Coordinates | 42°25′″N2°5′″N |
---|---|
Name | Judy Garland''' |
Birth name | Frances Ethel Gumm |
Birth date | June 10, 1922 |
Birth place | Grand Rapids, Minnesota, U.S. |
Death date | June 22, 1969 |
Death place | Chelsea, London, England, UK |
Cause death | Drug Overdose |
Occupation | Actress, singer |
Years active | |
Spouse | |
Children | }} |
At 39 years of age, she was the youngest recipient of the Cecil B. DeMille Award for lifetime achievement in the motion picture industry.
After appearing in vaudeville with her two older sisters, Garland was signed to Metro-Goldwyn-Mayer as a teenager. There she made more than two dozen films, including nine with Mickey Rooney and the 1939 film with which she would be most identified, ''The Wizard of Oz''. After 15 years, she was released from the studio but gained renewed success through record-breaking concert appearances, including a return to acting beginning with critically acclaimed performances.
Despite her professional triumphs, Garland battled personal problems throughout her life. Insecure about her appearance, her feelings were compounded by film executives who told her she was unattractive and manipulated her on-screen physical appearance. She was plagued by financial instability, often owing hundreds of thousands of dollars in back taxes. She married five times, with her first four marriages ending in divorce. She died of an accidental drug overdose at the age of 47, leaving children Liza Minnelli, Lorna Luft, and Joey Luft.
In 1997, Garland was posthumously awarded a Grammy Lifetime Achievement Award. Several of her recordings have been inducted into the Grammy Hall of Fame. In 1999, the American Film Institute placed her among the ten greatest female stars in the history of American cinema.
Garland's ancestry on both sides of her family can be traced back to the early colonial days of the United States. Her father was descended from the Marable family of Virginia, her grandfather a Milne from Aberdeen (as she told an audience on May 29, 1951 in Edinburgh), and her mother from Patrick Fitzpatrick, who emigrated to America in the 1770s from Smithtown, County Meath, Ireland.
Named after both her parents and baptized at a local Episcopal church, "Baby" (as she was called by her parents and sisters) shared her family's flair for song and dance. Her first appearance came at the age of two-and-a-half when she joined her two older sisters, Mary Jane "Suzy/Suzanne" Gumm (1915–64) and Dorothy Virginia "Jimmie" Gumm (1917–77), on the stage of her father's movie theater during a Christmas show and sang a chorus of "Jingle Bells". Accompanied by their mother on piano, The Gumm Sisters performed at there for the next few years. Following rumors that Frank Gumm had made sexual advances toward male ushers there, the family relocated to Lancaster, California, in June 1926. Frank purchased and operated another theater in Lancaster, and Ethel, acting as their manager, began working to get her daughters into motion pictures. Garland graduated from Antelope Valley High School shortly after.
In 1934, the trio, who by then had been touring the vaudeville circuit as "The Gumm Sisters" for many years, performed in Chicago at the Oriental Theater with George Jessel. He encouraged the group to choose a more appealing name after "Gumm" was met with laughter from the audience. "The Garland Sisters" was chosen, and Frances changed her name to "Judy" soon after, inspired by a popular Hoagy Carmichael song.
Several stories persist regarding the origin of the name "Garland". One is that it was originated by Jessel after Carole Lombard's character Lily Garland in the film ''Twentieth Century'' which was then playing at the Oriental; another is that the girls chose the surname after drama critic Robert Garland. Garland's daughter Lorna Luft stated that her mother selected the name when Jessel announced that the trio "looked prettier than a garland of flowers". Another variation surfaced when he was a guest on Garland's television show in 1963. He claimed that he had sent actress Judith Anderson a telegram containing the word "garland," and it stuck in his mind.
At any rate, by late 1934 the "Gumm Sisters" had changed their name to the "Garland Sisters." They were broken up in August 1935, however, Suzanne Garland flew to Reno, Nevada, and married musician Lee Kahn, a member of the Jimmy Davis orchestra playing at Cal-Neva Lodge, Lake Tahoe.
On November 16, 1935, in the midst of preparing for a radio performance on the ''Shell Chateau Hour,'' Garland learned that her father, who had been hospitalized with meningitis, had taken a turn for the worse. Frank Gumm died the following morning, on November 17, leaving her devastated. Her song for the ''Shell Chateau Hour'' was her first professional rendition of "Zing! Went the Strings of My Heart", a song which would become a standard in many of her concerts.
Garland next came to the attention of studio executives by singing a special arrangement of "You Made Me Love You" to Clark Gable at a birthday party held by the studio for the actor; her rendition was so well regarded that she performed the song in the all-star extravaganza ''Broadway Melody of 1938'' (1937), in which she sang it to a photograph of him.
MGM hit on a winning formula when it paired Garland with Mickey Rooney in a string of "backyard musicals". The duo first appeared together in the 1937 B movie ''Thoroughbreds Don't Cry''. They became a sensation, and teamed up again in ''Love Finds Andy Hardy''. She would eventually star with him in nine films.
To keep up with the frantic pace of making one film after another, Garland, Rooney, and other young performers were constantly given amphetamines, as well as barbiturates to take before going to bed. For Garland, this regular dose of drugs led to addiction and a lifelong struggle, and contributed to her eventual demise. She later resented the hectic schedule and felt that her youth had been stolen from her by MGM. Despite successful film and recording careers, several awards, critical praise, and her ability to fill concert halls worldwide, she was plagued throughout her life with self-doubt and required constant reassurance that she was talented and attractive.
Shooting commenced on October 13, 1938, and was completed on March 16, 1939, with a final cost of more than US$2 million. From the conclusion of filming, MGM kept Garland busy with promotional tours and the shooting of ''Babes in Arms''. She and Mickey Rooney were sent on a cross-country promotional tour, culminating in the August 17 New York City premiere at the Capitol Theater, which included a five-show-a-day appearance schedule for the two stars.
On November 17, 1939, Garland's mother, Ethel, married William P. Gillmore in Yuma, Arizona. It was the fourth anniversary of her first husband's death.
''The Wizard of Oz'' was a tremendous critical success, though its high budget and promotions costs of an estimated $4 million coupled with the lower revenue generated by children's tickets meant that the film did not make a profit until it was rereleased in the 1940s. At the 1940 Academy Awards ceremony, Garland received an Academy Juvenile Award for her performances in 1939, including ''The Wizard of Oz'' and ''Babes in Arms''. Following this recognition, she became one of MGM's most bankable stars.
At the age of 21, she was given the "glamour treatment" in ''Presenting Lily Mars'', in which she was dressed in "grown-up" gowns. Her lightened hair was also pulled up in a stylish fashion. However, no matter how glamorous or beautiful she appeared on screen or in photographs, she was never confident in her appearance and never escaped the "girl next door" image that had been created for her.
One of Garland's most successful films for MGM was ''Meet Me in St. Louis'' (1944), in which she introduced three standards: "The Trolley Song", "The Boy Next Door", and "Have Yourself a Merry Little Christmas". Vincente Minnelli was assigned to direct this movie, and he requested that makeup artist Dorothy Ponedel be assigned to her for the picture. Ponedel refined her appearance in several ways, including extending and reshaping her eyebrows, changing her hairline, modifying her lip line, and removing her nose discs. She appreciated the results so much that Ponedel was written into her contract for all her remaining pictures at MGM.
''The Clock'' (1945) was her first straight dramatic film, opposite Robert Walker. Though the film was critically praised and earned a profit, most movie fans expected her to sing. It would be many years before she acted again in a non-singing dramatic role.
Garland's other famous films of the 1940s include ''The Harvey Girls'' (1946), in which she introduced the Academy Award-winning song "On the Atchison, Topeka and the Santa Fe", and ''The Pirate'' (1948).'''
Because of her mental condition, Garland was unable to complete a series of films. During the filming of ''The Barkleys of Broadway'', she was taking prescription sleeping medication along with illicitly obtained pills containing morphine. These, in combination with migraine headaches, led her to miss several shooting days in a row. After being advised by her doctor that she would only be able to work in four-to-five-day increments with extended rest periods between, MGM executive Arthur Freed made the decision to suspend her on July 18, 1948. She was replaced by Ginger Rogers.
Garland was cast in the film adaptation of ''Annie Get Your Gun'' in the title role of Annie Oakley. She was nervous at the prospect of taking on a role strongly identified with Ethel Merman, anxious about appearing in an unglamorous part after breaking from juvenile parts for several years, and disturbed by her treatment at the hands of director Busby Berkeley. She began arriving late to the set, and sometimes failed to appear. She was suspended from the picture on May 10, 1949, and was replaced by Betty Hutton.
Garland was next cast in the film ''Royal Wedding'' with Fred Astaire after June Allyson became pregnant in 1950. She again failed to report to the set on multiple occasions, and the studio suspended her contract on June 17, 1950. She was replaced by Jane Powell. Reputable biographies following her death stated that after this latest dismissal, she slightly grazed her neck with a broken water glass, requiring only a Band-Aid, but at the time, the public was informed that a despondent Garland had slashed her throat. "All I could see ahead was more confusion," Garland later said of this suicide attempt. "I wanted to black out the future as well as the past. I wanted to hurt myself and everyone who had hurt me."
Garland's personal and professional achievements during this time were marred by the actions of her mother, Ethel. In May 1952, at the height of her comeback, Ethel was featured in a ''Los Angeles Mirror'' story in which she revealed that while Garland was making a small fortune at the Palace, Ethel was working a desk job at Douglas Aircraft Company for $61 a week. They had been estranged for years, with Garland characterizing her mother as "no good for anything except to create chaos and fear" and accusing her of mismanaging and misappropriating her salary from the earliest days of her career. Garland's sister Virginia denied this, stating "Mama never took a dime from Judy." On January 5, 1953, Ethel was found dead in the Douglas Aircraft parking lot.
Upon its September 29 world premiere, the film was met with tremendous critical and popular acclaim. Before release it was edited at the instruction of Jack Warner; theater operators, concerned that they were losing money because they were only able to run the film for three or four shows per day instead of five or six, pressured the studio to make additional reductions. About 30 minutes of footage was cut, sparking outrage among critics and filmgoers. ''A Star is Born'' ended up losing money, and the secure financial position Garland had expected from the profits did not materialize. Transcona made no more films with Warner.
Garland was nominated for the Academy Award for Best Actress and, in the run-up to the 27th Academy Awards, was generally expected to be the winner. She could not attend the ceremony because she had just given birth to her son, Joseph Luft, so a television crew was in her hospital room with cameras and wires to televise her anticipated acceptance speech. The Oscar was won, however, by Grace Kelly for ''The Country Girl'' (1954). The camera crew was packing up before Kelly could even reach the stage. Garland even made jokes about the incident on her television series, saying "...and nobody said good-bye." Groucho Marx sent her a telegram after the awards ceremony, declaring her loss "the biggest robbery since Brinks". To this day, it is still considered to be one of the biggest upsets in the history of the Academy Awards and generally felt that she should have rightly won the Oscar and her performance far exceeded Kelly's. ''TIME'' magazine labeled her performance as "just about the greatest one-woman show in modern movie history". Garland won the Golden Globe Award for Best Actress in a Musical for the role.
Garland's films after ''A Star Is Born'' included ''Judgment at Nuremberg'' (1961) (for which she was Oscar-and Golden Globe-nominated for Best Supporting Actress), the animated feature ''Gay Purr-ee'' (1962), and ''A Child Is Waiting'' (1963) with Burt Lancaster. Her final film, ''I Could Go On Singing'' (1963), costarring Dirk Bogarde, mirrored her own life with its story of a world famous singing star. Her last screen performance of a song was the prophetic ''I Could Go on Singing'' at the end of the film.
In November 1959 Garland was hospitalized, diagnosed with acute hepatitis. Over the next few weeks several quarts of fluid were drained from her body until, still weak, she was released from the hospital in January 1960. She was told by doctors that she likely had five years or less to live, and that even if she did survive she would be a semi-invalid and would never sing again. She initially felt "greatly relieved" at the diagnosis. "The pressure was off me for the first time in my life." However, she successfully recovered over the next several months and, in August of that year, returned to the stage of the Palladium. She felt so warmly embraced by the British that she announced her intention to move permanently to England.
Her concert appearance at Carnegie Hall on April 23, 1961, was a considerable highlight, called by many "the greatest night in show business history". The two-record ''Judy at Carnegie Hall'' was certified gold, charting for 95 weeks on ''Billboard'', including 13 weeks at number one. The album won four Grammy Awards including Album of the Year and Best Female Vocal of the Year. The album has never been out of print.
In 1961, Garland and CBS settled their contract disputes with the help of her new agent, Freddie Fields, and negotiated a new round of specials. The first, entitled ''The Judy Garland Show'', aired in 1962 and featured guests Frank Sinatra and Dean Martin. Following this success, CBS made a $24 million offer to her for a weekly television series of her own, also to be called ''The Judy Garland Show'', which was deemed at the time in the press to be "the biggest talent deal in TV history". Although she had said as early as 1955 that she would never do a weekly television series, in the early 1960s she was in a financially precarious situation. Garland was several hundred thousand dollars in debt to the Internal Revenue Service, having failed to pay taxes in 1951 and 1952, and the financial failure of ''A Star is Born'' meant that she received nothing from that investment. A successful run on television was intended to secure her financial future.
Following a third special, ''Judy Garland and Her Guests Phil Silvers and Robert Goulet'', Garland's weekly series debuted September 29, 1963. ''The Judy Garland Show'' was critically praised, but for a variety of reasons (including being placed in the time slot opposite ''Bonanza'' on NBC) the show lasted only one season and was cancelled in 1964 after 26 episodes. Despite its short run, the series was nominated for four Emmy Awards. The demise of the series was personally and financially devastating for Garland, who never fully recovered from its failure.
A 1964 tour of Australia was largely disastrous. Garland's first concert in Sydney, held in the Sydney Stadium because no concert hall could accommodate the crowds who wanted to see her, went well and received positive reviews. Her second performance, in Melbourne, started an hour late. The crowd of 7,000, angered by her tardiness and believing her to be drunk, booed and heckled her, and she fled the stage after just 45 minutes. She later characterized the Melbourne crowd as "brutish". A second concert in Sydney was uneventful but the Melbourne appearance garnered her significant bad press. Some of that bad press was deflected by the announcement of a near fatal episode of pleurisy.
In February 1967, Garland had been cast as Helen Lawson in ''Valley of the Dolls'' for 20th Century Fox. The character of Neely O'Hara in the book by Jacqueline Susann was rumored to have been based on her. The role of O'Hara in the film was played by Patty Duke. During the filming, she missed rehearsals and was fired in April. She was replaced by Susan Hayward. Her prerecording of the song "I'll Plant My Own Tree" survived, along with her wardrobe tests.
Returning to the stage, Garland made her last appearances at New York's Palace Theatre in July, a 16-show tour, performing with her children Lorna and Joey Luft. She wore a sequined pantsuit on stage for this tour, which was part of the original wardrobe for her character in ''Valley of the Dolls.''
Garland and Luft were married on June 8, 1952, in Hollister, California, and she gave birth to their first child, Lorna, on November 21 and her third one, Joey, on March 29 1955
Garland sued Luft for divorce in 1963, claiming "cruelty" as the grounds. She also asserted that he had repeatedly struck her while he was drinking and that he had attempted to take their children from her by force. She had filed for divorce more than once previously, including as early as 1956.
Garland was posthumously awarded the Grammy Lifetime Achievement Award in 1997. Several of her recordings have been inducted into the Grammy Hall of Fame. These include "Over the Rainbow", which was ranked as the number one movie song of all time in the American Film Institute's "100 Years...100 Songs" list. Four more Garland songs are featured on the list: "Have Yourself a Merry Little Christmas" (#76), "Get Happy" (#61), "The Trolley Song" (#26), and "The Man That Got Away" (#11). She has twice been honored on U.S. postage stamps, in 1989 (as Dorothy) and again in 2006 (as Vicki Lester from ''A Star Is Born''). She is mentioned in the 1998 horror film ''I Still Know What You Did Last Summer'' when the hotel clerk is explaining the history of the hotel in the Bahamas where the film takes place.
Some have also suggested a connection between the date of Garland's death and funeral on June 27, 1969 and the Stonewall riots, the flashpoint of the modern Gay Liberation movement, which started in the early hours of June 28.
Garland has also been impersonated in several TV shows as well.
Category:1922 births Category:1969 deaths Category:People from Grand Rapids, Minnesota Category:Academy Juvenile Award winners Category:Accidental deaths in England Category:Actors from Minnesota Category:University High School (Los Angeles, California) alumni Category:American people of English descent Category:American child actors Category:American child singers Category:American contraltos Category:American female singers Category:American film actors Category:American voice actors Category:American musicians of English descent Category:American people of Irish descent Category:American people of Scottish descent Category:American radio personalities Category:Best Musical or Comedy Actress Golden Globe (film) winners Category:Burials at Ferncliff Cemetery Category:Capitol Records artists Category:Decca Records artists Category:Drug-related deaths in England Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Tony Award winners Category:Traditional pop music singers Category:Vaudeville performers Category:American expatriates in the United Kingdom Category:Real people associated with Oz
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"The Man" is a slang phrase that may refer to the government or to some other authority in a position of power. In addition to this derogatory connotation, it may also serve as a term of respect and praise. Also, " The Man is coming" is a term used to frighten small children who are misbehaving.
The phrase "the Man is keeping me down" is commonly used to describe oppression. The phrase "stick it to the Man" encourages resistance to authority, and essentially means "fight back" or "resist", either openly or via sabotage.
It was also used as a term for a drug dealer in the 1950s and 1960s and can be seen in such media as Curtis Mayfield's "No Thing On Me", William Burroughs's novel ''Naked Lunch'', and in the Velvet Underground song "I'm Waiting for the Man", in which Lou Reed sings about going to Uptown Manhattan, specifically Lexington Avenue and 125th Street, to buy heroin.
The use of this term was expanded to counterculture groups and their battles against authority, such as the Yippies, which, according to a May 19, 1969 article in ''U.S. News and World Report'', had the "avowed aim ... to destroy 'The Man', their term for the present system of government". The term eventually found its way into humorous usage, such as in a December 1979 motorcycle ad from the magazine ''Easyriders'' which featured the tagline, "California residents: Add 6% sales tax for The Man."
In present day, the phrase has been popularized in commercials and cinema.
In more modern usage, it can be a superlative compliment ("you da man!") indicating that the subject is currently standing out amongst his peers even though they have no special designation or rank, such as a basketball player who is performing better than the other players on the court. It can also be used as a genuine compliment with an implied, slightly exaggerated or sarcastic tone, usually indicating that the person has indeed impressed the speaker but by doing something relatively trivial.
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.
Coordinates | 42°25′″N2°5′″N |
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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.
Category:1889 births Category:1977 deaths Category:19th-century English people Category:Academy Honorary Award recipients Category:Actors awarded British knighthoods Category:Actors from London Category:Articles containing video clips Category:Autobiographers Category:Best Original Music Score Academy Award winners Category:British expatriates in the United States Category:British Romani people Category:Cinema pioneers Category:English agnostics Category:English child actors Category:English comedians Category:English expatriates in Switzerland Category:English film actors Category:English film directors Category:English screenwriters Category:English silent film actors Category:English socialists Category:Erasmus Prize winners Category:Knights Commander of the Order of the British Empire Category:McCarthyism Category:Mimes Category:Music hall performers Category:Romani actors Category:Romani film directors Category:Short film directors Category:Silent film comedians Category:Slapstick comedians Category:Vaudeville performers Category:Children of Entertainers
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