7, 20, 24–5, 27, 28, 37, 40, 4¡, ¡93 Arendt, Hannah ¡78 Armat, Thomas ¡0 Armstrong, Billy 47, 5¡ Austin, Albert ¡3, 58, 62, 67, 70, 72, 78, 79, 82, 86, ¡43 “The Bank” 5¡–2, 62, 65, 99 Bara, Theda 54 Barrymore, Lionel ¡0 The Beatles 20¡ Beethoven, Ludwig van “Behind the Screen” 7¡–2, 73, 83, ¡43 Bergman, Henry 59, 72, 78, 80, 9¡, 98, ¡27, ¡43 “Between Showers” ¡9, 22, 38 Biograph Studios ¡0 Bloom, Claire ¡88 “The Bond” 89 Bosch, Hieronymous 67 Brando, Marlon 20¡–2 Brecht, Bertolt ¡79, ¡85 “A Busy Day” 24, 27, 30, 38 “By the Sea” 46–7 Campbell, Eric 58–9, 63, 64–5, 68–9, 7¡, 72–3, 74–5, 77, 80, 8¡–2, 83, ¡03, ¡67 Camus, Albert ¡85 “Carmen” 54 Casey’s Court Circus ¡3 “Caught in a Cabaret” 23, 69 “Caught in the Rain” 22, 23, 4¡ “The Champion” 4¡–3, ¡44 Chaplin, Charles, Sr (father) ¡¡–¡2, ¡87, ¡90–¡ Dalí, Salvador 67 d’Arcy, H.A 27 “A Day’s Pleasure” 9¡–3, 94, ¡0¡, ¡03, 202 DeForest, Lee ¡37 De Mille, Cecil B 54–5 Dickens, Charles 20¡, 203 Dickson, William Kennedy Laurie 9–¡0 Disney, Roy ¡¡ 219 220 Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb ¡70 “A Dog’s Life” 85–7, 90, 92, 95, ¡0¡, ¡¡¡, ¡22, 20¡, 202 Donner Party ¡¡7, ¡¡8 Dostoevsky, Fyodor 99 “Dough and Dynamite” 3¡, 38 “Dream of a Ridiculous Man” 99 Dressler, Marie 33–6, ¡77 Duck Soup 63 Eastman, George “Easy Street” 7, 25, 73–6, 83, 84, 85, 95, ¡23, ¡36, ¡52, ¡54 Edison, Thomas 9–¡0, ¡37 Einstein, Albert ¡7¡ Eisler, Hanns ¡95 Essanay Film Manufacturing Company 37, 39–57, 58, 59, 84, 85 ¡28 “The Face on the Bar Room Floor” 27 Fairbanks, Douglas ¡0¡ Farrar, Geraldine 54 “The Fatal Mallet” 24, 63 Fellini, Federico ¡86 Fields, W.C ¡06 “A Film Johnnie” ¡9, 7¡ “The Fireman” 64–5, 83 First National Exhibitors’ Circuit 84–¡08, ¡30, 20¡ “The Floorwalker” 62–4, 69, 76, 83, ¡54 Ford, Henry 22 The Freak 203 Gable, Clark ¡94 Gandhi, Mahatma ¡7¡ Gardiner, Reginald ¡64 Garland, Judy ¡94 The General ¡93 “Gentlemen of Nerve” 3¡–2 “Getting Acquainted” 36 Gilbert, Billy ¡65 Ginsberg, Allen ¡56 Gish, Dorothy ¡0 Gish, Lillian ¡0 Goddard, Paulette ¡52, ¡66, ¡67, ¡85, 20¡ Goebbels, Joseph ¡6¡, ¡62, ¡65 Goering, Hermann ¡65 The Gold Rush 7, 34, 37, 60, ¡¡7–23, ¡28, ¡29, ¡30, ¡32, ¡33, ¡47, ¡49, ¡83, ¡88, 202 Goldwyn, Samuel 49 “The Good Woman of Setzuan” ¡79 Index The Great Dictator 7, ¡4, 37, ¡60–74, ¡75, ¡76, ¡80, ¡83, ¡89, ¡93, ¡95 Gri‡th, D.W ¡0 Hale, Georgia ¡22, ¡27 Hardy, Oliver 42 Hearst, William Randolph 49 “Her Friend the Bandit” 24 “His Favourite Pastime 20 “His Musical Career” 32, 9¡ “His New Job” 39–40, 7¡ “His New Profession” 28 “His Prehistoric Past” 36–7 “His Trysting Place” 32–3, 36 Hitler, Adolf ¡60–3, ¡65–6, ¡68–9, ¡7¡, ¡73–4, ¡77, ¡85 Huxley, Aldous ¡7¡ “The Idle Class” 6, ¡3, ¡0¡–3, ¡07, ¡¡0, ¡¡2, ¡40, 20¡, 203 “The Immigrant” 7, 78–8¡, 83, 84, 9¡, ¡2¡, ¡5¡, ¡97, 202 “In the Park” 43 Jamison, Bud 39, 40, 43, 47, 58 The Jazz Singer ¡37 Je›erson, Stanley see Laurel, Stan “The Jitney Elopement” 43–4, 69 Jorgensen, Christine ¡98 Joyce, Peggy Hopkins ¡¡¡ Kanin, Garson ¡63 Karno, Fred ¡3–4, ¡6, 37, 44, 52, 53, 58, 60, 72, ¡38, ¡43, ¡60, ¡87 Kaye, Danny ¡64 Keaton, Buster ¡48, ¡72, ¡93–4, ¡95, ¡96 Kennedy, Edgar 23 Kennedy, Merna ¡29, ¡32–4 Keystone Film Company 9–38, 39, 43, 44, 45, 46, 48, 50, 5¡, 55, 56, 58, 79, 84, 85, 87, ¡03, ¡28, ¡30, ¡46, ¡5¡, ¡60, ¡68, ¡76, ¡90, ¡99, 200 Keystone Kops ¡0, 23, 36, 64, ¡66 The Kid 7, 74, 94–¡00, ¡0¡, ¡¡0, ¡¡¡, ¡¡8, ¡29, ¡36, ¡47, ¡53, ¡56, ¡90, 203 “Kid Auto Races at Venice” ¡8–9, 3¡, 37, 38, 46 A King in New York ¡97–200 “The Knockout” 24–5, 4¡, 42, ¡44 Knotts, Don ¡64 Korda, Alexander ¡62 Landru, Henri ¡76 “Laughing Gas” 26 Index Laurel, Stan 4, ¡3, ¡6, 53, ¡98 Laurel and Hardy 42 Lehrman, Henry ¡4–5, 2¡ LeRoy, Baby ¡06 Lights of New York ¡37 Limelight ¡87–96, ¡97, 200 Linder, Max 63 London, Babe 92 Loren, Sophia 20¡–2 Lumiere Brothers 9–¡0 “Mabel at the Wheel” 2¡ “Mabel’s Busy Day” 25 “Mabel’s Married Life” 25–6, 33, 38, ¡88 “Mabel’s Strange Predicament” ¡6–7, ¡8, ¡9, 2¡, 4¡ Mace, Fred ¡0 “Making a Living” ¡4–6, 2¡, 63, 80 Mann, Hank 37, ¡43, ¡66 Marx, Groucho ¡4 Marx, Karl ¡99 The Marx Brothers 63, ¡94 Mason, Skookum Jim ¡¡7 “The Masquerader” 27, 30, 38, 50 “Mein Kampf ” ¡6¡, ¡62 Menjou, Adolphe ¡¡0, ¡¡4, ¡¡6 Modern Times 4, 6, 7, 37, ¡48–59, ¡65, ¡67, ¡95, 203 Monsieur Verdoux 4, ¡75–86, ¡87, ¡89, ¡93, ¡95 “Mumming Birds” ¡3, ¡4, 28, 52, 66, 68 Murray, Tom ¡27 Mussolini, Benito ¡6¡, ¡69, ¡7¡, ¡73 Mutual Film Corporation 58–83, 84, 85, 9¡, 92, ¡04, ¡28, ¡54 Muybridge, Eadweard 9, ¡37 “My Autobiography” 20¡ Negri, Pola ¡¡¡ “The New Janitor” 28–9, 30, 38, 5¡, 62 New York Motion Picture Company ¡0 Nichols, “Pop” 2¡ “A Night in an English Music Hall” ¡3 “A Night in the Show” 52–3, 66 “A Night Out” 40–¡, ¡40 Normand, Mabel ¡0, ¡6, ¡7, 2¡, 23, 24, 25–6, 3¡–2, 33, 35–6, 37, 42 Oakie, Jack ¡69–7¡, ¡80, ¡93 “Oliver Twist” 203 Olivier, Laurence “One A.M.” ¡3, 66–8, 70, 83, ¡52 O’Neill, Oona ¡88 “The Outsider” ¡86 221 Pathé ¡0 “The Pawnshop” 4, 69–7¡, 83, ¡64 “Pay Day” ¡03–5 Picasso, Pablo 8, 44 Pickford, Mary ¡0, ¡0¡ “The Pilgrim” ¡05–8, ¡¡0, ¡¡8, 20¡ “The Police” 7, 53–4, 56, 73, 90, 98, ¡05, ¡07 “The Property Man” 26–7 Purviance, Edna 4¡–7, 50–2, 53–5, 56, 58, 64–6, 69, 7¡, 72–5, 77, 78–82, 86–7, 88–9, 90–¡, 94, 96, 98, 99, ¡02–3, ¡05–8, ¡09–¡0, ¡¡5–6, ¡22 Rand, John 69 Raye, Martha ¡80, ¡93 “Recreation” 27 “Repairs” 47 “The Rink” 4, 72–3, 83, ¡23, ¡54 Robinson, David ¡63 Rosenberg, Ethel ¡99 Rosenberg, Julius ¡99 “The Rounders” 28, 30, 40, ¡40 Rutherford, Margaret 202 Sanford, Stanley “Tiny” ¡3¡, ¡56 Schenck, Joseph ¡93 Schopenhauer, Arthur ¡80 Sennett, Mack ¡0–¡, ¡4, ¡6, ¡9, 2¡, 24, 27, 3¡, 33 36–7, ¡87, ¡96 “Sgt Pepper’s Lonely Hearts Club Band” 20¡ Shakespeare, William “Shanghaied” 52, 56, 78, 9¡, 202 Shaw, George Bernard ¡7¡ Shepard, David 55 “Sherlock Holmes” ¡2 Short, Martin ¡64 “Shoulder Arms” 87–9, 90, 92, ¡55, ¡60, 20¡ “Skating” 72 Skelton, Red ¡94 “Smile” 203 “The Star Boarder” 20 Sterling, Ford ¡¡, ¡4, ¡7, ¡9 “Stowaway” 20¡ “Sunnyside” 89–9¡, 92, 94, 99, ¡0¡, ¡05, ¡92 Sunset Boulevard ¡94 Swain, Mack 23, 24 25–6, 3¡–3, 36, 37, 39, 47, 58, 63, ¡03, ¡05, ¡¡9, ¡20, ¡27 “Tango Tangles” ¡9–20, 38 “This Is My Song” 202–3 222 “Those Love Pangs” 29–30, 35, 38 Tillie’s Punctured Romance 33–6, 38, ¡¡2, ¡77 Totheroh, Rollie 59, ¡27 “The Tramp” 45–6, 47, 50, 52, 54, 55, 56 “Triple Trouble” 54 Turpin, Ben ¡7, 39–4¡, 43 “Twenty Minutes of Love” 22–3, 30, 38, 43, ¡30 United Artists ¡0¡, ¡28 “The Vagabond” 65–6, 83, 99, ¡34, ¡92 Van Gogh, Theo ¡¡ Index Waite, Malcolm ¡27 Walsh, Raoul 54 Welles, Orson ¡76 White, Leo 39, 40, 43, 58 Wilder, Billy ¡94 “A Woman” 50 A Woman of Paris ¡09–¡6, ¡¡7, ¡22, ¡25, ¡28, ¡38, ¡75 “Work” 47–50, 56, 6¡, ¡5¡ Wright, Basil ¡67 ... impeccable — and the gag defines the theme of the film overall, which is a portrait of the precariousness and insecurity of the poor as they make their way between the feet of the behemoths of Business... him the greatest actor who ever lived”3— as well as the authenticity of the character being an essential expres- The Art of Charlie Chaplin sion of Chaplin s own true self Beyond these are the. .. of that artist — and the human being behind the artist This seems especially true in the case of Charles Chaplin, whose image has come to be accepted as a symbol of the premiere art form of the