This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
A prolific artist, McCay's pioneering early animated films far outshone the work of his contemporaries, and set a standard followed by Walt Disney and others in later decades. His two best-known creations are the newspaper comic strip Little Nemo in Slumberland, which ran from 1905–1914 and 1924–1927, and the animated cartoon Gertie the Dinosaur, which he created in 1914.
His comic strip work has influenced generations of artists, including creators such as William Joyce, André LeBlanc, Moebius, Maurice Sendak, Chris Ware and Bill Watterson.
In 1886, McCay's parents sent him to Cleary's Business College in Ypsilanti, Michigan to learn to be a businessman. While in Ypsilanti, he also received his only formal art training, from John Goodison of Michigan State Normal College (now known as Eastern Michigan University). Goodison taught him the strict application of the fundamentals of perspective, which he put to significant use later in his career. Goodison, formerly a glass stainer, also influenced McCay's bold use of color.
McCay's first major comic strip series was Tales of the Jungle Imps by Felix Fiddle. Forty-three installments were published from January to November 1903, in the Cincinnati Enquirer. The strip was based on poems by George Randolph Chester, then a reporter and editor at the Enquirer. The stories concerned jungle creatures and the ways that they adapted to a hostile world, with individual titles such as How the Elephant Got His Trunk and How the Ostrich Got So Tall.
His strips Little Nemo and Dreams of a Rarebit Fiend were both set in the dreams of their characters and featured fantasy art that attempted to capture the look and feel of dreams. McCay's cartoons were never overwhelmingly popular, but always had a strong following because of his expressive graphic style. Newspaper pages were physically much larger in that time and McCay usually had a half a page to work with. For fantasy art in comics, his only rival was Lyonel Feininger, who went on to have a career in the fine arts after his comics days were over.
McCay also created a number of animated short films, in which every single frame of each cartoon (with each film requiring thousands of frames) was hand-drawn by McCay and occasionally his assistants. McCay went on vaudeville tours with his films. He presented lectures and did drawings; then he interacted with his animated films, performing such tricks as holding his hand out to "pet" his animated creations. The star of McCay's groundbreaking animated film Gertie the Dinosaur is classified by film and animation historians as the first cartoon character created especially for film to display a unique, realistic personality. In the film, Gertie causes trouble and cries when she is scolded, and finally she gives McCay himself a ride on her back as he steps into the movie picture.
In addition to a series of cartoons based on his popular "rarebit" gags, McCay also created The Sinking of the Lusitania, a depiction of the attack on the maritime ship. The cartoon contained a message that was meant to inspire America into joining World War I.
Woody Gelman discovered many of the original Little Nemo strips at a cartoon studio where Bob McCay, Winsor's son, had worked in 1966. Many of the original drawings that Gelman recovered were displayed at the Metropolitan Museum of Art under the direction of curator A. Hyatt Mayor. In 1973, Gelman would publish a collection of Little Nemo strips in Italy.
Category:1934 deaths Category:American animators Category:Artists from Cincinnati, Ohio Category:Burials at the Cemetery of the Evergreens Category:Cleary University alumni Category:Comic strip cartoonists Category:Eastern Michigan University alumni Category:People from Chicago, Illinois Category:People from Ypsilanti, Michigan Category:Vaudeville performers Category:Will Eisner Award Hall of Fame inductees
bs:Winsor McCay ca:Winsor McCay de:Winsor McCay et:Winsor McCay es:Winsor McCay fr:Winsor McCay hr:Winsor McCay it:Winsor McCay nl:Winsor McCay ja:ウィンザー・マッケイ no:Winsor McCay pt:Winsor McCay ro:Winsor McCay ru:Маккей, Уинзор sr:Винзор Мекеј fi:Winsor McCay sv:Winsor McCayThis text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Rudolph Valentino |
---|---|
birth name | Rodolfo Alfonso Raffaello Piero Filiberto Guglielmi di Valentina d'Antonguolla |
birth date | May 06, 1895 |
birth place | Castellaneta, Italy |
death date | August 23, 1926 |
death place | New York City, New York, U.S. |
years active | 1914–1926 |
occupation | Actor |
spouse | }} |
Rudolph Valentino (May 6, 1895 – August 23, 1926) was an Italian actor, and early pop icon. A sex symbol of the 1920s, Valentino was known as the "Latin Lover". He starred in several well known silent films including The Four Horsemen of the Apocalypse, The Sheik, Blood and Sand, The Eagle and Son of the Sheik.
His sudden death at age 31 caused mass hysteria among his female fans, propelling him into icon status. Though his films are not as well known today, his name is still widely known.
As a child, Valentino was reportedly spoiled and troublesome. His mother coddled him while his father disapproved of his behavior. He did poorly in school, and was eventually enrolled in agricultural school where he received a degree.
After living in Paris in 1912, he soon returned to Italy. Unable to secure employment, he departed for the United States in 1913. He was processed at Ellis Island at age 18 on December 23, 1913.
Valentino eventually befriended Chilean heiress Blanca de Saulles who was unhappily married to prominent businessman John de Saulles, with whom she had a son. Whether Blanca and Valentino actually had a romantic relationship is unknown, but when the de Saulles couple divorced, Valentino took the stand to support Blanca de Saulles' claims of infidelity on her husband's part. Following the divorce, John de Saulles reportedly used his political connections to have Valentino arrested, along with a Mrs. Thyme, a known madam, on some unspecified vice charges. The evidence was flimsy at best and after a few days in jail, Valentino's bail was lowered from $10,000 to $1,500.
The trial and subsequent scandal was well publicized, following which Valentino could not find employment. Shortly after the trial, Blanca de Saulles fatally shot her ex-husband during a custody dispute over their son. Fearful of being called in as a witness in another sensational trial, Valentino left town, joining a traveling musical that led him to the West Coast.
Valentino, with Kerry as a roommate, moved back to Los Angeles and took up residence at the Alexandria Hotel. He continued dancing, teaching dance and building up a following which included older female clientele who would let him borrow their luxury cars.
With his dancing success, Valentino found a room of his own on Sunset Boulevard and began actively seeking screen roles. His first part was as an extra in the film Alimony, moving on to small parts in several films. Despite his best efforts he was typically cast as a "heavy" (villain) or gangster. At the time, the major male star was Wallace Reid, with a fair complexion, light eyes, and an All American look, with Valentino the opposite, eventually supplanting Sessue Hayakawa as Hollywood's most popular "exotic" male lead.
By 1919, he had carved out a career in bit parts. It was a bit part as a "cabaret parasite" in the drama Eyes of Youth that caught the attention of screenwriter June Mathis, who thought he would be perfect for her next movie. He also appeared as second lead in The Delicious Little Devil (1919) with star Mae Murray.
While traveling to Palm Springs, Florida to film Stolen Moments, Valentino read the novel The Four Horsemen of the Apocalypse by Vicente Blasco Ibáñez. Seeking out a trade paper, he discovered that Metro had bought the film rights to the story. In New York, he sought out Metro's Office, only to find June Mathis had been trying to find him. She cast him in the role of Julio Desnoyers. For director, Mathis had chosen Rex Ingram, with whom Valentino did not get along, leading Mathis to play the role of peacekeeper between the two.
The Four Horsemen of the Apocalypse was released in 1921, becoming a commercial and critical success. It was one of the first films to make $1,000,000 at the box office, as well as the sixth highest grossing silent film ever.
Metro Pictures seemed unwilling to acknowledge it had made a star. Most likely due to Rex Ingram's lack of faith in him, the studio refused to give him a raise beyond the $350 a week he had made for Four Horsemen. For his follow up film, they forced him into a bit part in a B film called Uncharted Seas. It was on this film that Valentino met his second wife, Natacha Rambova.
Rambova, Mathis, Ivano, and Valentino began work on the Alla Nazimova film Camille. Valentino was cast in the role of Armand, Nazimova's love interest. The film, mostly under the control of Rambova and Nazimova, was considered too avant garde by critics and the public.
Valentino's final film for Metro was the Mathis-penned The Conquering Power. The film received critical acclaim and did well at the box office. After the film's release, Valentino made a trip to New York where he met with several French producers. Yearning for Europe, better pay, and more respect, Valentino returned and promptly quit Metro.
Jesse Lasky intended to capitalize on the star power of Valentino, and cast him in a role that would solidify his reputation as the "Latin Lover". In The Sheik, Valentino played the starring role as Sheik Ahmed Ben Hassan. The film was a major success and would go on to define not only his career but his image and legacy. Valentino tried to distance the character from a stereotypical portrayal of an Arab man. Asked if Lady Diana (his love interest) would have fallen for a 'savage' in real life Valentino replied, "People are not savages because they have dark skins. The Arabian civilization is one of the oldest in the world...the Arabs are dignified and keen brained."
Famous Players produced four more feature length films over the next 15 months. His leading role in Moran of the Lady Letty was of a typical Douglas Fairbanks nature, however to capitalize on Valentino's bankability, his character was given a Spanish name and ancestry. The film received mixed reviews but was still a hit with audiences.
In November 1921, Valentino starred alongside Gloria Swanson in Beyond the Rocks. The film contained lavish sets and extravagant costumes, though Photoplay magazine said the film was "a little unreal and hectic". Released in 1922, the film was a critical disappointment. Years after its release, Beyond the Rocks was thought to be lost, save for a one minute portion. In 2002, the film was discovered by the Netherlands Film Museum. The restored version was released on DVD in 2006.
In 1922, Valentino began work on another Mathis-penned film, Blood and Sand. Co-starring Lila Lee and Nita Naldi, Valentino played the lead, bullfighter Juan Gallardo. Initially believing the film would be shot in Spain, Valentino was upset to learn that the studio planned on shooting on a Hollywood back lot. He was further irritated by changes in production, including a director of whom he did not approve.
After finishing the film, Valentino married Rambova, which led to a bigamy trial. The trial was a sensation and the pair was forced to have their marriage annulled and separated for a year. Despite the trial, the film was still a success, with critics calling it a masterpiece on par with Broken Blossoms and Four Horsemen. Blood and Sand went on to become one of the top four grossing movies of 1922, breaking attendance records, and grossing $37,400 at the Rivoli Theatre alone. Valentino would consider this one of his best films.
During his forced break from Rambova, the pair began working (separately) on the Mathis-penned The Young Rajah. Only fragments of this film, recovered in 2005, still remain. The film did not live up to expectations and underperformed at the box office. Valentino felt he had underperformed in the film, being upset over his separation with Rambova. Missing Rambova, Valentino returned to New York after the release of The Young Rajah. They were spotted and followed by reporters constantly. During this time Valentino began to contemplate not returning to Famous Players, although Jesse Lasky already had his next picture, The Spanish Cavalier, in preparation. After speaking with Rambova and his lawyer Arthur Butler Graham, Valentino declared a 'One man Strike' against Famous Players.
In September 1922, he refused to accept paychecks from Famous Players until the dispute was solved, although he owed them money he had spent to pay off Jean Acker. Angered, Famous Players in turn filed suit against him.
Valentino did not back down, and Famous Players realized how much they stood to lose. In trouble after shelving Fatty Arbuckle pictures, the studio tried to settle by upping his salary from $1,250 to $7,000 a week. Variety, erroneously, announced the salary increase as a 'new contract' before news of the lawsuit was released. Valentino refused the offer.
Valentino went on to claim that artistic control was more of an issue than the money. He wrote an open letter to Photoplay magazine, entitled "Open Letter to the American Public", where he argued his case, although the average American had trouble sympathizing, as most made $2,000 a year. Famous Players made their own public statements deeming him more trouble than he was worth (the divorce, bigamy trials, debts) and that he was temperamental, almost diva-like. They claimed to have done all they could and that they had made him a real star.
Other studios began courting him. Joseph Schenck was interested in casting his wife, Norma Talmadge, opposite Valentino in a version of Romeo and Juliet. June Mathis had moved to Goldwyn Pictures where she was in charge of the Ben-Hur project, and interested in casting Valentino in the film. However, Famous Players exercised their option to extend his contract, preventing him from accepting any employment other than with the studio. By this point Valentino was around $80,000 in debt. Valentino filed an appeal, a portion of which was granted. Although he was still not allowed to work as an actor, he could accept other types of employment.
The tour was a tremendous success with Valentino and Rambova performing in 88 cities in the United States and Canada. In addition to the tour, Valentino also sponsored Mineralava beauty products and judged Mineralava sponsored beauty contests. One beauty contest was filmed by a young David O. Selznick entitled Rudolph Valentino and His 88 Beauties.
The first film under the new contract was Monsieur Beaucaire, wherein Valentino played the lead, Duke of Chartres. The film did poorly and American audiences found it 'effeminate'. The failure of the film, under Rambova's control, is often seen as proof of her controlling nature and would later cause her to be barred from Valentino sets. Valentino made one final movie for Famous Players. In 1924 he starred in The Sainted Devil, now one of his lost films. It had lavish costumes but apparently a weak story. It opened to strong sales but soon dropped off in attendance and ended up as another disappointment.
With his contract fulfilled, Valentino was released from Famous Players but still obligated to Ritz-Carlton for four films. Valentino's next film was a pet project entitled The Hooded Falcon. The production was beset with problems from the start, beginning with the script written by June Mathis. The Valentinos were dissatisfied with Mathis' version and requested that it be rewritten. Mathis took it as a great insult and did not speak to Valentino for almost two years. While Rambova worked designing costumes and rewriting the script for Falcon, Valentino was persuaded to film Cobra with Nita Naldi. Valentino agreed only on condition that it not be released until after The Hooded Falcon debuted.
After filming Cobra, the cast of The Hooded Falcon sailed for France to be fitted for costumes. After three months, they headed back to the United States, where Valentino's new beard, which he had grown for the film, caused a sensation. The crew and cast headed for Hollywood to begin preparations for the film, but much of the budget was taken up during pre-production. Due to the Valentinos' lavish spending on costumes and sets, Ritz-Carlton terminated the deal with the couple, effectively ending Valentino's contract with Ritz-Carlton.
Valentino chose his first UA project, The Eagle. With the marriage under strain, Valentino began shooting and Rambova announced that she needed a "marital vacation". During the filming of The Eagle, rumors of an affair with co-star Vilma Bánky were reported and ultimately denied by both Bánky and Valentino. The film opened to positive reviews, but a moderate box office.
For the film's release, Valentino travelled to London, staying there and in France, spending money with abandon while his divorce took place. It would be some time before he made another film, The Son of the Sheik, despite his hatred of the sheik image. The film began shooting in February 1926, with Valentino given his choice of director, and pairing him again with Vilma Banky. The film used the authentic costumes he bought abroad and allowed him to play a dual role. Valentino was ill during production, but needed the money to pay his many debts. The film opened on July 8, 1926 to great fanfare. During the premiere, Valentino was reconciled with Mathis; the two had not spoken in almost two years.
Some journalists were still calling his masculinity into question, going on at length about his pomaded hair, his dandyish clothing, his treatment of women, his views on women, and whether he was effeminate or not. Valentino hated these stories and was known to carry the clippings of the newspaper articles around with him and criticize them.
In July 1926, The Chicago Tribune reported that a vending machine dispensing pink talcum powder had appeared in an upscale hotel washroom. An editorial that followed used the story to protest the feminization of American men, and blamed the talcum powder on Valentino and his films. The piece infuriated Valentino and he challenged the writer to a duel and then a boxing match. Neither challenge was answered. Shortly afterward, Valentino met with journalist H.L. Mencken for advice on how best to deal with the incident. Mencken advised Valentino to "let the dreadful farce roll along to exhaustion", but Valentino insisted the editorial was "infamous." Mencken found Valentino to be likable and gentlemanly and wrote sympathetically of him in an article published in the Baltimore Sun a week after Valentino's death:
After Valentino challenged the Tribune's anonymous writer to a boxing match, the New York Evening Journal boxing writer, Frank O'Neill, volunteered to fight in his place. Valentino won the bout which took place on the roof of New York's Ambassador Hotel.
Boxing heavyweight champion Jack Dempsey, who trained Valentino and other Hollywood notables of the era in the art of boxing, said of him "He was the most virile and masculine of men. The women were like flies to a honeypot. He could never shake them off, anywhere he went. What a lovely, lucky guy."
Valentino was fascinated with every part of movie-making. During production on a Mae Murray film he spent time studying the director's plans. He craved authenticity and wished to shoot on location, finally forming his own production company, Rudolph Valentino Productions, in 1925. Valentino, George Ullman, and Beatrice Ullman were the incorporators.
On May 14, 1923, while in New York City, Valentino made his only two vocal recordings for Brunswick Records; "Kashmiri Song" (The Sheik) and "El Relicario" (Blood and Sand). The recordings were not released until after Valentino's death by the Celebrity Recording Company; Brunswick did not release them because Valentino's English/Spanish pronunciation was subpar.
Valentino was one of the first in Hollywood to offer an award for artist accomplishments in films. The Academy Awards would later follow suit. In 1925, he gave out his one and only medal, to John Barrymore, for his performance in Beau Brummel. The award, named The Rudolph Valentino Medal, required the agreement of Valentino, two judges and the votes of 75 critics. Everyone other than Valentino himself was eligible.
Valentino first met Natacha Rambova, a costume designer and art director and protégée of Nazimova, on the set of Uncharted Seas in 1921. The two worked together on the Nazimova production of Camille, by which time they were romantically involved. They married on May 13, 1922, in Mexicali, Mexico, which resulted in Valentino's arrest for bigamy since he had not been divorced for a full year, as required by California law at the time. Days passed and his studio at the time, Famous Players-Lasky, refused to post bail. Eventually, a few friends were able to post the cash bail.
Having to wait the year or face the possibility of being arrested again, Rambova and Valentino lived in separate apartments in New York City, each with their own roommates. On March 14, 1923, they legally remarried.
Many of Valentino's friends disliked Rambova and found her controlling. During his relationship with her, he lost many friends and business associates, including June Mathis. Toward the end of their marriage, Rambova was banned from his sets by contract. Valentino and Rambova divorced in 1925. The end of the marriage was bitter, with Valentino bequeathing Rambova one dollar in his will.
From the time he died until the 1960s, Valentino's sexuality was not generally questioned. At least four books, particularly Hollywood Babylon, began to perpetuate that he may have been homosexual despite his marriage with Rambova. In fact, the marriages to Acker and Rambova, as well as the relationship with Pola Negri only serves to add to the suspicion that Valentino was homosexual and that these were "lavender marriages", as all have documented lesbian relationships. Such books gave rise to claims that Valentino had a relationship with Ramón Novarro, despite even Novarro stating they barely knew each other. Hollywood Babylon in particular spread the rumor that Valentino had given Novarro an art deco dildo as a gift, which was found stuffed in his throat at the time of his murder. No such gift ever existed. These books also gave rise to claims that he may have had relationships with both roommates Paul Ivano and Douglas Gerrad, as well as Norman Kerry, openly gay French actor Jacques Herbertot and André Daven. However, Ivano maintained that it was completely untrue and both he and Valentino were heterosexual. Biographers Emily Leider and Allan Ellenberger generally agree that he was most likely straight.
Further evidence that Valentino was gay are documents in the estate of the late author Samuel Steward indicating that Valentino was a sexual partner of his. However, evidence found in Steward's claim was subsequently refuted. In 1924, Valentino recorded an explicit account of a one night stand with another man in his journal.
Shortly before his death, Valentino was dating actress Pola Negri. Upon his death, Negri made a scene at his funeral, claiming they had been engaged. Valentino had never confirmed the engagement claim.
An estimated 100,000 people lined the streets of New York City to pay their respects at his funeral, handled by the Frank Campbell Funeral Home. The event was a drama itself: Suicides of despondent fans were reported. Windows were smashed as fans tried to get in and an all day riot erupted on August 24. Over 100 Mounted officers and NYPD's Police Reserve was deployed to restore order. A phalanx of officers would line the streets for the remainder of the viewing. The drama inside would not be outdone. Polish Actress Pola Negri, claiming to be Valentino's fiancee, collapsed in hysterics while standing over the coffin, and Campbell's hired four actors to impersonate a Fascist Blackshirt honor guard, which claimed to have been sent by Benito Mussolini. It was later revealed as a planned publicity stunt. Media reports that the body on display in the main salon was not Valentino but a decoy were continually denied by Campbell.
Valentino's funeral mass in New York was held at Saint Malachy's Roman Catholic Church, often called "The Actor's Chapel", as it is located on West 49th Street in the Broadway theater district, and has a long association with show business figures.
After the body was taken by train across the country, a second funeral was held on the West Coast, at the Catholic Church of the Good Shepherd in Beverly Hills. Valentino had no final burial arrangements and his friend June Mathis offered her crypt for him in what she thought would be a temporary solution. However, she died the following year and Valentino was placed in the adjoining crypt. The two are still interred side by side in adjoining crypts at the Hollywood Memorial Park Cemetery (now the Hollywood Forever Cemetery) in Hollywood, California.
Also in 2010, Rudolph Valentino's historic Bayside, Queens, house was restored. John Joseph Fasano, a New York artist, restored all the original mahagony in the famous "Valentino Room". Fasano also painted two traditional murals in oil paint at the estate, and created decorative wall finishes inside the "Valentino Room".
Over the years, a "woman in black" carrying a red rose has come to mourn at Valentino's grave, usually on the anniversary of his death. Several myths surround the woman, though it seems the first woman in black was actually a publicity stunt cooked up by press agent Russel Birdwell in 1928. Several copycats have followed over the years.
Valentino has been depicted frequently in literature, most notably in Mitzi Szereto's Wicked: Sexy Tales of Legendary Lovers and Jacob Appel's After Valentino.
Valentino's hometown of Castellaneta, Italy has created several services in his honor. A Museo Rodolfo Valentino was opened in his childhood home. A Fondazione Rodolfo Valentino was created to promote his life and his work. In 2009 a film school was also opened in his hometown, "Centro Studi Cine Club Rodolfo Valentino Castellaneta." At the centennial of his birth several events were held in his honor. From 1972 to 2006 an Italian acting award, "The Rudolph Valentino Award", was handed out every year. Several actors from all over the world received this award including Leonardo DiCaprio and Elizabeth Taylor.
In 2006, the Italians planned a one-off film festival to celebrate the opening of the Museo Rodolfo Valentino. In May 2010, the American Society held The Rudolph Valentino Film Festival in Los Angeles, California.
An earlier feature film about Valentino's life, also called Valentino, was released in 1951, starring Anthony Dexter as Valentino.
In 2003, Edoardo Ballerini premiered the short film Good Night Valentino at the Sundance Film Festival to critical acclaim. It is based on the transcripts of the conversation between Rudolph Valentino and H.L. Mencken.
In 2010, Italian film director Giuseppe Sansonna shot the documentary film, The Sheik from Castellaneta, on the cult of Valentino in Castellaneta, where he is still considered a demigod. The film shows the curious, sometimes even grotesque, forms that Valentino's myth has taken in local popular culture.
In 2011 American full length silent film "Death of the Sheik" (Silent Life), directed by Vlad Kozlov, is produced and will be premiered in late 2011 in Hollywood.
The original Royal Hawaiian resort was fashioned in a Spanish-Moorish style which was popular during the time period and influenced by screen star Rudolph Valentino.
! Year | ! Title | ! Role | Notes |
1914 | My Official Wife | Extra | Uncredited |
1914 | Dance Extra | Uncredited | |
1916 | The Quest of Life | Uncredited | |
1916 | The Foolish Virgin | Uncredited | |
1916 | Seventeen | Extra | Uncredited |
1917 | Alimony | Dancer | Uncredited |
1917 | Patria | ||
1918 | A Society Sensation | Dick Bradley | as Rudolpho De Valentina |
1918 | All Night | Richard Thayer | as Rudolpho di Valentina |
1918 | The Married Virgin | Count Roberto di San Fraccini | as Rodolfo di Valentini |
1919 | The Delicious Little Devil | Jimmy Calhoun | as Rudolpho De Valintine |
1919 | The Big Little Person | Arthur Endicott | as M. Rodolpho De Valentina |
1919 | A Rogue's Romance | Apache Dancer | as Rudolph Volantino |
1919 | The Homebreaker | Dance Extra | Uncredited |
1919 | Out of Luck | ||
1919 | Virtuous Sinners | Bit Part | |
1919 | The Fog | ||
1919 | Nobody Home | Maurice Rennard | as Rodolph Valentine |
1919 | Eyes of Youth | Clarence Morgan | as Rudolfo Valentino |
1920 | Jose Dalmarez | as Rudolph Valentine | |
1920 | Jacques Rudanyi | as Rodolph Valentino | |
1920 | The Cheater | Extra | Uncredited |
1920 | Passion's Playground | Prince Angelo Della Robbia | as Rudolph Valentine |
1920 | The Wonderful Chance | Joe Klingsby | |
1921 | Julio Desnoyers | ||
1921 | Uncharted Seas | Frank Underwood | |
1921 | The Conquering Power | Charles Grandet | |
1921 | Sheik Ahmed Ben Hassan | ||
1921 | Armand Duval / Manon's Lover in Daydream | ||
1922 | Moran of the Lady Letty | Ramon Laredo | |
1922 | Lord Hector Bracondale | ||
1922 | Juan Gallardo | as Rodolph Valentino | |
1922 | The Young Rajah | Amos Judd, also known as the Maharajah Sirdir Singh | as Rodolph Valentino |
1924 | Duke de Chartres/Beaucaire | ||
1924 | A Sainted Devil | Don Alonzo Castro | |
1925 | Count Rodrigo Torriani | ||
1925 | Lt. Vladimir Dubrovsky, aka The Black Eagle and Marcel Le Blanc | ||
1926 | The Son of the Sheik | Ahmed, the Sheik's Son / Sheik Ahmed Ben Hassan | Final film |
Category:American actors Category:Burials at Hollywood Forever Cemetery Category:Deaths from surgical complications Category:Deaths from peritonitis Category:American people of Italian descent Category:Italian expatriates in the United States Category:Italian actors Category:Italian film actors Category:American film actors Category:Italian emigrants to the United States Category:Italian silent film actors Category:People from the Province of Taranto Category:20th-century actors Category:1895 births Category:1926 deaths
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The Three Stooges were an American vaudeville and comedy act of the early to mid–20th century best known for their numerous short subject films. Their hallmark was physical farce and extreme slapstick. In films, the Stooges were commonly known by their first names: "Moe, Larry, and Curly" and "Moe, Larry, and Shemp," among other lineups. They first started as "Ted Healy and his Stooges" which contained Moe, Larry and Shemp. "The Three Stooges" film trio was originally composed of Moe Howard, brother Curly Howard and Larry Fine. Shemp Howard replaced brother Curly, when Curly suffered a debilitating stroke in May 1946.
After Shemp's death from a heart attack in November 1955, he was replaced by comedian Joe Besser, after the use of film actor Joe Palma to film four Shemp-era shorts. Ultimately, Joe DeRita (nicknamed "Curly Joe") replaced Joe Besser by 1958. The act regained momentum throughout the 1960s as popular kiddie fare until Larry Fine's paralyzing stroke in January 1970 effectively marked the end of the act proper. Moe tried unsuccessfully one final time to revive the Stooges with longtime supporting actor Emil Sitka filling in for Larry. Larry ultimately succumbed to a series of additional strokes in January 1975, followed by Moe, who died of lung cancer in May 1975.
In 1930, Ted Healy and His Stooges (including Sanborn) appeared in their first Hollywood feature film, Soup to Nuts, released by Fox Film Corporation. The film was not a critical success, but the Stooges' performances were singled out as memorable, leading Fox to offer the trio a contract minus Healy. This enraged the prickly Healy, who told studio executives that the Stooges were his employees. The offer was withdrawn, and after Howard, Fine and Howard learned of the reason, they left Healy to form their own act, which quickly took off with a tour of the theatre circuit. Healy attempted to stop the new act with legal action, claiming they were using his copyrighted material. There are accounts of Healy threatening to bomb theaters if Howard, Fine and Howard ever performed there, which worried Shemp so much that he almost left the act; reportedly, only a pay raise kept him on board. Healy tried to save his act by hiring replacement stooges, but they were inexperienced and not as well-received as their predecessors. In 1932, with Moe now acting as business manager, Healy reached a new agreement with his former Stooges, and they were booked in a production of Jacob J. Shubert's The Passing Show of 1932. During rehearsals, Healy received a more lucrative offer and found a loophole in his contract allowing him to leave the production. Shemp, fed up with Healy's abrasiveness, decided to quit the act and found work almost immediately, in Vitaphone movie comedies produced in Brooklyn, New York.
With Shemp gone, Healy and the two remaining stooges (Moe and Larry) needed a replacement, so Moe suggested his younger brother Jerry Howard. Healy reportedly took one look at Jerry, who had long chestnut red locks and a handlebar mustache, and remarked that he did not look like he was funny. Jerry left the room and returned a few moments later with his head shaved (though his mustache remained for a time), and then quipped "Boy, do I look girly." Healy heard "Curly," and the name stuck. (There are varying accounts as to how the Curly character actually came about.)
In 1933, Metro-Goldwyn-Mayer (MGM) signed Healy and his Stooges to a movie contract. They appeared in feature films and short subjects, either together, individually, or with various combinations of actors. The trio was featured in a series of musical comedy shorts, beginning with Nertsery Rhymes. The short was one of a few shorts to be made with an early two-strip Technicolor process, including one featuring Curly without Healy or the other Stooges, Roast Beef and Movies (1934). The shorts themselves were built around recycled film footage of production numbers cut from MGM musicals, such as Children of Pleasure, Lord Byron of Broadway, and the unfinished March of Time (all 1930), which had been filmed in early Technicolor. Soon, additional shorts followed (sans the experimental Technicolor), including Beer and Pretzels (1933), Plane Nuts (1933), and The Big Idea (1934).
Healy and company also appeared in several MGM feature films as comic relief, such as Turn Back the Clock (1933), Meet the Baron (1933), Dancing Lady (1933), Fugitive Lovers (1934), and Hollywood Party (1934). Healy and the Stooges also appeared together in Myrt and Marge for Universal Pictures.
In 1934, the team's contract with MGM expired, and the Stooges parted professional company with Healy. According to Moe Howard's autobiography, the Stooges split with Ted Healy in 1934 once and for all because of Healy's alcoholism and abrasiveness. Their final film with Healy was MGM’s 1934 film, Hollywood Party. Both Healy and the Stooges went on to separate successes, with Healy dying under mysterious circumstances in 1937.
Within their first year at Columbia, the Stooges became wildly popular. Realizing this, Columbia Pictures president Harry Cohn used the Stooges as leverage, as the demand for their films was so great that Columbia eventually refused to supply exhibitors with the trio's shorts unless they also agreed to book some of the studio's mediocre B movies. Cohn also saw to it that the Stooges remain ignorant of their popularity. During their 23 years spent at Columbia, the Stooges were never completely aware of their amazing drawing power at the box office. As their contracts with the studio included an open option that had to be renewed every year, Cohn would tell the boys that the short subjects were in decline, which was not a complete fabrication (Cohn's yearly mantra was "the market for comedy shorts is dying out, fellahs.") Thinking their days were numbered, the Stooges would sweat it out each and every year, with Cohn signing the trio up for another year at the last minute. This cruel deception kept the insecure Stooges unaware of their true value, resulting in them having second thoughts about asking for a better contract without a yearly option. Cohn's scare tactics worked for all 23 years the Stooges were at Columbia; the team never once asked for—nor were they ever given—a salary increase. It was not until after they stopped making the shorts in December 1957 did Moe learn of the game Cohn was playing, what a valuable commodity the Stooges had been for the ailing studio, and how many millions more the act could have earned.
The Stooges were required to churn out up to eight short films per year within a 40-week period; for the remaining 12 or so weeks, they were free to pursue other employment. Usually, the Stooges would either spend this time with their families or tour the country promoting their live act. The Stooges appeared in 190 film shorts and five features while at Columbia. Del Lord directed more than three dozen Stooge films; Jules White directed dozens more, and his brother Jack White directed several under the pseudonym "Preston Black".
According to a published report, Moe, Larry, and director Jules White considered their best film to be You Nazty Spy!. This 18-minute short subject starred Moe as "Moe Hailstone", an Adolf Hitler-like character, and satirized the Nazis in a period when America was still neutral and resolutely isolationist. Curly played a Hermann Goering character, replete with medals, and Larry a Ribbentrop-type ambassador. You Nazty Spy! was the first Hollywood film to spoof Hitler, as it was released in January, 1940, nine months before Charlie Chaplin's The Great Dictator. Reportedly this film caused the Stooges to be placed on Hitler's so-called "death list" because of its anti-Nazi stance. Chaplin, along with Jack Benny, would also be on this list due to their later anti-Nazi films. The Stooges made occasional guest appearances in feature films, though generally they stuck to short subjects. Columbia offered theater owners an entire program of two-reel comedies (15 to 25 titles annually) featuring such stars as Buster Keaton, Andy Clyde, Charley Chase, and Hugh Herbert, but the Three Stooges shorts were the most popular of all.
Curly was easily the most popular member of the team. His childlike mannerisms and natural comedic charm (he had no previous acting experience) made him a hit with audiences. The fact that Curly had to shave his head for the act led him to feel unappealing to women. To mask his insecurities, Curly ate and drank excessively and caroused whenever the Stooges made personal appearances, which was approximately seven months out of the year. His weight ballooned in the 1940s, and his blood pressure was dangerously high. His wild lifestyle and constant drinking eventually caught up with him in 1945, and his performances suffered. In his last dozen shorts (ranging from 1945's If a Body Meets a Body through 1947's Half-Wits Holiday), he was seriously ill, struggling to get through even the most basic scenes.
It was during the final day of filming Half-Wits Holiday on May 6, 1946 that Curly suffered a debilitating stroke on the set, ending his 14-year career. Curly's health necessitated a temporary retirement from the act, and while the Stooges hoped for a full recovery, Curly never starred in a film again, except for one brief cameo appearance in the third film after Shemp returned to the trio, Hold That Lion! It was the only film that contained all four of the original Stooges (the three Howard brothers and Larry) on screen simultaneously; Jules White recalled Curly visiting the set one day, and White had him do this bit for fun. (Curly's cameo appearance was recycled in the 1953 remake Booty and the Beast.) In 1949, Curly was supposed to play a cameo role in the Stooge comedy Malice in the Palace, but he was physically unable to perform. His chef role was played by Larry.
Shemp appeared with the Stooges in 76 more shorts and a quickie Western comedy feature titled Gold Raiders. Upon Shemp's return, the quality of the films picked up; the last few Curly efforts had been marred by his sluggish performances. Entries like Out West, Squareheads of the Round Table, and Punchy Cowpunchers proved that there was life after Curly, and that Shemp could easily hold his own. Though some say he lacked his younger brother's childlike charisma, Shemp was a gifted, professional comedian. More often than not, his astute gift of comedic timing buoys weak material. In fact, one the finest entries in the series, Brideless Groom, was made during this period.
Another interesting plus from the Shemp era was that Larry was given more time on screen. Throughout most of the Curly era, Larry was relegated to a background role, only being called upon to break up a potential scuffle between Moe and Curly. By the time Shemp rejoined the Stooges, Larry was allotted equal footage, even becoming the focus of several films (Fuelin' Around, He Cooked His Goose).
During this period, Moe, Larry, and Shemp made a pilot for a Three Stooges television show called Jerks of All Trades in 1949. The series was never picked up, although the pilot is currently in the public domain and is available on home video, as is an early television appearance from around the same time on a vaudeville-style comedy series, Camel Comedy Caravan, originally broadcast live on CBS-TV on March 11, 1950 and starring Ed Wynn. Also available commercially is a kinescope of Moe, Larry, and Shemp's appearance on The Frank Sinatra Show, broadcast live over CBS-TV on January 1, 1952. Frank Sinatra was reportedly a big fan of the Stooges and slapstick comedy in general. On this broadcast, the Stooges are joined by one of their longtime stock-company members, Vernon Dent, who plays "Mr. Mortimer", a party-goer who requests a drink. The Stooges oblige with disastrous results.
Columbia's short-subject division downsized in 1952. Producer Hugh McCollum was discharged and director Edward Bernds resigned out of loyalty to McCollum, leaving only Jules White to both produce and direct the Stooges' remaining Columbia comedies. Production was significantly faster, with the former four-day filming schedules now tightened to two or three days. In another cost-cutting measure, White would create a "new" Stooge short by borrowing footage from old ones, setting it in a slightly different storyline, and filming a few new scenes often with the same actors in the same costumes. White was initially very subtle when recycling older footage: he would reuse only a single sequence of old film, re-edited so cleverly that it was not easy to detect. The later shorts were cheaper and the recycling more obvious, with as much as 75% of the running time consisting of old footage. White came to rely so much on older material that he could film the "new" shorts in a single day.
Three years after Curly's death, Shemp Howard died of a sudden heart attack at age 60 on November 22, 1955. Archived footage of Shemp, combined with new footage of Joe Palma, were used to complete the last four films originally planned with Shemp: Rumpus in the Harem, Hot Stuff, Scheming Schemers, and Commotion on the Ocean.
With Besser on board, the Stooge films began to resemble sitcoms. Sitcoms, though, were now available for free. Television was the new popular medium, and by the time Besser joined the act, the Stooges were generally considered throwbacks to an obsolete era. In addition, Moe and Larry were growing older, and could not perform pratfalls and physical comedy as they once had. The inevitable occurred soon enough. Columbia was the last studio still producing shorts, and the market for such films had all but dried up. As a result, the studio opted not to renew the Stooges' contract when it expired in late December 1957. The final comedy produced was Flying Saucer Daffy, filmed on December 19–20, 1957. Several days later, the Stooges were unceremoniously fired from Columbia Pictures after 24 years of making low-budget shorts. Joan Howard Maurer, daughter of Moe, wrote the following in 1982:
{{bquote|The boys' careers had suddenly come to an end. They were at Columbia one day and gone the next—no 'Thank yous,' no farewell party for their 24 years of dedication and service and the dollars their comedies had reaped for the studio.
Moe Howard recalled that a few weeks after their exit from Columbia, he drove to the studio to say goodbye to several studio executives when he was stopped by a guard at the gate (obviously, not a Stooges fan) and, since he did not have the current year's studio pass, was refused entry. For the moment, it was a crushing blow.}} Although the Stooges were no longer working for Columbia, the studio had enough completed films on the shelf to keep releasing new comedies for another 18 months, and not in the order they were produced. The final Stooge release, Sappy Bull Fighters, did not reach theaters until June 4, 1959. With no active contract in place, Moe and Larry discussed plans for a personal appearance tour; meanwhile, Besser's wife had a minor heart attack, and he preferred to stay local, leading him to withdraw from the act. For the first time in nearly 30 years, the Stooges hit a dead end.
This Three Stooges lineup went on to make a series of popular full-length films from 1959 to 1965, most notably Have Rocket, Will Travel, The Three Stooges Meet Hercules and The Three Stooges Go Around the World in a Daze. The films were aimed at the kiddie-matinee market, and most were Farce outings in the Stooge tradition, with the exception of Snow White and the Three Stooges, a children's fantasy in Technicolor. They also appeared as firemen (the role that helped make them famous in Soup to Nuts) in the film It's a Mad, Mad, Mad, Mad World. Throughout the 1960s, The Three Stooges were one of the most popular and highest-paid live acts in America. The trio also filmed 41 short comedy skits for The New Three Stooges, which features a series of 156 animated cartoons produced for television. The Stooges appeared in live-action color footage, which preceded and followed each animated adventure in which they voiced their respective characters.
On January 9, 1970, during production of the pilot, Larry suffered a paralyzing stroke, ending his acting career, as well as plans for the television series. thumb|150px|lefgt|A proposed incarnation of the Three Stooges. A promotional picture taken after Larry Fine's death in 1975 features a very ill Moe Howard (who died shortly thereafter) flanked by Curly Joe DeRita to the left and Emil Sitka to the right.Plans were in the works for longtime foil Emil Sitka to replace Larry as the "Middle Stooge" in 1971, but nothing ever came of that idea other than the proposed publicity still reproduced here. Three years later, just before Christmas of 1974, Larry Fine suffered yet another stroke at the age of 72 and four weeks later, suffered a more massive one. Slipping into a coma, he died a week later of a stroke-induced cerebral hemorrhage on January 24, 1975.
Devastated by his friend's death, Moe nevertheless decided that the Three Stooges should continue. Several movie ideas were considered, one of which according to critic and movie historian Leonard Maltin, (who also uncovered a pre-production photo) was entitled Blazing Stewardesses. Unfortunately, before pre-production could begin, after a lifetime of smoking, Moe fell ill from lung cancer, and died three months later on May 4, 1975, finally putting to rest the last original surviving member of one of the most famous comedy troupes of the 20th Century.
However, Blazing Stewardesses, the last film idea that the Three Stooges had ever seriously considered, was eventually made, starring the last of the surviving Ritz Brothers comedy troupe and released to moderate acclaim later that year.
Curly Joe continued to perform live into the mid-1970s with Mousie Garner and Frank Mitchell as "The New 3 Stooges" enjoying recognition well into old age, before retiring by 1979.
Of the remaining “original-replacement” Stooges, Joe Besser died of heart failure on March 1, 1988, followed by Curly Joe DeRita of pneumonia on July 3, 1993.
The Ted Okuda/Edward Watz-penned book The Columbia Comedy Shorts puts the Stooges legacy in critical perspective:
Beginning in the 1980s, the Stooges finally began to receive long-overdue critical recognition. More often than not, the praise was directed at Curly, usually at the expense of his castmates, most especially Shemp. With the advent of cable television and the burgeoning home video market, the praise was eventually spread more evenly throughout the team. Critics began to realize that Moe and Larry were gifted performers; though less flamboyant than Curly, they were by no means less talented. Curly was indeed brilliant and a one-of-a-kind, but taken for long periods of time, he could also be irritating and exhausting without Moe and Larry present to provide a counterbalance. This balance would be handled better after Shemp returned to the act, with Larry in particular receiving more screen time. The release of nearly all their films on DVD by 2010 has allowed critics of Joe Besser and Joe DeRita—often the recipients of significant fan backlash—to appreciate the unique style of comedy both comedians brought to the Stooges. In addition, the DVD market in particular has allowed fans to view the entire Stooge film corpus as distinct periods in their long, distinguished career instead of comparing one Stooge to the other (the Curly vs. Shemp debate continues to this day).
The team appeared in 220 films. In the end, it is the durability of the 190 timeless short films the Stooges made at Columbia Pictures that acts as an enduring tribute to the comedy team. Their continued popularity worldwide has proven to even the most skeptical critics that their films—quite simply—are funny. American television personality Steve Allen went on record in the mid-1980s saying "though they never achieved widespread critical acclaim, they achieved exactly what they had always intended to do: they made people laugh."
! | ! Ted | ! Moe | ! Shemp | ! Larry | ! Curly | ! Joe | ! Curly Joe | ! Emil Sitka | |
1. | 1922–1924 | ||||||||
2. | 1925–1932 | ||||||||
3. | 1932–1934 | ||||||||
4. | 1934–1946 | ||||||||
5. | 1946–1955 | ||||||||
6. | 1956–1958 | ||||||||
7. | 1958–1971 | ||||||||
8. | 1971–1975 |
Ted Healy Real Name: Clarence Ernst Lee Nash Born: October 01, 1896 Died: December 21, 1937 Stooge Years: 1922–1931, 1932–1934
Moe Howard Real Name: Moses Harry Horwitz Born: June 19, 1897 Died: May 04, 1975 Stooge years: 1922–1927, 1928–1975
Larry Fine Real Name: Louis Feinberg Born: October 05, 1902 Died: January 24, 1975 Stooge years: 1925–1927, 1928–1971
Curly Howard Real Name: Jerome Lester Horwitz Born: October 22, 1903 Died: January 18, 1952 Stooge years: 1932–1946
Shemp Howard Real Name: Samuel Horwitz Born: March 04, 1895 Died: November 22, 1955 Stooge years: 1922–1927, 1928–1932, 1946–1955
Joe Besser Born: August 12, 1907 Died: March 01, 1988 Stooge years: 1956–1958
Joe DeRita Real Name: Joseph Wardell Born: July 12, 1909 Died: July 03, 1993 Stooge years: 1958–1975
Emil Sitka Born: December 22, 1915 Died: January 16, 1998 Stooge years: n/a
The Three Stooges appeared in 220 films throughout their career. Of those 220, 190 short films were made for Columbia Pictures between 1934 and 1959, for which the trio are best known. Their contract was extended each year from 1934 until the final one expired on December 31, 1957. The last 8 of the 16 shorts with Joe Besser were released soon afterward.
In 1994 the heirs of Larry Fine and Joe DeRita filed a lawsuit against Moe's family, particularly Joan Howard Maurer and her son Jeffrey, who had inherited the NMP/Normandy business. The result reestablished Comedy III as a three-way interest of Fine/[Moe]Howard/DeRita. The DeRita heirs received the proxy to the Howard share, giving them majority control on the company's management. Curly-Joe's stepsons, Robert and Earl Benjamin, became the senior management of Comedy III. The Benjamins later incorporated the company, and C3 Entertainment, Inc. is currently the owner of all Three Stooges trademarks and merchandising. Larry's grandson Eric Lamond is the representative of the Fines' one-third interest in the company.
C3 has also, since 1995, authorized and provided the services of veteran actors Jim Skousen, Alan Semok, and Dave Knight (as Moe, Larry, and Curly respectively) for numerous "personal appearances" by the Stooge characters for a variety of merchandising and promotional events. This latter day trio has also provided voices for the characters in a variety of radio spots, merchandising tie-ins, and most recently for the first new Three Stooges short in fifty years. A CGI animation by Famous Frames Mobile Interactive, a first-wave "new media" company, entitled The Grate Debate, has Moe, Larry and Curly running for President.
Since the 1990s Columbia and its television division's successor, Sony Pictures Television, has preferred to license the Stooges shorts to cable networks, precluding the films from being shown on local broadcast TV. Two stations in Chicago and Boston, however, signed long-term syndication contracts with Columbia years ago and have declined to terminate them. Thus, WMEU-CA in Chicago currently airs all 190 Three Stooges shorts on Stooge-a-Palooza, hosted by Rich Koz, and WSBK-TV in Boston airs Stooge shorts and feature films. KTLA in Los Angeles dropped the shorts in 1994, but brought them back in 2007 as part of a special retro-marathon commemorating the station's 60th anniversary. Since that time, the station's original 16mm Stooges film prints have aired occasionally as part of mini-marathons on holidays. Antenna TV, a network broadcasting on the digital subchannels of local broadcast stations (owned by Tribune Broadcasting, who also owns KTLA), began airing the Stooges shorts upon the network's January 1, 2011 launch, which run in multi-hour blocks on weekends; most of the Three Stooges feature films are also broadcast on the network, through Antenna TV's distribution agreement with Sony Pictures Entertainment (whose Columbia Pictures subsidiary released most of the films).
Some of the Stooge films have been colorized by two separate companies. The first colorized DVD releases, distributed by Sony Pictures Home Entertainment, were prepared by West Wing Studios in 2004. The following year, Legend Films colorized the public domain shorts Malice in the Palace, Sing a Song of Six Pants, Disorder in the Court and Brideless Groom. Disorder in the Court and Brideless Groom also appear on two of West Wing's colorized releases. In any event, the Columbia-produced shorts (aside from the public domain films) are handled by Sony Pictures Entertainment, while the MGM Stooges shorts are owned by Warner Bros. via their Turner Entertainment division. Sony offers 21 of the shorts on their web platform Crackle, along with eleven Minisodes. Meanwhile, the rights to the Stooges' feature films rests with the studios that originally produced them (Columbia/Sony for the Columbia films, and 20th Century Fox for the Fox films).
On October 30, 2007, Sony Pictures Home Entertainment released a two-disc DVD set entitled The Three Stooges Collection, Volume One: 1934–1936. The set contains shorts from the first three years the Stooges worked at Columbia Pictures, marking the first time ever that all 19 shorts were released in their original theatrical order to DVD. Additionally, every short was remastered in high definition, a first for the Stooge films. Previous DVD releases were based on themes (wartime, history, work, etc.), and sold poorly. Fans and critics alike praised Sony for finally giving the Stooges the proper DVD treatment. One critic states "the Three Stooges on DVD has been a real mix'n match hodgepodge of un-restored titles and illogical entries. This new...boxset...seems to be the first concerted effort to categorize their huge body of work chronologically with many shorts seeing the digital light for the first time." Videolibrarian.com critic added "finally, the studio knuckleheads got it right! The way that the Three Stooges have been presented on home video has been a real slap in the face and poke in the eye to fans. They’ve been anthologized, colorized, and public domain-ed, as their shorts have been released and re-released in varying degrees of quality. Highly recommended." Critic James Plath of DVDtown.com added, "Thank you, Sony, for finally giving these Columbia Pictures icons the kind of DVD retrospective that they deserve. Remastered in High Definition and presented in chronological order, these short films now give fans the chance to appreciate the development of one of the most successful comedy teams in history."
The chronological series proved very successful and wildly popular, and Sony wasted little time preparing the next set for release. Volume Two: 1937–1939 was released on May 27, 2008, followed by Volume Three: 1940–1942 three months later on August 26, 2008. Demand exceeded supply, proving to Sony that they had a hit on their hands. In response, Volume Four: 1943–1945 was released on October 7, 2008, a mere two months after its predecessor. The global economic crisis slowed down the release schedule after Volume Four, and Volume Five: 1946–1948 was belatedly released on March 17, 2009. Volume Five is the first in the series to feature Shemp Howard with the Stooges. Volume Six: 1949–1951 was released June 16, 2009. and Volume Seven: 1952–1954 was released on November 10, 2009.
The eighth and final volume was released on June 1, 2010, bringing the series to a close. For the first time in history, all 190 Three Stooges short subjects became available to the public.
{|class="wikitable" |- ! Film || Year || Moe || Larry || Curly || Shemp || Joe || Curly Joe |- |Soup to Nuts || 1930 || Moe || Larry || || Shemp || || |- |Turn Back the Clock || 1933 || Moe || Larry || Curly || || || |- |Meet the Baron || 1933 || Moe || Larry || Curly || || || |- |Dancing Lady || 1933 || Moe || Larry || Curly || || || |- |Broadway to Hollywood || 1933 || Moe || Larry || Curly || || || |- |Myrt and Marge || 1933 || Moe || Larry || Curly || || || |- |Fugitive Lovers || 1934 || Moe || Larry ||Curly || || || |- |Hollywood Party (cameos) || 1934 || Moe || Larry || Curly || || || |- |The Captain Hates the Sea (cameos)|| 1934 || Moe || Larry || Curly || || || |- |Start Cheering || 1938 || Moe || Larry || Curly || || || |- |Time Out for Rhythm || 1941 || Moe || Larry || Curly || || || |- |My Sister Eileen (cameos) || 1942 || Moe || Larry || Curly || || || |- |Rockin' in the Rockies || 1945 || Moe || Larry || Curly || || || |- |Swing Parade of 1946 || 1946 || Moe || Larry || Curly || || || |- |Gold Raiders || 1951 || Moe || Larry || || Shemp || || |- |Have Rocket, Will Travel || 1959 || Moe || Larry || || || || Curly Joe |- |Stop! Look! and Laugh! (compilation)|| 1960 || Moe || Larry || Curly || || || |- |Snow White and the Three Stooges || 1961 || Moe || Larry || || || || Curly Joe |- |The Three Stooges Meet Hercules || 1962 || Moe || Larry || || || || Curly Joe |- |The Three Stooges in Orbit || 1962 || Moe || Larry || || || || Curly Joe |- |The Three Stooges Go Around the World in a Daze || 1963 || Moe || Larry || || || || Curly Joe |- |It's a Mad, Mad, Mad, Mad World (cameos)|| 1963 || Moe || Larry || || || || Curly Joe |- |4 for Texas || 1963 || Moe || Larry || || || || Curly Joe |- |The Outlaws Is Coming || 1965 || Moe || Larry || || || || Curly Joe |- |Kook's Tour (TV pilot) || 1970 || Moe || Larry || || || || Curly Joe |} Joe Besser never appeared with the Stooges in a feature film.
Three feature-length Columbia releases were actually packages of older Columbia shorts. Columbia Laff Hour (introduced in 1956) was a random assortment that included the Stooges among other Columbia comedians like Andy Clyde, Hugh Herbert, and Vera Vague; the content and length varied from one theater to the next. Three Stooges Fun-o-Rama (introduced in 1959) was an all-Stooges show capitalizing on their TV fame, again with shorts chosen at random for individual theaters. The Three Stooges Follies (1974) was similar to Laff Hour, with a trio of Stooge comedies augmented by Buster Keaton and Vera Vague shorts, a Batman serial chapter, and a Kate Smith musical.
The Stooges are referenced in the video for Weird Al Yankovic's Like a Surgeon with a hospital PA system asked for "Dr. Howard, Dr. Fine, Dr. Howard."
After finding "the lost tapes," Bergeron brought them into Howard Stern's production studio. He stated that the tapes were so old that the tapes with the Larry Fine interviews began to shred as Howard Stern's radio engineers ran them through their cart players. They only really had the one shot, and fortunately for Three Stooges fans, the tapes were saved.
"The Lost Stooges Tapes" were hosted by Tom Bergeron with modern commentary on the almost 40 year old interviews that he had conducted with Larry Fine and Moe Howard. At the times of these interviews, Moe was still living at home and Larry had suffered a stroke and was living in a Senior Citizen's home.
Two episodes of Hanna-Barbera's The New Scooby-Doo Movies aired on CBS featuring animated Stooges as guest stars: the premiere, "Ghastly Ghost Town" (September 9, 1972) and "The Ghost of the Red Baron" (November 18, 1972). There also was a short-lived animated series, also produced by Hanna-Barbera, titled The Robonic Stooges, originally seen as a featured segment on The Skatebirds (CBS, 1977–1978), featuring Moe, Larry, and Curly (voiced by Paul Winchell, Joe Baker and Frank Welker, respectively) as bionic cartoon superheroes with extendable limbs, similar to the later Inspector Gadget. The Robonic Stooges later aired as a separate half-hour series, retitled The Three Robonic Stooges (each half-hour featured two segments of The Three Robonic Stooges and one segment of Woofer And Whimper, Dog Detectives, the latter re-edited from episodes of Clue Club, an earlier Hanna-Barbera cartoon series). There are also many Stooges references in the sitcom ALF.
In the episode "Beware The Creeper" of The New Batman Adventures. the Joker retreats to his hide-out after a quick fight with Batman. He yells out for his three henchmen "Moe? Larr? Cur?" only to find that they are not there. Shortly after that, Batman comes across these three goons in a pool hall; they have distinctive accents and hair styles similar to those of Moe, Larry, and Curly. These henchmen are briefly seen throughout the rest of the season.
The film regularly runs on the American Movie Classics (AMC) channel.
The studio has had a difficult time putting together a cast to play the Three Stooges. Originally slated were Sean Penn to play Larry, Benicio del Toro to play Moe and Jim Carrey to play Curly. Both Sean Penn and Benicio del Toro left the project but returned while no official confirmation has been made about Jim Carrey. When del Toro was interviewed on MTV News for The Wolfman, he spoke about playing Moe. He was later asked who was going to play Larry and Curly in the film and commented that he still thought that Sean Penn and Jim Carrey were going to play them, though he added "Nothing is for sure yet." A story in the Hollywood Reporter stated that Will Sasso will play Curly in the upcoming comedy and that Hank Azaria is the front runner to play Moe. Sean Hayes of Will & Grace fame has officially been cast as Larry Fine, while Chris Diamantopoulos was cast as Moe. On April 27, Jane Lynch joined the cast; she will be playing a nun.
In 1984 Gottlieb released an arcade game featuring the Stooges trying to find three kidnapped brides. Later in 1987, game developers Cinemaware released a successful Three Stooges computer game, available for Apple IIGS, Amiga, Commodore 64, MS-DOS, and Nintendo Entertainment System (NES). Based on the Stooges earning money by doing odd jobs to prevent the foreclosure of an orphanage, it incorporated audio from the original films and was popular enough to be reissued for the Game Boy Advance in 2002, as well as for PlayStation in 2004.
In Japanese they are known as San Baka Taishō (三馬鹿大将) meaning "Three Idiot Generals" or "Three Baka Generals". The Japanese term baka (馬鹿, "fool" or "idiot", lit. "horse deer") is associated with the Chinese idiom zhǐlù wéimǎ (指鹿為馬; lit. "point at a deer and call it a horse", in Japanese shika o sashite uma to nasu [鹿を指して馬と為す]) meaning "deliberate misrepresentation for ulterior purposes". In Spanish they are known as Los tres chiflados or, roughly, "The Three Crackpots". In French and German usage, the name of the trio is partially translated as Les Trois Stooges and Die drei Stooges respectively. In Thai, the trio is known as 3 สมุนจอมป่วน (3 Samunčhǭmpūan; ) or 3 พี่น้องจอมยุ่ง (Phīnǭngčhǭmyung; ). In Portuguese, they are known as Os Três Patetas in Brazil, and Os Três Estarolas in Portugal, being "estarola" a direct translation to "stooge", while "pateta" being more related to "goofy".
;Bibliography
Category:Television series by Sony Pictures Television Category:1925 introductions Category:Jewish comedy and humor Category:The Three Stooges films Category:Pie throwing Category:Slapstick comedians Category:Gold Key Comics titles Category:Dell Comics titles Category:Jewish comedians
de:The Three Stooges es:Los tres chiflados fr:Les Trois Stooges gl:The Three Stooges id:The Three Stooges it:Three Stooges kn:ದ ಥ್ರೀ ಸ್ಟೂಜಸ್ lb:Three Stooges nl:Three Stooges ja:三ばか大将 pt:Three Stooges sq:The Three Stooges simple:The Three Stooges sh:Three Stooges fi:The Three Stooges sv:The Three Stooges tl:Three Stooges th:3 สมุนจอมป่วน zh:三個臭皮匠This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
name | Charlie Chaplin |
---|---|
birth name | |
birth date | April 16, 1889 |
birth place | Walworth, London, United Kingdom |
death date | |
death place | Vevey, Vaud, Switzerland |
medium | Film, music, mimicry |
nationality | British |
active | 1895–1976 |
genre | Slapstick, mime, visual comedy |
influenced | Marcel MarceauThe Three StoogesFederico FelliniMilton BerlePeter SellersRowan AtkinsonJohnny DeppJacques Tati |
spouse | 1 child 2 children 8 children |
Signature | Firma de Charles Chaplin.svg }} |
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 25 December 1977) was an English comic actor, film director and composer best known for his work during the silent film era. He became the most famous film star in the world before the end of World War I. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first played in the Keystone comedy Kid Auto Races at Venice in 1914. From the April 1914 one-reeler Twenty Minutes of Love onwards he was writing and directing most of his films, by 1916 he was also producing them, and from 1918 he was even composing the music for them. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.
Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent film comedian Max Linder, to whom he dedicated one of his films. His working life in entertainment spanned over 75 years, from the Victorian stage and the music hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s.
In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time. In 2008, Martin Sieff, in a review of the book Chaplin: A Life, wrote: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Adolf Hitler, he stayed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most". George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".
As a child, Chaplin also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street and 39 Methley Street. His paternal grandmother's mother was from the Smith family of Romanichals, a fact of which he was extremely proud, though he described it in his autobiography as "the skeleton in our family cupboard". Charles Chaplin Sr. was an alcoholic and had little contact with his son, though Chaplin and his half-brother briefly lived with him and his mistress, Louise, at 287 Kennington Road. The half-brothers lived there while their mentally ill mother lived at Cane Hill Asylum at Coulsdon. Chaplin's father's mistress sent the boy to Archbishop Temple's Boys School. His father died of cirrhosis when Charlie was twelve in 1901. As of the 1901 Census, Chaplin resided at 94 Ferndale Road, Lambeth, as part of a troupe of young male dancers, The Eight Lancashire Lads, managed by William Jackson.
A larynx condition ended the singing career of Hannah Chaplin. After her re-admission to the Cane Hill Asylum, her son was left in the workhouse at Lambeth in south London, moving several weeks later to the Central London District School for paupers in Hanwell.
In 1903 Chaplin secured the role of Billy the pageboy in Sherlock Holmes, written by William Gillette and starring English actor H. A. Saintsbury. Saintsbury took Chaplin under his wing and taught him to marshal his talents. In 1905 Gillette came to England with Marie Doro to debut his new play, Clarice, but the play did not go well. When Gillette staged his one-act curtain-raiser, The Painful Predicament of Sherlock Holmes as a joke on the British press, Chaplin was brought in from the provinces to play Billy. When Sherlock Holmes was substituted for Clarice, Chaplin remained as Billy until the production ended on 2 December. During the run, Gillette coached Chaplin in his restrained acting style. It was during this engagement that the teenage Chaplin fell hopelessly in love with Doro, but his love went unrequited and Doro returned to America with Gillette when the production closed.
They met again in Hollywood eleven years later. She had forgotten his name but, when introduced to her, Chaplin told her of being silently in love with her and how she had broken his young heart. Over dinner, he laid it on thick about his unrequited love. Nothing came of it until two years later, when they were both in New York and she invited him to dinner and a drive. Instead, Chaplin noted, they simply “dined quietly in Marie’s apartment alone.” However, as Kenneth Lynn pointed out, “Chaplin would not have been Chaplin if he had simply dined quietly with Marie.”
Sennett did not warm to Chaplin right away, and Chaplin believed Sennett intended to fire him following a disagreement with Normand. However, Chaplin's pictures were soon a success, and he became one of the biggest stars at Keystone.
Chaplin was given over to Normand, who directed and wrote a handful of his earliest films. Chaplin did not enjoy being directed by a woman, and they often disagreed. Eventually, the two worked out their differences and remained friends long after Chaplin left Keystone.
"The Tramp" is a vagrant with the refined manners, clothes, and dignity of a gentleman. Arbuckle contributed his father-in-law's bowler hat ('derby') and his own pants (of generous proportions). Chester Conklin provided the little cutaway tailcoat, and Ford Sterling the size-14 shoes, which were so big, Chaplin had to wear each on the wrong foot to keep them on. He devised the moustache from a bit of crepe hair belonging to Mack Swain. The only thing Chaplin himself owned was the whangee cane.
Chaplin, with his Little Tramp character, quickly became the most popular star in Sennett's company of players. He immediately gained enormous popularity among cinema audiences. "The Tramp", Chaplin's principal character, was known as "Charlot" in the French-speaking world, Italy, Spain, Andorra, Portugal, Greece, Romania and Turkey, "Carlitos" in Brazil and Argentina, and "Der Vagabund" in Germany.
Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions (in only a handful of other productions did he play characters other than the Tramp). He portrayed a Keystone Kop in A Thief Catcher filmed 5–26 Jan 1914.
The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. The 1931 production City Lights featured no dialogue. Chaplin officially retired the character in the film Modern Times (released 5 February 1936), which appropriately ended with the Tramp walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song.
Chaplin's early Keystones use the standard Mack Sennett formula of extreme physical comedy and exaggerated gestures. Chaplin's pantomime was subtler, more suitable to romantic and domestic farces than to the usual Keystone chases and mob scenes. The visual gags were pure Keystone, however; the tramp character would aggressively assault his enemies with kicks and bricks. Moviegoers loved this cheerfully earthy new comedian, even though critics warned that his antics bordered on vulgarity. Chaplin was soon entrusted with directing and editing his own films. He made 34 shorts for Sennett during his first year in pictures, as well as the landmark comedy feature Tillie's Punctured Romance.
The Tramp was featured in the first film trailer to be exhibited in a U.S. cinema, a slide promotion developed by Nils Granlund, advertising manager for the Marcus Loew theatre chain, and shown at the Loew's Seventh Avenue Theatre in Harlem in 1914. In 1915, Chaplin signed a much more favourable contract with Essanay Studios, and further developed his cinematic skills, adding new levels of depth and pathos to the Keystone-style slapstick. Most of the Essanay films were more ambitious, running twice as long as the average Keystone comedy. Chaplin also developed his own stock company, including ingénue Edna Purviance and comic villains Leo White and Bud Jamison.
Chaplin's popularity continued to soar in the early years following the start of WW1. He started to become noticed by stars of the legitimate theatre. Minnie Maddern Fiske, one of the legends of the stage endorsed Chaplin's artistry in an article in Harper's Weekly(6 May 1915). At the start of her article Mrs. Fiske spoke, "...To the writer Charles Chaplin appears as a great comic artist, possessing inspirational powers and a technique as unfaltering as Rejane's. If it be treason to Art to say this, then let those exalted persons who allow culture to be defined only upon their own terms make the most of it..." In the following years Chaplin would make many friends from the world of the Broadway stage.
Chaplin was emerging as the supreme exponent of silent films, an emigrant himself from London. Chaplin's Tramp enacted the difficulties and humiliations of the immigrant underdog, the constant struggle at the bottom of the American heap and yet he triumphed over adversity without ever rising to the top, and thereby stayed in touch with his audience. Chaplin's films were also deliciously subversive. The bumbling officials enabled the immigrants to laugh at those they feared.
Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs serviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-film market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound films in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects.
At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed these pictures (1918–23) but otherwise gave him complete creative control over production. Chaplin now had his own studio, and he could work at a more relaxed pace that allowed him to focus on quality. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including Shoulder Arms (1918), The Pilgrim (1923) and the feature-length classic The Kid (1921).
In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s.
All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, A Woman of Paris (1923). This was followed by the classic comedies The Gold Rush (1925) and The Circus (1928).
After the arrival of sound films, Chaplin continued to focus on silent films with a synchronised recorded score, which included sound effects and music with melodies based in popular songs or composed by him; The Circus (1928), City Lights (1931), and Modern Times (1936) were essentially silent films. City Lights has been praised for its mixture of comedy and sentimentality. Critic James Agee, for example, wrote in Life magazine in 1949 that the final scene in City Lights was the "greatest single piece of acting ever committed to celluloid".
While Modern Times (1936) is a non-talkie, it does contain talk—usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. Modern Times was the first film where Chaplin's voice is heard (in the nonsense song at the end, which Chaplin both performed and wrote the nonsense lyrics to). However, for most viewers it is still considered a silent film.
Although "talkies" became the dominant mode of film making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema essentially a pantomimic art. He said: "Action is more generally understood than words. Like Chinese symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example; then look at a picture of the animal and see how surprised you are".
It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film Limelight, and another as a singer for the title music of The Circus (1928). The best known of several songs he composed are "Smile", composed for the film Modern Times (1936) and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, A Countess from Hong Kong, was a number one hit in several different languages in the late 1960s (most notably the version by Petula Clark and discovery of an unreleased version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from Limelight was a hit in the 1950s under the title "Eternally." Chaplin's score to Limelight won an Academy Award in 1972; a delay in the film premiering in Los Angeles made it eligible decades after it was filmed. Chaplin also wrote scores for his earlier silent films when they were re-released in the sound era, notably The Kid for its 1971 re-release.
Paulette Goddard filmed with Chaplin again, depicting a woman in the ghetto. The film was seen as an act of courage in the political environment of the time, both for its ridicule of Nazism, for the portrayal of overt Jewish characters, and the depiction of their persecution. In addition to Hynkel, Chaplin also played a look-alike Jewish barber persecuted by the regime. The barber physically resembled the Tramp character.
At the conclusion, the two characters Chaplin portrayed swapped positions through a complex plot, and he dropped out of his comic character to address the audience directly in a speech denouncing dictatorship, greed, hate, and intolerance, in favour of liberty and human brotherhood.
The film was nominated for Academy awards for Best Picture (producer), Best Original Screenplay (writer) and Best Actor.
In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. Hoover learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. Chaplin decided not to re-enter the United States, writing: "Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States."
That Chaplin was unprepared to remain abroad, or that the revocation of his right to re-enter the United States by FBI Director J. Edgar Hoover was a surprise to him, may be apocryphal: An anecdote in some contradiction is recorded during a broad interview with Richard Avedon, celebrated New York portraitist.
Avedon is credited with the last portrait of the entertainer to be taken before his departure to Europe and therefore, the last photograph of him as a singularly “American icon.” According to Avedon, Chaplin telephoned him at his studio in New York City, while on a layover for transportation connections before the final leg of his travel to England. The photographer considered the impromptu self-introduction a prank and angrily answered his caller with the riposte, “If you’re Charlie Chaplin, I’m Franklin Roosevelt!” To mollify Avedon, Chaplin assured the photographer of his authenticity and added the comment, “If you want to take my picture, you better do it now. They are coming after me and I won’t be back. I leave ... (imminently).” Avedon interrupted his production commitments to take Chaplin’s portrait the next day, and never personally saw Chaplin again.
Chaplin then made his home in Vevey, Switzerland. He briefly and triumphantly returned to the United States in April 1972, with his wife, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed.
Chaplin's final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films with the theme song from A Countess From Hong Kong, "This is My Song", reaching number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue from three First National films A Dog's Life (1918), Shoulder Arms (1918) and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964.
In his pictorial autobiography My Life In Pictures, published in 1974, Chaplin indicated that he had written a screenplay for his daughter, Victoria; entitled The Freak, the film would have cast her as an angel. According to Chaplin, a script was completed and pre-production rehearsals had begun on the film (the book includes a photograph of Victoria in costume), but were halted when Victoria married. "I mean to make it some day," Chaplin wrote. However, his health declined steadily in the 1970s which hampered all hopes of the film ever being produced.
From 1969 until 1976, Chaplin wrote original music compositions and scores for his silent pictures and re-released them. He composed the scores of all his First National shorts: The Idle Class in 1971 (paired with The Kid for re-release in 1972), A Day's Pleasure in 1973, Pay Day in 1972, Sunnyside in 1974, and of his feature length films firstly The Circus in 1969 and The Kid in 1971. Chaplin worked with music associate Eric James whilst composing all his scores.
Chaplin's last completed work was the score for his 1923 film A Woman of Paris, which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult.
Chaplin was interred in Corsier-Sur-Vevey Cemetery, Switzerland. On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family. The plot failed; the robbers were captured, and the corpse was recovered eleven weeks later near Lake Geneva. His body was reburied under of concrete to prevent further attempts.
This is one reason why Chaplin took so much longer to complete his films than his rivals did. In addition, Chaplin was an incredibly exacting director, showing his actors exactly how he wanted them to perform and shooting scores of takes until he had the shot he wanted. Animator Chuck Jones, who lived near Charlie Chaplin's Lone Star studio as a boy, remembered his father saying he watched Chaplin shoot a scene more than a hundred times until he was satisfied with it. This combination of story improvisation and relentless perfectionism—which resulted in days of effort and thousands of feet of film being wasted, all at enormous expense—often proved very taxing for Chaplin, who in frustration would often lash out at his actors and crew, keep them waiting idly for hours or, in extreme cases, shutting down production altogether.
The three had different styles: Chaplin had a strong affinity for sentimentality and pathos (which was popular in the 1920s), Lloyd was renowned for his everyman persona and 1920s optimism, and Keaton adhered to onscreen stoicism with a cynical tone more suited to modern audiences.
Commercially, Chaplin made some of the highest-grossing films in the silent era; The Gold Rush is the fifth with US$4.25 million and The Circus is the seventh with US$3.8 million. However, Chaplin's films combined made about US$10.5 million while Harold Lloyd's grossed US$15.7 million. Lloyd was far more prolific, releasing twelve feature films in the 1920s while Chaplin released just three. Buster Keaton's films were not nearly as commercially successful as Chaplin's or Lloyd's even at the height of his popularity, and only received belated critical acclaim in the late 1950s and 1960s.
There is evidence that Chaplin and Keaton, who both got their start in vaudeville, thought highly of one another: Keaton stated in his autobiography that Chaplin was the greatest comedian that ever lived, and the greatest comedy director, whereas Chaplin welcomed Keaton to United Artists in 1925, advised him against his disastrous move to MGM in 1928, and for his last American film, Limelight, wrote a part specifically for Keaton as his first on-screen comedy partner since 1915.
Chaplin declined to support the war effort as he had done for World War I which led to public anger, although his two sons saw service in the Army in Europe. For most of World War II he was fighting serious criminal and civil charges related to his involvement with actress Joan Barry (see below). After the war, his 1947 black comedy, Monsieur Verdoux showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. His following European-made film, A King in New York (1957), satirised the political persecution and paranoia that had forced him to leave the U.S. five years earlier.
On religion, Chaplin wrote in his autobiography, “In Philadelphia, I inadvertently came upon an edition of Robert Ingersoll's Essays and Lectures. This was an exciting discovery; his atheism confirmed my own belief that the horrific cruelty of the Old Testament was degrading to the human spirit.”
For Chaplin's entire career, some level of controversy existed over claims of Jewish ancestry. Nazi propaganda in the 1930s and 40s prominently portrayed him as Jewish (named Karl Tonstein) relying on articles published in the U.S. press before, and FBI investigations of Chaplin in the late 1940s also focused on Chaplin's ethnic origins. There is no documentary evidence of Jewish ancestry for Chaplin himself. For his entire public life, he fiercely refused to challenge or refute claims that he was Jewish, saying that to do so would always "play directly into the hands of anti-Semites." Although baptised in the Church of England, Chaplin was thought to be an agnostic for most of his life.
Chaplin's lifelong attraction to younger women remains another enduring source of interest to some. His biographers have attributed this to a teenage infatuation with Hetty Kelly, whom he met in Britain while performing in the music hall, and which possibly defined his feminine ideal. Chaplin clearly relished the role of discovering and closely guiding young female stars; with the exception of Mildred Harris, all of his marriages and most of his major relationships began in this manner.
The South African duo Locnville, Andrew and Brian Chaplin, are related to Chaplin (their grandfather was Chaplin's first cousin).
! Child | ! Birth | ! Death | ! Chaplin's Age at Time of Birth | ! Mother | ! Grandchildren |
Norman Spencer Chaplin | 7 July 1919 | 10 July 1919 | |
Mildred Harris | |
5 May 1925 | 20 March 1968 | |
Susan Maree Chaplin (b 1959) | ||
31 March 1926 | 3 March 2009 | |
Stephan Chaplin (b 19xx) | ||
Carol Ann Barry Chaplin (Disputed) | 2 October 1943 | |
Unknown | ||
31 July 1944 | |
Shane Saura Chaplin (b 1974) Oona Castilla Chaplin (b 1986) | |||
7 March 1946 | |
Kathleen Chaplin (b. 1975) Dolores Chaplin (b. 1979) Carmen Chaplin (b 19xx) George Chaplin (b 19xx) | |||
28 March 1949 | |
Julien Ronet (b. 1980) | |||
Victoria Chaplin | 19 May 1951 | |
Aurélia Thiérrée (b. 1971) James Thiérrée (b. 1974) | ||
23 August 1953 | |
Kiera Chaplin (b. 1982) | |||
Jane Cecil Chaplin | 23 May 1957 | |
|||
Annette Emily Chaplin | 3 December 1959 | |
Orson Salkind (b. 1986) Osceola Salkind (b. 1994) | ||
6 July 1962 | |
Chaplin was knighted in 1975 at the age of 85 as a Knight Commander of the British Empire (KBE) by Queen Elizabeth II. The honour had been first proposed in 1931. Knighthood was suggested again in 1956, but was vetoed after a Foreign Office report raised concerns over Chaplin's purported "communist" views and his moral behaviour in marrying two 16 year girls; it was felt that honouring him would damage both the reputation of the British honours system and relations with the United States.
Among other recognitions, Chaplin was given a star on the Hollywood Walk of Fame in 1970; that he had not been among those originally honoured in 1961 caused some controversy. Chaplin's Swiss mansion is to be opened as a museum tracing his life from the music halls in London to Hollywood fame.
A statue of Charlie Chaplin was made by John Doubleday, to stand in Leicester Square in London. It was unveiled by Sir Ralph Richardson in 1981. A bronze statue of him is at Waterville, County Kerry.
The 1st Academy Awards ceremony: When the first Oscars were awarded on 16 May 1929, the voting audit procedures that now exists had not yet been put into place, and the categories were still very fluid. Chaplin's The Circus was set to be heavily recognised, as Chaplin had originally been nominated for Best Production, Best Director in a Comedy Picture, Best Actor and Best Writing (Original Story). However, the Academy decided to withdraw his name from all the competitive categories and instead give him a Special Award "for versatility and genius in acting, writing, directing and producing The Circus". The only other film to receive a Special Award that year was The Jazz Singer.
A listing of the dozens of Chaplin films and alternate versions can be found in the Ted Okuda-David Maska book Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp. Thanks to The Chaplin Keystone Project, efforts to produce definitive versions of Chaplin's pre-1918 short films have come to a successful end: after ten years of research and clinical international cooperation work, 34 Keystone films have been fully restored and published in October 2010 on a 4-DVD box set. All twelve Mutual films were restored in 1975 by archivist David Shepard and Blackhawk Films, and new restorations with even more footage were released on DVD in 2006.
Today, nearly all of Chaplin's output is owned by Roy Export S.A.S. in Paris, which enforces the library's copyrights and decides how and when this material can be released. French company MK2 acts as worldwide distribution agent for the Export company. In the U.S. as of 2010, distribution is handled under license by Janus Films, with home video releases from Criterion Collection, affiliated with Janus.
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kbd:Чарли Чаплин af:Charlie Chaplin ar:تشارلي تشابلن an:Charles Chaplin ast:Charles Chaplin az:Çarli Çaplin bn:চার্লি চ্যাপলিন zh-min-nan:Charlie Chaplin ba:Чарли Чаплин be:Чарлі Чаплін be-x-old:Чарлі Чаплін bar:Charlie Chaplin bs:Charlie Chaplin br:Charlie Chaplin bg:Чарли Чаплин ca:Charles Chaplin cv:Чарли Чаплин cs:Charlie Chaplin cy:Charles Chaplin da:Charlie Chaplin de:Charles Chaplin et:Charlie Chaplin el:Τσάρλι Τσάπλιν es:Charles Chaplin eo:Charlie Chaplin ext:Charles Chaplin eu:Charlie Chaplin fa:چارلی چاپلین hif:Charlie Chaplin fo:Charlie Chaplin fr:Charlie Chaplin fy:Charlie Chaplin ga:Charlie Chaplin gd:Charlie Chaplin gl:Charlie Chaplin gu:ચાર્લી ચૅપ્લિન ko:찰리 채플린 hy:Չարլի Չապլին hi:चार्ली चैप्लिन hr:Charles Chaplin io:Charlie Chaplin bpy:চার্লি চ্যাপলিন id:Charlie Chaplin ia:Charlie Chaplin is:Charlie Chaplin it:Charlie Chaplin he:צ'ארלי צ'פלין jv:Charlie Chaplin kn:ಚಾರ್ಲಿ ಚಾಪ್ಲಿನ್ pam:Charlie Chaplin ka:ჩარლზ ჩაპლინი kk:Чаплин, Чарли kw:Charlie Chaplin sw:Charlie Chaplin ht:Charlie Chaplin krc:Чарли Чаплин la:Carolus Chaplin lv:Čārlijs Čaplins lb:Charlie Chaplin lt:Charlie Chaplin li:Charlie Chaplin lmo:Charlie Chaplin hu:Charles Chaplin mk:Чарли Чаплин ml:ചാര്ളി ചാപ്ലിന് mr:चार्ली चॅप्लिन arz:تشارلى تشابلين ms:Charlie Chaplin mn:Чарльз Спенсер Чаплин my:ချက်ပလင်၊ ချာလီ nah:Charles Chaplin mrj:Чаплин, Чарльз nl:Charlie Chaplin new:चार्ली च्याप्लिन ja:チャールズ・チャップリン nap:Charlie Chaplin no:Charlie Chaplin nn:Charlie Chaplin nov:Charlie Chaplin oc:Charlie Chaplin uz:Charlie Chaplin pnb:چارلی چپلن pap:Charlie Chaplin pfl:Dscharlie Dschäblin pms:Charlie Chaplin nds:Charlie Chaplin pl:Charlie Chaplin pnt:Τσάρλι Τσάπλιν pt:Charlie Chaplin kaa:Charlie Chaplin ksh:Charlie Chaplin ro:Charlie Chaplin qu:Charlie Chaplin rue:Чарлі Чаплін ru:Чаплин, Чарльз sah:Чарли Чаплин sc:Charlie Chaplin sq:Charlie Chaplin scn:Charlie Chaplin simple:Charlie Chaplin sk:Charlie Chaplin sl:Charlie Chaplin szl:Charlie Chaplin so:Charlie Chaplin ckb:چارڵی چاپلن srn:Charlie Chaplin sr:Чарли Чаплин sh:Charlie Chaplin fi:Charles Chaplin sv:Charlie Chaplin tl:Charlie Chaplin ta:சார்லி சாப்ளின் roa-tara:Charlie Chaplin tt:Чарльз Чаплин te:చార్లీ చాప్లిన్ th:ชาร์ลี แชปลิน tg:Чарли Чаплин tr:Charlie Chaplin uk:Чарлі Чаплін ur:چارلی چیپلن vec:Charlie Chaplin vi:Charlie Chaplin vo:Charlie Chaplin war:Charlie Chaplin yi:טשארלי טשאפלין zh-yue:差利 bat-smg:Charlie Chaplin zh:查理·卓别林This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
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