Coordinates	50°47′58″N16°32′04″N
name	Paulette Goddard
birth name	Marion Pauline Levy
birth date	June 03, 1910
birth place
death date	April 23, 1990
death place	Ronco sopra Ascona, Ticino, Switzerland
years active	1929–1972
occupation	Actress
nationality	American
spouse	}}

}}

Paulette Goddard (June 3, 1910 – April 23, 1990) was an American film and theatre actress. A child fashion model and a performer in several Broadway productions as a Ziegfeld Girl, she became a major star of the Paramount Studio in the 1940s. She was married to several notable men, including Charlie Chaplin, Burgess Meredith, and Erich Maria Remarque. Goddard was nominated for an Academy Award for Best Supporting Actress for her performance in ''So Proudly We Hail!'' (1943).

Early life

Paulette Goddard was born Marion Pauline Levy in Whitestone Landing, Queens, New York. She was the only child of Joseph Russell Levy, who was Jewish, and Alta Mae Goddard, who was Episcopalian and of English heritage. Her parents divorced while she was young, and she was raised by her mother. Her father virtually vanished from her life, only to resurface later in the late 1930s after she became a star. At first, their newfound relationship seemed genial and they attended film premières together, but later he sued her over a magazine article in which she purportedly claimed he abandoned her when she was young. They never reconciled. On his death, he left her one dollar in his will. She remained very close to her mother, however, as both had struggled through those early years, with her great uncle, Charles Goddard (her grandfather's brother) lending a hand.

Charles Goddard helped his great niece find jobs as a fashion model, and with the ''Ziegfeld Follies'' as one of the heavily decorated Ziegfeld Girls from 1924 to 1928. She attended Washington Irving High School in Manhattan at the same time as future film star Claire Trevor.

Career

Her stage debut was in the Ziegfeld revue ''No Foolin'' in 1926, and played a small role in ''Rio Rita''. The next year she made her stage acting debut in ''The Unconquerable Male''. She also changed her first name to Paulette and took her mother's maiden name (which also happened to be her favorite great uncle Charles' last name) as her own last name. She married an older, wealthy businessman, lumber tycoon Edgar James, in 1926 or 1927 and moved to North Carolina. Goddard returned to Hollywood in 1929 and they were divorced in 1930. Upon her return to Hollywood, with her mother, Goddard appeared in small roles in ''The Girl Habit'' (1931) and ''The Mouthpiece'' (1932). She signed a contract with Hal Roach Studios, and appeared in films such as ''The Kid from Spain'' and Laurel and Hardy's ''Pack Up Your Troubles'' (both 1932). In 1932, she met Charlie Chaplin. Goddard was considering investing the money from her divorce settlement in a film venture but Chaplin intervened when he discovered the deal was fraudulent, and bought out her contract from Roach. Chaplin began planning a film with Goddard that was released in 1936 as ''Modern Times''. In the interim, Goddard appeared in a few films for Samuel Goldwyn Productions. Along with such actresses as Betty Grable, Lucille Ball, and Ann Sothern, Goddard became a "Goldwyn Girl" and was featured in films such as ''Roman Scandals'' (1933) and ''Kid Millions'' (1934).

During this time she lived with Chaplin in his Beverly Hills home. Their marital status was a source of controversy and speculation. During most of their time together, both refused to comment on the matter. Chaplin maintained that they were married in China in 1936, but to private associates and family, he claimed they were never legally married, except in common law. Following the success of ''Modern Times'', Chaplin planned other projects with Goddard in mind as a co-star, but he worked slowly and Goddard worried that the public might forget about her if she did not continue to make regular film appearances. She signed a contract with David O. Selznick and appeared with Janet Gaynor in the comedy ''The Young in Heart'' (1938) before Selznick loaned her to MGM to appear in two films. The first of these, ''Dramatic School'' (1938), costarred Luise Rainer, but the film received mediocre reviews and failed to attract an audience. Her next film, ''The Women'' (1939), was a success. With an all-female cast headed by Norma Shearer, Joan Crawford, and Rosalind Russell, Goddard played the supporting role of Miriam Aarons. Pauline Kael later commented of Goddard, "she is a stand-out. She's fun." Selznick had been pleased with Goddard's recent performances, and specifically her work in ''The Young at Heart'', and considered her for the role of Scarlett O'Hara. Initial screen tests convinced him and the director George Cukor that Goddard would require coaching to be effective in the role, but that she showed promise, and she was the first actress given a Technicolor screen test. Russell Birdwell, the head of Selznick's publicity department, had strong misgivings about Goddard. He warned Selznick of the "tremendous avalanche of criticism that will befall us and the picture should Paulette be given this part… I have never known a woman, intent on a career dependent upon her popularity with the masses, to hold and live such an insane and absurd attitude towards the press and her fellow man as does Paulette Goddard… Briefly, I think she is dynamite that will explode in our very faces if she is given the part." Selznick remained interested in Goddard and after he had been introduced to Vivien Leigh, he wrote to his wife that Leigh was a "dark horse" and that his choice had "narrowed down to Paulette, Jean Arthur, Joan Bennett, and Vivien Leigh" After a series of tests with Leigh that pleased both Selznick and Cukor, Selznick cancelled the further tests that had been scheduled for Goddard, and the part was given to Leigh. It has been suggested that Goddard lost the part because Selznick feared questions surrounding her marital status with Chaplin would result in scandal. However, Selznick was aware that Leigh and Laurence Olivier lived together as their respective spouses had refused to divorce them, and in addition to offering Leigh a contract, he engaged Olivier as the leading man in his next production ''Rebecca'' (1940). Chaplin's biographer Joyce Milton wrote that Selznick was worried about legal issues by signing her to a contract that might conflict with her preexisting contracts with the Chaplin studio.

Goddard signed a contract with Paramount Pictures and her next film ''The Cat and the Canary'' (1939) with Bob Hope, was a turning point in the careers of both actors. She starred with Chaplin again in his 1940 film ''The Great Dictator''. The couple split amicably soon afterward, and Goddard allegedly obtained a divorce in Mexico in 1942, with Chaplin agreeing to a generous settlement. She was Fred Astaire's leading lady in the musical ''Second Chorus'' (1940), where she met Burgess Meredith. One of her best-remembered film appearances was in the variety musical ''Star Spangled Rhythm'' (1943), in which she sang a comic number, ''A Sweater, a Sarong, and a Peekaboo Bang'', with fellow sex symbols Dorothy Lamour and Veronica Lake. She received one Oscar nomination for Best Supporting Actress, for the 1943 film ''So Proudly We Hail!'', but did not win. Her most successful film was ''Kitty'' (1945), in which she played the title role. In ''The Diary of a Chambermaid'' (1946), she starred opposite Meredith, by then her husband. Cecil B. DeMille cast her in three blockbusters: ''North West Mounted Police'' (1940), ''Reap the Wild Wind'' (1942) (where Goddard played a Scarlett O'Hara-type role), and ''Unconquered'' (1947).

Her career faded in the late 1940s. In 1947 she made ''An Ideal Husband'' in Britain for Alexander Korda films, being accompanied on a publicity trip to Brussels by Clarissa Churchill, niece of Sir Winston and future wife of Prime Minister Anthony Eden. In 1949, she formed Monterey Pictures with John Steinbeck. Her last starring roles were the English production ''A Stranger Came Home'' (known as ''The Unholy Four'' in the USA), and ''Charge of the Lancers'' in 1954. She also acted in summer stock and on television, including in the 1955 television remake of ''The Women'', playing a different character than she played in the 1939 feature film. In 1964, she attempted a comeback in films with a supporting role in the Italian film ''Time of Indifference'', but that turned out to be her last feature film. Her last performance was a small role in ''The Snoop Sisters'' (1972) for television.

Later life

Goddard was married to actor Burgess Meredith from 1944 to 1949. She suffered a miscarriage while married to him. In 1958 she married Erich Maria Remarque, author of, among other best-sellers, ''All Quiet on the Western Front''. They remained married until his death in 1970, and she inherited much of his money and several important properties across Europe including a wealth of contemporary art, which augmented her own long-standing collection. During this period, her talent at accumulating wealth became a byword amongst the old Hollywood élite. During the 1980s she became a fairly well known (and highly visible) socialite in New York City society, appearing, covered with jewels, at many high-profile cultural functions with several well-known men including Andy Warhol, with whom she sustained an unlikely friendship for many years until his unexpected death in 1987.

Death

Goddard was treated for breast cancer, apparently successfully, but the surgery was very invasive and the doctor removed several ribs. She later settled in Ronco sopra Ascona, Switzerland, where she died after a short illness (reportedly emphysema) several months before her 80th birthday. She is buried in Ronco cemetery, next to Remarque and her mother.

Family

She had no children during her four marriages but she was stepmother to Charles Chaplin, Jr. and Sydney Chaplin, sons of Charlie Chaplin.

Legacy

Goddard, in her youth, was forced to drop out of school to support herself and her mother, bequeathed US$ 20 million to New York University (NYU). This was also in recognition of her friendship with the Indiana-born politician and former NYU President John Brademas. Goddard Hall, an NYU freshman residence hall on Washington Square, is named in her honor.

Efforts to raise CHF 6.2M ($7M), to buy and save the villa of Erich Maria Remarque and Paulette Goddard from most certain demolition, are well underway. The intent is to transform the Casa Monte Tabor into a museum and home to an artist-in-residence program, focused on creativity, freedom and peace. .

Fictional portrayals

She was portrayed by Diane Lane in the 1992 film ''Chaplin''. And she was portrayed by Natalie Wilder in the 2011 play "Puma," written by Julie Gilbert, who had also written the joint biography "Opposite Attraction: The Lives Of Erich Maria Remarque and Paulette Goddard."

Filmography

+ Film credits
Title	Year	Role	Notes
''Berth Marks''	1929	Train passenger	Short subject
''''	1929	Girl on rum boat	Uncredited
! scope="row"	1931	Dance extra	Uncredited
''''	1931	Lingerie salesgirl
''Ladies of the Big House''	1931	Inmate in midst of crowd	Uncredited
''''	1932	Blonde at party	Uncredited
''Show Business''	1932	Blonde train passenger	Uncredited, short subject
''Young Ironsides''	1932	Herself, Miss Hollywood	Uncredited, short subject
''Pack Up Your Troubles''	1932	Bridesmaid	Uncredited
''Girl Grief''	1932	Student	Uncredited, short subject
''''	1932	Goldwyn Girl	Uncredited
''Hollywood on Parade No. B-1''	1933	Herself	Short subject
''''	1933	Blonde who announces Brodie's jump	Uncredited
''Hollywood on Parade No. B-5''	1933	Herself	Short subject
''Roman Scandals''	1933	Goldwyn Girl	Uncredited
''Kid Millions''	1934	Goldwyn Girl	Uncredited
! scope="row"	1936	Ellen Peterson – A Gamine
''''	1936	Gypsy vagabond	Uncredited
''''	1938	Leslie Saunders
! scope="row"	1938	Nana
''''	1939	Miriam Aarons
''''	1939	Joyce Norman
''''	1940	Mary Carter
''''	1940	Hannah
''Screen Snapshots: Sports in Hollywood''	1940	Herself	Short subject
! scope="row"	1940	Louvette Corbeau	Alternative titles: ''Northwest Mounted Police'', ''The Scarlet Riders''
''Second Chorus''	1940	Ellen Miller
! scope="row"	1941	Molly McCorkle	Alternative titles: ''The Golden Hour'', ''Jimmy Steps Out''
''Hold Back the Dawn''	1941	Anita Dixon
! scope="row"	1941	Gwen Saunders
''''	1942	Sidney Royce
''Reap the Wild Wind''	1942	Loxi Claiborne	Alternative title: ''Cecil B. DeMille's Reap the Wild Wind''
''''	1942	Celia Huston Stuart
''Star Spangled Rhythm''	1942	Herself
''''	1943	Toni Gerard
''So Proudly We Hail!''	1943	Lt. Joan O'Doul	Nominated—Academy Award for Best Supporting Actress
''Standing Room Only''	1944	Jane Rogers/Suzanne
''I Love a Soldier''	1944	Evelyn Connors
''Duffy's Tavern''	1945	Herself
! scope="row"	1945	Kitty
''''	1946	Célestine	Producer (Uncredited)
''Suddenly, It's Spring''	1947	Mary Morely
''Variety Girl''	1947	Herself
''Unconquered''	1947	Abigail "Abby" Martha Hale
''''	1947	Mrs. Laura Cheveley	Alternative title: ''Oscar Wilde's An Ideal Husband''
''On Our Merry Way''	1948	Martha Pease
''Screen Snapshots: Smiles and Styles''	1948	Herself	Short subject
''Hazard''	1948	Ellen Crane
''Bride of Vengeance''	1949	Lucretia Borgia
! scope="row"	1949	Anna Lucasta
''''	1949	Herself	Uncredited, short subject
''''	1950	María Dolores Penafiel	Associate producer, alternative title: ''Bandit General''
''Babes in Bagdad''	1952	Kyra
! scope="row"	1953	Mona Ross	Alternative title: ''The Girl in Room 17''
''Sins of Jezebel''	1953	Jezebel
''Paris Model''	1953	Betty Barnes	Alternative title: ''Nude at Midnight''
''Charge of the Lancers''	1954	Tanya
''''	1954	Angie	Alternative title: ''The Unholy Four''
''Time of Indifference''	1964	Mariagrazia	Alternative titles: ''Les Deux Rivales'', ''Gli Indifferenti''

+ Television credits
Title	Year	Role	Notes
''''	1952	Herself	2 episodes
''Ford Theatre''	1953	Nancy Whiting	1 episode
''Sherlock Holmes''	1954	Lady Beryl	1 episode
''Producers' Showcase''	1955	Sylvia Fowler	1 episode
''''	1955	Herself	1 episode
''''	1957	Rachel	1 episode
''On Trial''	1957	Dolly	1 episode
''Ford Theatre''	1957	Holly March	1 episode
''Adventures in Paradise''	1959	Mme. Victorine Reynard	1 episode
''What's My Line?''	1959	Guest panelist	1 episode
''''	1961	Mrs. Harris	TV movie
''''	1972	Norma Treet	TV movie. alternative title: ''Female Instinct''

Notes

References

External links

Photographs and literature

Paulette Goddard at GlamourGirlsoftheSilverScreen.com

Paulette Goddard portrait gallery NY Public Library (Billy Rose collection)

''Modern Mechanix'': Paulette Goddard runs a bicycle repair shop between filming

site dedicated to Paulette Goddard

Category:1910 births Category:1990 deaths Category:Actors from New York City Category:American expatriates in Switzerland Category:American film actors Category:American film producers Category:American female models Category:American stage actors Category:American television actors Category:Disease-related deaths in Switzerland Category:People from the Kansas City metropolitan area Category:People from Queens Category:American people of Jewish descent Category:American people of English descent Category:Ziegfeld Girls

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Coordinates	50°47′58″N16°32′04″N
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".

Biography

Early life in London (1889–1909)

Charles Spencer Chaplin was born on 16 April 1889, supposedly in East Street, Walworth, London, England. (In 2011, a letter, written to him in the 1970s, came to light, claiming that he had been born in a Gypsy caravan at Black Patch Park in Smethwick, Staffordshire.) His parents were entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr, was a vocalist and an actor while his mother, Hannah Chaplin, was a singer and an actress who went by the stage name Lilly Harley. They separated before Charlie was three. He learned singing from his parents. The 1891 census shows that his mother lived with Charlie and his older half-brother Sydney on Barlow Street, Walworth.

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.”

First years in the United States (1910–1913)

Chaplin first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months in England, he returned to the U.S. for a second tour, arriving with the Karno Troupe on 2 October 1912. In the Karno Company was Arthur Stanley Jefferson, who later became known as Stan Laurel. Chaplin and Laurel shared a room in a boarding house. Laurel returned to England but Chaplin remained in the United States. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and "Fatty" Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling. Chaplin had considerable difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, ''Making a Living'' was filmed, Sennett felt he had made a costly mistake. Most historians agree it was Normand who persuaded him to give Chaplin another chance.

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 (1914–1915)

The Tramp debuted during the silent film era in the Keystone comedy ''Kid Auto Races at Venice'' (released on 7 February 1914). However, Chaplin had devised the tramp costume for a film produced a few days earlier but released later (9 February 1914), ''Mabel's Strange Predicament''. Mack Sennett had requested that Chaplin "get into a comedy make-up". As Chaplin recalled in his autobiography: }}

"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.

Pioneering film artist and global celebrity (1916–1918)

In 1916, the Mutual Film Corporation paid Chaplin US$670,000 to produce a dozen two-reel comedies. He was given near complete artistic control, and produced twelve films over an eighteen-month period that rank among the most influential comedy films in all cinema. Of his Mutual comedies, the best known include: ''Easy Street'', ''One A.M.'', ''The Pawnshop'', and ''The Adventurer''. Edna Purviance remained the leading lady, and Chaplin added Eric Campbell, Henry Bergman, and Albert Austin to his stock company; Campbell, a Gilbert and Sullivan veteran, provided superb villainy, and second bananas Bergman and Austin would remain with Chaplin for decades. Chaplin regarded the Mutual period as the happiest of his career, although he also had concerns that the films during that time were becoming formulaic owing to the stringent production schedule his contract required. Upon the U.S. entering World War I, Chaplin became a spokesman for Liberty Bonds with his close friend Douglas Fairbanks and Mary Pickford.

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).

United Artists (1919–1939)

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.

''The Great Dictator'' (1940)

Chaplin's first talking picture, ''The Great Dictator'' (1940), was an act of defiance against Nazism. It was filmed and released in the United States one year before the U.S. entry into World War II. Chaplin played the role of "Adenoid Hynkel", Dictator of Tomainia, modelled on German dictator Adolf Hitler, who was only four days his junior and sported a similar moustache. The film also showcased comedian Jack Oakie as "Benzino Napaloni", dictator of Bacteria, a jab at Italian dictator Benito Mussolini.

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.

McCarthy era

Although Chaplin had his major successes in the United States and was a resident from 1914 to 1953, he always maintained a neutral nationalistic stance. During the era of McCarthyism, Chaplin was accused of "un-American activities" as a suspected communist and J. Edgar Hoover, who had instructed the FBI to keep extensive secret files on him, tried to end his United States residency. FBI pressure on Chaplin grew after his 1942 campaign for a second European front in the war and reached a critical level in the late 1940s, when Congressional figures threatened to call him as a witness in hearings. This was never done, probably from fear of Chaplin's ability to lampoon the investigators.

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.

Final works (1957–1976)

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.

Death (1977)

Chaplin's robust health began to slowly fail in the late 1960s, after the completion of his final film ''A Countess from Hong Kong'', and more rapidly after he received his Academy Award in 1972. By 1977, he had difficulty communicating, and was using a wheelchair. Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977.

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.

Filmmaking techniques

Chaplin never spoke more than cursorily about his filmmaking methods, claiming such a thing would be tantamount to a magician spoiling his own illusion. In fact, until he began making spoken dialogue films with ''The Great Dictator'' in 1940, Chaplin never shot from a completed script. The method he developed, once his Essanay contract gave him the freedom to write for and direct himself, was to start from a vague premise—for example "Charlie enters a health spa" or "Charlie works in a pawn shop." Chaplin then had sets constructed and worked with his stock company to improvise gags and "business" around them, almost always working the ideas out on film. As ideas were accepted and discarded, a narrative structure would emerge, frequently requiring Chaplin to reshoot an already-completed scene that might have otherwise contradicted the story. Chaplin's unique filmmaking techniques became known only after his death, when his rare surviving outtakes and cut sequences were carefully examined in the 1983 British documentary ''Unknown Chaplin''.

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.

Comparison with other silent comics

Since the 1960s, Chaplin's films have been compared to those of Buster Keaton and Harold Lloyd (the other two great silent film comedians of the time), especially among the loyal fans of each comic.

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.

Composer and songwriter

Chaplin wrote or co-wrote the scores and songs for many of his films. "Smile", which he composed for his film, ''Modern Times'', hit number 2 on the UK charts when sung by Nat King Cole in the 1950s. It was also Michael Jackson's favourite song. "This Is My Song", written and composed by Chaplin for his film, ''A Countess from Hong Kong'', hit number 1 on the UK charts when sung by Petula Clark in the 1960s. In 1973, Chaplin won the Oscar for Best Film Score for his film, ''Limelight''. Chaplin was not the only member of his family with musical talent; his nephew, Spencer Dryden was the drummer for the Rock and Roll Hall of Fame inducted band, Jefferson Airplane.

Politics

Chaplin's political sympathies always lay with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. ''Modern Times'' depicts workers and poor people in dismal conditions. The final dramatic speech in ''The Great Dictator'', which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial.

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.”

Other controversies

During World War I, Chaplin was criticised in the British press for not joining the Army. He had in fact presented himself for service, but was denied for being too small at 5'5" and underweight. Chaplin raised substantial funds for the war effort during war bond drives not only with public speaking at rallies but also by making, at his own expense, ''The Bond'', a comedic propaganda film used in 1918. The lingering controversy may have prevented Chaplin from receiving a knighthood in the 1930s. A 1916 propaganda short film ''Zepped'' with Chaplin was discovered in 2009.

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.

Personal life and family

Chaplin's mother died in 1928 in Glendale, California, seven years after she was brought to the U.S. by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden (1892–1957), was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.

The South African duo Locnville, Andrew and Brian Chaplin, are related to Chaplin (their grandfather was Chaplin's first cousin).

Relationships

Hetty Kelly was Chaplin's first love, a dancer with whom he fell in love when she was fifteen and almost married when he was nineteen, in 1908. It is said Chaplin fell madly in love with her and asked her to marry him. When she refused, Chaplin suggested it would be best if they did not see each other again; he was reportedly crushed when she agreed. Years later, her memory would remain an obsession with Chaplin. He was devastated in 1921 when he learned that she had died of influenza during the 1918 flu pandemic.

thumb|left|Chaplin with Edna Purviance in ''The Immigrant'' (1917) Edna Purviance was Chaplin's first major leading lady after Mabel Normand. Purviance and Chaplin were involved in a close romantic relationship during the production of his Essanay and Mutual films in 1916–1917. The romance seems to have ended by 1918, and Chaplin's marriage to Mildred Harris in late 1918 ended any possibility of reconciliation. Purviance would continue as leading lady in Chaplin's films until 1923, and would remain on Chaplin's payroll until her death in 1958. She and Chaplin spoke warmly of one another for the rest of their lives.

right|thumb|upright|Mildred Harris, c. 1918–1920 Mildred Harris: On 23 October 1918, Chaplin, age 29, married the popular child actress, Harris, who was 16 at the time. They had one son, Norman Spencer "The Little Mouse" Chaplin, born on 7 July 1919, who died three days later and is interred under the name ''The Little Mouse'' at Inglewood Park Cemetery, Inglewood California. Chaplin separated from Harris by late 1919, moving back into the Los Angeles Athletic Club. The couple divorced in November 1920, with Harris getting some of their community property and a US$100,000 settlement. Chaplin admitted that he "was not in love, now that [he] was married [he] wanted to be and wanted the marriage to be a success." During the divorce, Chaplin claimed Harris had an affair with noted actress of the time Alla Nazimova, rumoured to be fond of seducing young actresses.

Pola Negri: Chaplin was involved in a very public relationship and engagement with the Polish actress, Negri, in 1922–23, after she arrived in Hollywood to star in films. The stormy on-off engagement was halted after about nine months, but in many ways it foreshadowed the modern stereotypes of Hollywood star relationships. Chaplin's public involvement with Negri was unique in his public life. By comparison he strove to keep his other romances during this period very discreet and private (usually without success). Many biographers have concluded the affair with Negri was largely for publicity purposes.

Marion Davies: In 1924, during the time he was involved with the underage Lita Grey, Chaplin was rumoured to have had a fling with actress Davies, companion of William Randolph Hearst. Davies and Chaplin were both present on Hearst's yacht the weekend preceding the mysterious death of Thomas Harper Ince. Charlie allegedly tried to persuade her to leave Hearst and remain with him, but she refused and stayed by Hearst's side until his death in 1951. Chaplin made a rare cameo appearance in Davies' 1928 film ''Show People'', and by some accounts supposedly continued an affair with her until 1931.

Lita Grey: Chaplin first met Grey during the filming of ''The Kid''. Three years later, at age 35, he became involved with the then 16-year-old Grey during preparations for ''The Gold Rush'' in which she was to star as the female lead. They married on 26 November 1924, after she became pregnant (a development that resulted in her being removed from the cast of the film). They had two sons, the actors Charles Chaplin, Jr. (1925–1968) and Sydney Chaplin (1926–2009). The marriage was a disaster, with the couple hopelessly mismatched. The couple divorced on 22 August 1927. Their extraordinarily bitter divorce had Chaplin paying Grey a then-record-breaking US$825,000 settlement, on top of almost one million dollars in legal costs. The stress of the sensational divorce, compounded by a federal tax dispute, allegedly turned his hair white. The Chaplin biographer Joyce Milton asserted in ''Tramp: The Life of Charlie Chaplin'' that the Grey-Chaplin marriage was the inspiration for Vladimir Nabokov's 1950s novel ''Lolita''.

Merna Kennedy: Lita Grey's friend, Kennedy was a dancer who Chaplin hired as the lead actress in ''The Circus'' (1928). It is rumoured that the two had an affair during shooting. Grey used the rumoured infidelity in her divorce proceedings.

Georgia Hale was Lita Grey's replacement on ''The Gold Rush''. In the documentary series, ''Unknown Chaplin'', (directed and written by film historians Kevin Brownlow and David Gill), Hale, in a 1980s interview states that she had idolised Chaplin since childhood and that the then-19-year-old actress and Chaplin began an affair that continued for several years, which she details in her memoir, ''Charlie Chaplin: Intimate Close-Ups.'' During production of Chaplin's film ''City Lights'' in 1929–30, Hale, who by then was Chaplin's closest companion, was called in to replace Virginia Cherrill as the flower girl. Seven minutes of test footage survives from this recasting, and is included on the 2003 DVD release of the film, but economics forced Chaplin to rehire Cherrill. In discussing the situation in ''Unknown Chaplin'', Hale states that her relationship with Chaplin was as strong as ever during filming. Their romance apparently ended sometime after Chaplin's return from his world tour in 1933.

Louise Brooks was a chorine in the ''Ziegfeld Follies'' when she met Chaplin. He had gone to New York for the opening there of ''The Gold Rush''. For two months in the summer of 1925, the two cavorted together at the Ritz, and with film financier A.C. Blumenthal and Brooks' fellow Ziegfeld girl Peggy Fears in Blumenthal's penthouse suite at the Ambassador Hotel. Brooks was with Chaplin when he spent four hours watching a musician torture a violin in a Lower East Side restaurant, an act he would recreate in ''Limelight''.

May Reeves was originally hired to be Chaplin's secretary on his 1931–1932 extended trip to Europe, dealing mostly with reading his personal correspondence. She worked only one morning, and then was introduced to Chaplin, who was instantly infatuated with her. May became his constant companion and lover on the trip, much to the disgust of Chaplin's brother, Syd. After Reeves also became involved with Syd, Chaplin ended the relationship and she left his entourage. Reeves chronicled her short time with Chaplin in her book, "The Intimate Charlie Chaplin".

thumb|right|Chaplin and Paulette Goddard in ''The Great Dictator'' (1940) Paulette Goddard: Chaplin and actress Goddard were involved in a romantic and professional relationship between 1932 and 1940, with Goddard living with Chaplin in his Beverly Hills home for most of this time. Chaplin gave her starring roles in ''Modern Times'' and ''The Great Dictator''. Refusal to clarify their marital status is often claimed to have eliminated Goddard from final consideration for the role of Scarlett O'Hara in ''Gone with the Wind''. After the relationship ended in 1940, Chaplin and Goddard made public statements that they had been secretly married in 1936; but these claims were likely a mutual effort to prevent any lasting damage to Goddard's career. In any case, their relationship ended amicably in 1942, with Goddard being granted a settlement. Goddard went on to a major career in films at Paramount in the 1940s, working several times with Cecil B. DeMille. Like Chaplin, she lived her later life in Switzerland, dying in 1990.

Joan Barry (1920–1996): In 1942, Chaplin had a brief affair with Barry, whom he was considering for a starring role in a proposed film, but the relationship ended when she began harassing him and displaying signs of severe mental illness (not unlike his mother). Chaplin's brief involvement with Barry proved to be a nightmare for him. After having a child, she filed a paternity suit against him in 1943. Although blood tests proved Chaplin was not the father of Barry's child, Barry's attorney, Joseph Scott, convinced the court that the tests were inadmissible as evidence, and Chaplin was ordered to support the child. The injustice of the ruling later led to a change in California law to allow blood tests as evidence. Federal prosecutors also brought Mann Act charges against Chaplin related to Barry in 1944, of which he was acquitted. Chaplin's public image in America was gravely damaged by these sensational trials. Barry was institutionalised in 1953 after she was found walking the streets barefoot, carrying a pair of baby sandals and a child's ring, and murmuring: "This is magic". Chaplin's second wife, Lita Grey, later asserted that Chaplin had paid corrupt government officials to tamper with the blood test results. She further stated that "there is no doubt that she [Carol Ann] was his child." Oona O'Neill: During Chaplin's legal trouble over the Barry affair, he met O'Neill, daughter of Eugene O'Neill, and married her on 16 June 1943. He was fifty-four; she had just turned eighteen. The marriage produced eight children; their last child, Christopher, was born when Chaplin was 73 years old. Oona survived Chaplin by fourteen years, and died from pancreatic cancer in 1991.

Children

! Child	! Birth	! Death	! Chaplin's Age at Time of Birth	! Mother	! Grandchildren
Norman Spencer Chaplin	7 July 1919	10 July 1919	30	Mildred Harris
	5 May 1925	20 March 1968	36		Susan Maree Chaplin (b 1959)
	31 March 1926	3 March 2009	36	Stephan Chaplin (b 19xx)
Carol Ann Barry Chaplin (Disputed)	2 October 1943		54		Unknown
	31 July 1944		55		Shane Saura Chaplin (b 1974) Oona Castilla Chaplin (b 1986)
	7 March 1946		56	Kathleen Chaplin (b. 1975) Dolores Chaplin (b. 1979) Carmen Chaplin (b 19xx) George Chaplin (b 19xx)
	28 March 1949		59	Julien Ronet (b. 1980)
Victoria Chaplin	19 May 1951		62	Aurélia Thiérrée (b. 1971) James Thiérrée (b. 1974)
	23 August 1953		64	Kiera Chaplin (b. 1982)
Jane Cecil Chaplin	23 May 1957		68
Annette Emily Chaplin	3 December 1959		70	Orson Salkind (b. 1986) Osceola Salkind (b. 1994)
	6 July 1962		73

Awards and recognition

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.

Academy Awards

Chaplin received three Academy Awards in his lifetime: one for Best Original Score, and two Honorary Awards. However, during his active years as a filmmaker, Chaplin expressed disdain for the Academy Awards; his son Charles Jr wrote that Chaplin invoked the ire of the Academy in the 1930s by jokingly using his 1929 Oscar as a doorstop. This may help explain why ''City Lights'' and ''Modern Times,'' considered by several polls to be two of the greatest of all motion pictures, were not nominated for a single Academy Award.

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''.

The 13th Academy Awards ceremony: In 1941, ''The Great Dictator'' was nominated for five awards, including two for Chaplin: Best Writing and Best Actor. Chaplin lost out on both counts. For writing, he lost to Preston Sturges for ''The Great McGinty'', and for acting to James Stewart for ''The Philadelphia Story''.

The 20th Academy Awards ceremony: In 1948, Chaplin's screenplay for ''Monsieur Verdoux'' was nominated, but the award went instead to Sidney Sheldon for ''The Bachelor and the Bobby-Soxer''.

The 44th Academy Awards ceremony: Chaplin's second Oscar was awarded forty-three years after his first, in 1972. Chaplin came out of exile to accept the Honorary Award for "the incalculable effect he has had in making motion pictures the art form of this century". Stepping onto the stage of the Dorothy Chandler Pavilion, Chaplin received the longest standing ovation in Academy Award history, lasting a full twelve minutes.

The 45th Academy Awards ceremony: In 1973, Chaplin's film ''Limelight'' was honoured with an Oscar for Best Original Score. Though the film had originally been released in 1952, due to Chaplin's political difficulties at the time, the film did not play for one week in Los Angeles, and thus did not meet the criterion for nomination until it was re-released in 1972.

Legacy

Chaplin's "tramp" character is possibly the most imitated on all levels of entertainment. Chaplin once entered a "Chaplin look-alike" competition and didn't even make the final round. The influence of his 'Tramp' character could be seen on other artists and media providers. Beginning early on there were many tributes, and parodies made. Early examples include; E. C. Segar's 1916 comic strip "Charlie Chaplin's Comedy Capers". Segar would later become famous for his character Popeye, and his 'Chaplin' comics would later be collected in 1917 into five books, precursors of the later comic book format. Two different animated cartoon series also starred 'Charlie' a tramp character, the first a series of nine shorts from 1916 by Movca Film Service. And later ten films by the Pat Sullivan Studio from 1918–1919, which would later use the 'Charlie/Charley' gestures to create Felix the Cat, the character made one later appearance in one of Felix's 1923 cartoons "Felix in Hollywood". From 1917 to 1918, silent film actor Billy West made more than 20 films as a comedian precisely imitating Chaplin's tramp character, makeup and costume.

The third of composer Karl Amadeus Hartmann's 1929–30 composition ''Wachsfigurenkabinett: Fünf kleine Opern (Waxworks: Five Little Operas)'' is entitled 'Chaplin-Ford-Trot', and features the character of Charlie Chaplin (in a speaking rather than operatic role).

Kamal Haasan moulded his character "Chaplin Chellappa" on Chaplin in the Tamil film Punnagai Mannan

In 1985, Chaplin was honoured with his image on a postage stamp of the United Kingdom, and in 1994 he appeared on a United States postage stamp designed by caricaturist Al Hirschfeld.

IBM ran a series of commercials for their personal computers during the 1980s featuring a Chaplin impersonator.

John Woo directed a parody film of Chaplin's "The Kid" called Hua ji shi dai (1981), also known as "Laughing Times."

A minor planet, 3623 Chaplin, discovered by Soviet astronomer Lyudmila Karachkina in 1981, is named after Chaplin.

In 1992, a film was made about Chaplin's life entitled ''Chaplin'', directed by Oscar-winner Richard Attenborough, and starring Robert Downey, Jr., in an Oscar-nominated performance, and Geraldine Chaplin playing the part of Charlie Chaplin's mother, her own grandmother.

In 2001, British comedian Eddie Izzard played Chaplin in Peter Bogdanovich's film, ''The Cat's Meow'', which speculated about the still-unsolved death of producer Thomas H. Ince during a yachting party thrown by William Randolph Hearst, of which Chaplin was a guest.

On 15 April 2011, a day before his 122nd birthday anniversary, Google celebrated this with a special Google Doodle video on its global and other country-wide homepages.

Filmography and current rights issues

Chaplin wrote, directed, and starred in dozens of feature films and short subjects. Highlights include ''The Immigrant'' (1917), ''The Gold Rush'' (1925), ''City Lights'' (1931), ''Modern Times'' (1936), and ''The Great Dictator'' (1940), all of which have been selected for inclusion in the National Film Registry. Three of these films made the AFI's 100 Years...100 Movies and AFI's 100 Years...100 Movies (10th Anniversary Edition) lists: ''The Gold Rush'', ''City Lights'', and ''Modern Times''.

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.

See also

List of people on the cover of Time magazine (1920s)

References

Further reading

Charles Chaplin: ''My Autobiography''. Simon & Schuster, 1964.

Charles Chaplin: ''Die Geschichte meines Lebens''. Fischer-Verlag, 1964. (germ.)

Charlie Chaplin ''Die Wurzeln meiner Komik'' in: Jüdische Allgemeine Wochenzeitung, 3 March 1967, gekürzt: wieder ebd. 12.4. 2006, S. 54 (germ.)

''Chaplin: A Life'' by Stephen Weissman Arcade Publishing 2008.

Charles Chaplin: ''My Life in Pictures''. Bodley Head, 1974.

Alistair Cooke: ''Six Men''. Harmondsworth, 1978.

S. Frind: Die Sprache als Propagandainstrument des Nationalsozialismus, in: Muttersprache, 76. Jg., 1966, S. 129–135. (germ.)

Georgia Hale, ''Charlie Chaplin: Intimate Close-Ups'', edited by Heather Kiernan. Lanham: Scarecrow Press, 1995 and 1999. ISBN 978-1-57886-004-3 (1999 edition).

Victor Klemperer: ''LTI – Notizbuch eines Philologen.'' Leipzig: Reclam, 1990. ISBN 978-3-379-00125-0; Frankfurt am Main (19. A.) 2004 (germ.)

''Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp'', Ted Okuda & David Maska. iUniverse, New York, 2005.

''Chaplin: His Life and Art'', David Robinson. McGraw-Hill, second edition 2001.

''Chaplin: Genius of the Cinema'', Jeffrey Vance. Abrams, New York, 2003. ISBN 978-0-8109-4532-6

''Charlie Chaplin: A Photo Diary'', Michel Comte & Sam Stourdze. Steidl, first edition, hardcover, 359pp, ISBN 978-3-88243-792-8, 2002.

''Chaplin in Pictures'', Sam Stourdze (ed.), texts by Patrice Blouin, Christian Delage and Sam Stourdze, NBC Editions, ISBN 978-2-913986-03-9, 2005.

''Double Exposure: Charlie Chaplin as Author and Celebrity'', Jonathan Goldman. M/C Journal 7.5.

''Charlie Chaplin's World of Comedy'', Wes D. Gehring, 1980.

External links

Official sites

* Charlie Chaplin Website

* Charlie Chaplin Comedy Film Festival Website

* The Charlie Chaplin Archive

Biography

* Charlie Chaplin Biography

* Charlie Chaplin's Golden Silence

* Chaplin A Life: 40 Photo-Essays

* Works by or about Charlie Chaplin at Internet Archive (scanned books original editions color illustrated)

Filmography

* Films by, about or starring Charlie Chaplin at the Internet Archive

** More Chaplin films at the Internet Archive

Others

* Obituary, NY Times, 26 December 1977 ''Chaplin's Little Tramp, an Everyman Trying to Gild Cage of Life, Enthralled World''

* The TIME 100: Charlie Chaplin

* Chaplin films at ednapurviance.org

* About Chaplin UK

* Top 10 Charlie Chaplin Movies

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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Coordinates	50°47′58″N16°32′04″N
name	Veronica Lake
birth date	November 14, 1922
birth place	Brooklyn, New York, U.S.
death date	July 07, 1973
death place	Burlington, Vermont, U.S.
birth name	Constance Frances Marie Ockelman
other names	Constance Keane, Connie Keane
spouse	John S. Detlie (1940–1943; 2 children)André De Toth (1944–1952; 2 children)Joseph A. McCarthy (1955–1959)Robert Carleton-Munro (1972–1973) (her death)
occupation	Actress
years active	1939–1970 }}

Veronica Lake (November 14, 1922 – July 7, 1973) was an American film actress and pin-up model. She received both popular and critical acclaim, most notably for her role in ''Sullivan's Travels'' and her femme fatale roles in film noir with Alan Ladd during the 1940s, and was well-known for her peek-a-boo hairstyle. She had a string of broken marriages and, after her career declined, long struggles with mental illness and alcoholism.

Early life and career

Lake was born Constance Frances Marie Ockelman in Brooklyn, New York. Her father, Harry E. Ockelman, of Danish-Irish descent, worked for an oil company aboard a ship. Her father died in an industrial explosion in Philadelphia in 1932 when she was ten. Her mother, née Constance Charlotta Trimble (1902–1992), (listed as "Veronica F." on the 1920 census), married family friend Anthony Keane, a newspaper staff artist, a year later, and Lake began using his last name.

Lake was sent to Villa Maria, an all-girls Catholic boarding school in Montreal, Canada, from which she was expelled. The Keane family later moved to Miami, Florida. Lake attended Miami Senior High School in Miami, where she was known for her beauty. She had a troubled childhood and was, according to her mother, diagnosed as schizophrenic.

In 1938 Lake moved with her mother and stepfather to Beverly Hills, where her mother enrolled her in the Bliss-Hayden School of Acting. Her first appearance on screen was for RKO, playing a small role among several coeds in the 1939 film, ''Sorority House''. Similar roles followed, including ''All Women Have Secrets'' and ''Dancing Co-Ed''. During the making of ''Sorority House'' director John Farrow first noticed how her hair always covered her right eye, creating an air of mystery about her and enhancing her natural beauty. She was then introduced, while still a teenager, to the Paramount producer Arthur Hornblow, Jr. He changed her name to Veronica Lake because the surname suited her blue eyes.

Her contract was subsequently dropped by RKO. She married art director John S. Detlie, 14 years her senior, in 1940. A small role in the comedy, ''Forty Little Mothers'', brought unexpected attention. In 1941 she was signed to a long-term contract with Paramount Pictures. On August 21, 1941, she gave birth to her first child, Elaine Detlie.

1940s icon

Her breakthrough film was ''I Wanted Wings'' in 1941, a major hit in which Lake played the second female lead and was said to have stolen scene after scene from the rest of the cast. This success was followed by ''Hold Back the Dawn'' later that year. She had starring roles in more popular movies, including ''Sullivan's Travels'', ''This Gun for Hire'', ''I Married a Witch'', ''The Glass Key'', and ''So Proudly We Hail!''. Looking back at her career years later, Lake remarked, "I never did cheesecake; I just used my hair."

For a short time during the early 1940s Lake was considered one of the most reliable box office draws in Hollywood. She became known for onscreen pairings with actor Alan Ladd. At first, the couple was teamed together merely out of physical necessity: Ladd was just 5 feet 5 inches (1.65 m) tall and the only actress then on the Paramount lot short enough to pair with him was Lake, who stood just 4 feet 11½ inches (1.51 m). They made four films together.

A stray lock of her shoulder-length blonde hair during a publicity photo shoot led to her iconic "peekaboo" hairstyle, which was widely imitated. During World War II, she changed her trademark image to encourage women working in war industry factories to adopt more practical, safer hairstyles.

Although popular with the public, Lake had a complex personality and acquired a reputation for being difficult to work with. Eddie Bracken, her co-star in ''Star Spangled Rhythm'' was quoted as saying, "She was known as 'The Bitch' and she deserved the title." In that movie, Lake took part in a song lampooning her hair style, "A Sweater, A Sarong and a Peekaboo Bang", performed with Paulette Goddard and Dorothy Lamour. Joel McCrea, her co-star in ''Sullivan's Travels'', reputedly turned down the co-starring role in ''I Married a Witch'', saying, "Life's too short for two films with Veronica Lake."

Lake's career stumbled with her unsympathetic role as Nazi spy Dora Bruckman in 1944's ''The Hour Before the Dawn''. During filming, she tripped on a lighting cable while pregnant and began hemorrhaging. She recovered, but her second child, William, was born prematurely on July 8, 1943, dying a week later from uremic poisoning. By the end of 1943 her first marriage ended in divorce. Meanwhile, scathing reviews of ''The Hour Before Dawn'' included criticism of her unconvincing German accent.

Nonetheless, Lake was earning $4,500 per week under her contract with Paramount. She had begun drinking more heavily during this period and people began refusing to work with her. Paramount cast Lake in a string of mostly forgotten films. A notable exception was ''The Blue Dahlia'' (1946), in which she again co-starred with Ladd. During filming, screenplay writer Raymond Chandler referred to her as "Moronica Lake". Paramount decided not to renew her contract in 1948.

She married film director Andre De Toth in 1944 and had a son, Andre Anthony Michael De Toth, known as Michael De Toth (October 25, 1945 – February 24, 1991), and a daughter, Diana De Toth (born October 16, 1948). Lake was sued by her mother for support payments in 1948.

Lake earned her pilot's license in 1946 and was able to fly solo between Los Angeles and New York.

Later years

After a single film for 20th Century Fox, ''Slattery's Hurricane'' (1949), her career collapsed. By the end of 1951 she had appeared in one last film (''Stronghold'', which she later described as "a dog"), filed for bankruptcy, and divorced de Toth. The IRS seized the remainder of her assets for unpaid taxes. Lake turned to television and stage work and in 1955 married songwriter Joseph A. McCarthy.

After breaking her ankle in 1959, Lake was unable to continue working as an actress. She and McCarthy divorced, after which she drifted between cheap hotels in Brooklyn and New York City and was arrested several times for public drunkenness and disorderly conduct. A ''New York Post'' reporter found her working as a barmaid at the all-women's Martha Washington Hotel in Manhattan. At first, Veronica claimed that she was a guest at the hotel and covering for a friend. Soon afterward, she admitted that she was employed at the bar. The reporter's widely distributed story led to some television and stage appearances, most notably in the off-Broadway revival of the musical "Best Foot Forward." (Her contract overlapped with the departing Liza Minnelli and the two briefly co-starred together.) In 1966, she had a brief stint as a TV hostess in Baltimore, Maryland, along with a largely ignored film role in ''Footsteps in the Snow''.

Her physical and mental health declined steadily. By the late 1960s Lake was in Hollywood, Florida, apparently immobilized by paranoia (which included claims she was being stalked by the FBI).

She spent a brief period in England, where she appeared in the plays ''Madame Chairman'' and ''A Streetcar Named Desire''.

When ''Veronica: The Autobiography of Veronica Lake'' (Bantam, 1972) was published, she promoted the book with a memorable interview on ''The Dick Cavett Show'', as well as an episode of "To Tell the Truth," on which the panel had to guess which of three disguised women was the "real" Veronica Lake. Two of the panelists, Bill Cullen and Peggy Cass, quickly disqualified themselves because they knew her. With the proceeds, she co-produced and starred in her last film, ''Flesh Feast'' (1970), a very low budget horror movie with a Nazi-myth storyline. She then moved to the UK, where she had a short-lived marriage with an "English sea captain", Robert Carleton-Munro, before returning to the U.S. in 1973, having filed for divorce.

Lake was immediately hospitalized. Although she had made a cheerful and positive impression on the nurses who cared for her, she was apparently estranged from her three surviving children, particularly her daughters. Elaine Detlie became known as Ani Sangge Lhamo after becoming a member of the Subud faith in New Zealand. Diana became a secretary for the US Embassy in Rome in the 1970s. Michael De Toth stayed with his mother on and off through the 1960s and 1970s. He married Edwina Mae Niecke. When Lake died he claimed her body.

Death

Lake died on July 7, 1973 of hepatitis and acute renal failure (complications of her alcoholism) in Burlington, Vermont, where her death was certified by Dr. Wareen Beeken at the Fletcher Allen Hospital and where she was seen by many staff members during her nearly two week stay. A rumor persists that she died in Montreal and was smuggled across the border to Vermont.

Her ashes were scattered off the coast of the Virgin Islands as she had requested. A memorial service was held in Manhattan, but only her son and handful of strangers attended. In 2004 some of Lake's ashes were reportedly found in a New York antique store. Her son Michael died on February 24, 1991, aged 45, in Olympia, Washington.

Lake has a star on the Hollywood Walk of Fame at 6918 Hollywood Boulevard for her contributions to the motion picture industry. She remains a legendary star today and her autographs and other memorabilia continue to draw high prices on eBay and other popular outlets.

Quotes

"I wasn't a sex symbol, I was a sex zombie." "You could put all the talent I had into your left eye and still not suffer from impaired vision."

"I've reached a point in my life where it's the little things that matter... I was always a rebel and probably could have got much further had I changed my attitude. But when you think about it, I got pretty far without changing attitudes. I'm happier with that." (1970)

References in popular culture

Barry Smolin's song "Veronica Lake" is about a sighting of a homeless Veronica Lake at Union Station in Los Angeles.

The Archie Comics character ''Veronica Lodge'' was partially named after Veronica Lake, who was in the midst of her early celebrity when the comic book character was introduced in the spring of 1942.

In 1997, the Academy Award-winning film ''L.A. Confidential'' paid homage to Lake's image and manner through Kim Basinger's starring role in an adaptation of James Ellroy's crime novel set in early 1950s Los Angeles. Basinger won an Oscar for her performance, which required her to deliberately resemble Lake. A scene included an image of Lake from ''This Gun for Hire'' screening in the background.

Jessica Rabbit from ''Who Framed Roger Rabbit'' was modeled on Veronica Lake and Rita Hayworth. Jessica also sports Lake's trademark peekaboo hairstyle.

The character of Ronnie Lake in the hit CBS drama ''CSI: Crime Scene Investigation'' is named after her.

Her character in ''Sullivan's Travels'' inspired "Miss Lake," a song on London-based French songwriter Louis Philippe's 2007 album, ''An Unknown Spring''.

Billy Wilder's comedy ''The Major and the Minor'' has a scene in which the students of a girl's school - and their headmistress - all have peekaboo hairstyles. The boys in the scene mention "The girls at the school have an epidemic...They all think they're Veronica Lake".

In Alfred Hitchcock's suspense film ''Shadow of a Doubt'' (1943), the young daughter named Ann says her prayers before going to sleep... "God bless Mama, Papa, Captain Midnight, Veronica Lake, and the President of the United States."

Hellacopters recorded a tribute song called "Veronica Lake" on their latest album, ''Head Off!'' The song was originally written by the New Bomb Turks.

The spider in Bob Clampett's cartoon ''Eatin' on the Cuff'' puts on a Veronica Lake wig.

The Bugs Bunny cartoon ''A-Lad-In His Lamp'' features a lake called Veronica Lake.

Clips of Veronica Lake were used in ''Dead Men Don't Wear Plaid'', a 1982 spoof of film noir starring Steve Martin.

In the 2009 video game ''Still Life 2'', a sequel to the 2005 game, Veronica Lake is the favourite actress of the game's villain. He is obsessed with her movies, especially ''The Blue Dahlia''.

In 2010 Jack White III added a new girl to his acoustic guitar collection named Veronica Lake. It is a custom white Gretsch Rancher with a gold double pickguard and a picture of Veronica Lake on the back. He is currently playing Veronica with his band The Dead Weather.

In the Three Stooges short subject, "Higher Than A Kite", Larry Fine impersonates Veronica Lake, calling himself, "Moronica".

In ''Manhattan'' the Woody Allen character tells his young girlfriend that he's going to take her to see a Veronica Lake movie. She then jokingly confuses her with Rita Hayworth.

In ''Heavenly Creatures'', Juliet (Kate Winslet) and Pauline (Melanie Lynskey) are overheard apparently taking publicity photographs for a planned trip to Hollywood. Juliet says she'll lean back and put her hair on one shoulder and "look just like Veronica Lake".

In ''The Rocky and Bullwinkle Show'', Veronica Lake is the location of the island Moosylvania.

In the Woody Woodpecker cartoon ''The Barber of Seville'' Woody styles his hair in a peek-a-boo and says, "Looks like Harmonica Lake."

In an episode of Are You Being Served?, Mrs. Slocombe remarks that she has been told that from the back she looks like Veronica Lake. Mr. Lucas replies that from the front she looks like Windermere Lake.

In Talespin, one character refers to a lake as "Veronica Lake" as a place known for serene fishing.

Film and television credits

+ Film
! Year	! Title	Role	Notes
1939	''Sorority House''	Coed	Uncredited, alternative title: ''That Girl from College''
1939	''''	The Attorney's New Bride	Credited as Connie Keane
1939	''Dancing Co-Ed''	One of Couple on Motorcycle	Uncredited, alternative title: ''Every Other Inch a Lady''
1939	''All Women Have Secrets''	Jane	Credited as Constance Keane
1940	''Young As You Feel''	Bit part	Credited as Constance Keane
1940	''Forty Little Mothers''	Granville girl	Uncredited
1941	''I Wanted Wings''	Sally Vaughn	First major film role
1941	''Hold Back the Dawn''	Movie Actress	Uncredited
1941	''Sullivan's Travels''	The Girl	First leading role
1942	''This Gun for Hire''	Ellen Graham	First of four films with Alan Ladd
1942	''''	Janet Henry	Second of four films with Alan Ladd
1942	''I Married a Witch''	Jennifer
1942	''Star Spangled Rhythm''	Herself
1943	''So Proudly We Hail!''	Lt. Olivia D'Arcy
1944	''''	Dora Bruckmann
1945	''Bring on the Girls''	Teddy Collins
1945	''Out of This World''	Dorothy Dodge
1945	''Duffy's Tavern''	Herself
1945	''Hold That Blonde''	Sally Martin
1946	''Miss Susie Slagle's''	Nan Rogers
1946	''''	Joyce Harwood	Third of four films with Alan Ladd
1947		Connie Dickason
1947	''Variety Girl''	Herself
1948		Susan Cleaver	Fourth and final film with Alan Ladd
1948	''''	Letty Stanton
1948		Candy Cameron
1949	''Slattery's Hurricane''	Dolores Greaves
1951	''Stronghold''	Mary Stevens
1966	''Footsteps in the Snow''
1970		Dr. Elaine Frederick	Alternative title: ''Time is Terror''

+ Television series
! Year	! Title	Role	Notes
1950	''Your Show of Shows''		1 episode
1950			1 episode
1950–1953	''Lux Video Theatre''	Various	3 episodes
1951	''Somerset Maugham TV Theatre''	Valerie	1 episode
1952	''Celanese Theatre''		1 episode
1952	''Tales of Tomorrow''	Paula	1 episode
1952	''Goodyear Television Playhouse''	Judy "Leni: Howard	1 episode
1953	''Danger''		1 episode
1954	''Broadway Television Theatre''		1 episode

References

Further reading

Oderman, Stuart, ''Talking to the Piano Player 2''. BearManor Media, 2009. ISBN #1-59393-320-7.

External links

Photographs and literature

Category:American expatriates in the United Kingdom Category:American film actors Category:American people of Danish descent Category:Deaths from hepatitis Category:Deaths from renal failure Category:American people of Irish descent Category:People from Brooklyn Category:American aviators Category:Female aviators Category:1922 births Category:1973 deaths Category:Alcohol-related deaths in Vermont Category:20th-century actors

ca:Veronica Lake da:Veronica Lake de:Veronica Lake es:Veronica Lake fr:Veronica Lake id:Veronica Lake it:Veronica Lake he:ורוניקה לייק ka:ვერონიკა ლეიკი nl:Veronica Lake ja:ヴェロニカ・レイク no:Veronica Lake pl:Veronica Lake pt:Veronica Lake ru:Лейк, Вероника sh:Veronica Lake fi:Veronica Lake sv:Veronica Lake uk:Вероніка Лейк zh:維若妮卡·蕾克

Coordinates	50°47′58″N16°32′04″N
name	Claudette Colbert
birth name	Emilie Claudette Chauchoin
birth date	September 13, 1903
birth place	Saint-Mandé, France
death date	July 30, 1996
death place	Speightstown, Barbados
spouse	Norman Foster (1928–1935) (divorced)Dr. Joel Pressman (1935–1968) (his death)
occupation	Actress
years active	1923–1987 }}

Claudette Colbert (; 1903–1996) was a French-born American stage and film actress.

Born in Saint-Mandé, France and raised in New York City, Colbert began her career in Broadway productions during the 1920s, progressing to film with the advent of talking pictures. She established a successful film career with Paramount Pictures and later, as a freelance performer, became one of the highest paid entertainers in American cinema. Colbert was recognized as one of the leading female exponents of screwball comedy; she won the Academy Award for Best Actress for her comedic performance in ''It Happened One Night'' (1934), and also received Academy Award nominations for her dramatic roles in ''Private Worlds'' (1935) and ''Since You Went Away'' (1944).

Her film career began to decline in the 1950s, and she made her last film in 1961. Colbert continued to act in theater and, briefly, in television during her later years. After a career of more than 60 years' duration, Colbert retired to her home in Barbados, where she died at the age of 92, following a series of strokes.

Colbert received theatre awards from the Sarah Siddons Society, a lifetime-achievement award at the Kennedy Center Honors, and, in 1999, the American Film Institute placed her at number twelve on their "AFI's 100 Years... 100 Stars" list of the "50 Greatest American Screen Legends".

Early life

Émilie Claudette Chauchoin was born in Saint-Mandé, Seine, France, to Georges Claude, a banker, and Jeanne Loew Chauchoin, a pastry cook. After some financial reversals, her family emigrated to New York City in 1906. Colbert eventually became a naturalized citizen of the U.S.

Colbert studied at Washington Irving High School, where her speech teacher, Alice Rossetter, encouraged her to audition for a play she had written. Colbert made her stage debut at the Provincetown Playhouse in ''The Widow's Veil'', at the age of 15. She then attended the Art Students League of New York. She intended to become a fashion designer, but appeared on the Broadway stage in a small role in ''The Wild Westcotts'' (1923). Inspired by this experience, Colbert ended her studies and embarked on a stage career in 1925. She adopted the name "Claudette Colbert" as her stage name two years later; she had been using the name of Claudette since high school.

Career

Broadway

After signing a five-year contract with the producer Al Woods, Colbert played ingenue roles on Broadway from 1925 through 1929. During her early years on stage, she fought against being typecast as a maid, and received critical acclaim on Broadway in the production of ''The Barker'' (1927), playing a carnival snake charmer. She later reprised this role for the play's run in London's West End. Two other plays, ''See Naples and Die'' and Eugene O'Neill's ''Dynamo'' (1929), were unsuccessful. However, Colbert was noticed by the theatrical producer Leland Hayward, who suggested her for a role in Frank Capra's film ''For the Love of Mike'' (1927), now believed to be lost. The film, Colbert's only silent film role, was a box office failure.

Early film career

After the failure of ''For the Love of Mike'', Colbert did not make any films for two years, but ultimately signed a contract with Paramount Pictures in 1928. Her earliest films were produced in New York, enabling her to continue her stage career. Her first sound film was ''The Hole in the Wall'' (1929), co-starring another newcomer, Edward G. Robinson. During production of her second sound film, ''The Lady Lies'' (also in 1929), Colbert was appearing nightly in the play ''See Naples and Die'', which would be her final stage performance for 20 years.

In 1930 she appeared in the French language film ''Mysterious Mr. Parkes'', one of the few foreign language films of the time to be widely screened in the United States, and she was also cast in ''The Big Pond''. The latter was filmed in both French and English, and Colbert's fluency in both languages was a key consideration in her casting. She appeared opposite Maurice Chevalier, who commented of her, "She was lovely, brunette, talented and a delicious comedienne, and her English was perfect." While these films were popular with audiences, one of her films from this period, ''Young Man of Manhattan'', her only collaboration with her then-husband, Norman Foster, received negative notices. The magazine ''Picturegoer'' criticized Foster's performance and noted him as one of Colbert's weakest leading men, writing, "He did not seem to get any sincerity into his love scenes."

She co-starred with Fredric March in ''Manslaughter'' (1930), and received positive reviews for her performance as a rich girl, jailed for vehicular manslaughter. The ''New York Times'' wrote, "It cannot be denied that Claudette Colbert—given an even chance—is capable of excellent acting." She was briefly paired with March, and they made four films together, including Dorothy Arzner's ''Honor Among Lovers'' (1931). She sang in her role opposite Maurice Chevalier in the Ernst Lubitsch musical ''The Smiling Lieutenant'' (1931), which was nominated for an Academy Award for Best Picture, and was acknowledged by critics for her ability to assert herself opposite the more experienced Miriam Hopkins.

Cecil B. DeMille perceived Colbert as a femme fatale, and her films with him included partial nudity (particularly in the 1932 historical epic ''The Sign of the Cross'', in which she was cast opposite Fredric March as the Roman empress Poppaea. Glimpses of her bare breasts and nipples were visible in a scene where her character was bathing in asses' milk, a scene that came to be regarded as an example of Hollywood decadence prior to the enforcement of the Production Code). Later the same year she played in ''The Phantom President''. In 1933, Colbert renegotiated her contract with Paramount to allow her to appear in films for other studios.

Breakthrough

During 1934, Colbert's film career flourished. Of the four films she made that year, three of them—the historical biography, ''Cleopatra'', the romantic drama, ''Imitation of Life'', and the screwball comedy, ''It Happened One Night''—were nominated for Academy Awards for Best Picture.

Colbert was reluctant to appear as the "runaway heiress", Ellie Andrews, in the Frank Capra romantic comedy, ''It Happened One Night'' (1934), opposite Clark Gable and released by Columbia Pictures. Behind schedule after several actresses had refused the role, the studio accepted Colbert's demand that she be paid $50,000 and that filming was to be completed within four weeks to allow her to take a planned vacation. Colbert felt that the script was weak, and Capra recalled her dissatisfaction, commenting, "Claudette fretted, pouted and argued about her part... she was a tartar, but a cute one." The film contained at least one scene that is often cited as representative of the screwball film genre and which became well known, even by people who had not seen the entire film. Stranded in the countryside, Colbert demonstrates to an astonished Gable how to hitchhike by displaying her leg. Colbert won the Academy Award for Best Actress for her role. The film was the first to sweep all five major Academy Awards, including Best Picture, Best Director and Best Actor, and was a resounding box-office success. In later life, Colbert reflected upon her misgivings about the film and her lack of confidence when it was completed, commenting, "I left wondering how the movie would be received. It was right in the middle of the Depression. People needed fantasy, they needed splendor and glamour, and Hollywood gave it to them. And here ''we'' were, looking a little seedy and riding on our bus".

In ''Cleopatra'' (1934), she played the title role opposite Warren William. Thereafter, Colbert did not wish to be portrayed as overtly sexual and later refused such roles.

Post 1934

Colbert's success allowed her to renegotiate her contract, raising her salary. In 1935 and 1936, she was listed in the annual "Quigley Poll of the Top Ten Money Making Stars", which was compiled from the votes of movie exhibitors throughout the U.S. for the stars who had generated the most revenue in their theaters over the previous year. She received a second Academy Award nomination for her role in the hospital drama, ''Private Worlds'' (1935).

In 1936, Colbert signed a new contract with Paramount Pictures, which required her to make seven films over a two-year period, and this contract made her Hollywood's highest paid actress. This was followed by a contract renewal in 1938, after which she was reported to be the highest paid performer in Hollywood with a salary of $426,924. Her films during this period include ''The Gilded Lily'' (1935) and ''The Bride Comes Home'' (1935) with Fred MacMurray, ''She Married Her Boss'' (1935) with Melvyn Douglas, ''Under Two Flags'' (1936) with Ronald Colman, ''Maid of Salem'' (1937), again with MacMurray, ''Tovarich'' (1937) with Charles Boyer, ''Bluebeard's Eighth Wife'' (1938) with Gary Cooper, ''Zaza'' (1939) with Herbert Marshall, ''Midnight'' (1939) with Don Ameche, and ''It's a Wonderful World'' (1939) with James Stewart.

With her success, Colbert was able to assert control over the manner in which she was portrayed and gained a reputation for being fastidious by refusing to be filmed from her right side. She believed that her face was uneven and photographed better from the left. She learned about lighting and cinematography, and refused to begin filming until she was satisfied that she would be shown to her best advantage. One example of Colbert's determination to control the way she was photographed occurred during the filming of ''Tovarich'' in 1937, when one of her favored cameramen was dismissed by the director, Anatole Litvak. After seeing the rushes filmed by the replacement, Colbert refused to continue. She insisted on hiring her own cameraman, and offered to waive her salary if the film went over budget as a result. ''Drums Along the Mohawk'' (1939) with Henry Fonda was Colbert's first color film. However, she distrusted the relatively new Technicolor process and feared that she would not photograph well, preferring thereafter to be filmed in black and white.

During this time she began acting for CBS' popular ''Lux Radio Theater'', making numerous appearances between 1935 and 1954.

Later film career

In 1940, Colbert refused a seven-year contract that would have paid her $200,000 a year, as she had found that she could command a fee of $150,000 per film as a freelance artist. With her brother as her manager, Colbert was able to secure roles in prestigious films, and this period marked the height of her earning ability. In the early 1940s she starred in such films as ''Boom Town'' (1940), with Clark Gable, Spencer Tracy, and Hedy Lamarr; ''Arise, My Love'' (1940), with Ray Milland; and the Preston Sturges comedy ''The Palm Beach Story'' (1942), opposite Joel McCrea.

After more than a decade as a leading actress, Colbert began to make a transition to more mature characters, though she was reportedly very sensitive about her age. During filming of ''So Proudly We Hail!'' (1943), with Paulette Goddard and Veronica Lake, a rift occurred when Colbert overheard a remark made by Goddard in an interview. Asked which of her costars she preferred, Goddard had replied, "Veronica, I think. After all, we are closer in age." (Actually, Goddard (b. 1910) was 12 years older than Lake (b. 1922) and only 7 years younger than Colbert (b. 1903), making her considerably closer in age to Colbert, so this may have been an intentional slight). Goddard further commented that Colbert "flipped" and "was at Paulette's eyes at every moment," and said that they continued their feud throughout the duration of filming.

Impressed by her performance in this film, but aware of Colbert's sensitivity, David O. Selznick approached her to play the lead role in ''Since You Went Away'' (1944). She balked at the prospect of playing a mother of teenaged children, but Selznick believed that she was the best candidate for the role, and valued her marketability, commenting that "even light little comedies with her have never done under a million and a half." Eventually, Colbert accepted. The director, John Cromwell, later noted that Colbert was "level headed, very professional and with no temperament", but Selznick expressed frustration with some of her demands. He wrote in a memo to Colbert's agent that they had rebuilt several sets "because of her refusal to have the right side of her face photographed, on top of which we have to pay her not only a fabulous salary, but also give her two days off a month, which works out to $5000 every four weeks for doing absolutely nothing, and now she's demanding three.... Tell her there's a war on and we all have to make some sacrifices."

Released in June 1944, the film became a substantial success and grossed almost $5 million in the United States. The critic James Agee praised aspects of the film, but particularly Colbert's performance, writing "Selznick has given Claudette Colbert the richest, biggest role of her career. She rewards him consistently with smooth Hollywood formula acting, and sometimes, in collaboration with (Joseph) Cotten, with flashes of acting that are warmer and more mature." Colbert received her final Academy Award nomination for this performance.

In 1945, Colbert ended her association with Paramount Studios, and continued to free-lance in such films as ''Guest Wife'' (1945), with Don Ameche. RKO Studios hired her to appear opposite John Wayne in ''Without Reservations'' (1946), with a storyline and setting intentionally inspired by ''It Happened One Night''. As a result, ''Without Reservations'' grossed $3 million in the U.S., and the overall popularity of Colbert's films during 1946 led to her making a final appearance in the "Quigley Poll of the Top Ten Money Making Stars". She achieved her last great success opposite Fred MacMurray in the comedy ''The Egg and I'' (1947). The film was one of the year's biggest hits, and was later acknowledged as the 12th most profitable American film of the 1940s. Her subsequent films failed to capitalize on her renewed success, with the exception of the suspense film ''Sleep, My Love'' (1948) with Robert Cummings.

Colbert then lost two roles that were originally intended for her, and which were highly successful ventures for each of the actresses who replaced her. She was signed to appear in ''State of the Union'' with Gary Cooper, who was replaced by Spencer Tracy. Two days before filming began, Colbert advised the director Frank Capra that she was unable to work beyond 5 p.m. each day, citing "doctor's orders". Capra refused to accommodate her terms and cast Katharine Hepburn in the role.

In 1949, Joseph L. Mankiewicz wrote the part of Margo Channing in ''All About Eve'' for Colbert, feeling that she best represented the style of the older actress he envisioned for the part. Mankiewicz admired her "sly wit and sense of class" and felt that she would play the part as an "elegant drunk", who would easily win the support of the audience. Colbert was enthusiastic about the role, and after a succession of noble roles, relished the prospect of playing what she described as a more "feline" character. Before production started, Colbert severely injured her back, while filming a scene for ''Three Came Home'', and although 20th Century Fox postponed the production of ''All About Eve'' for two months while she convalesced, she was still not fit enough to take the role and was replaced by Bette Davis. Years later, Mankiewicz commented that he still imagined how effectively Colbert would have embodied the role, and how greatly her portrayal would have differed from Davis's. Colbert described her loss of the role as one of her great regrets, and said that she wished she could have played the role, even if it had been "in a wheelchair".

Her films of this period received mixed reception. The RKO comedy ''Bride for Sale'', in which Colbert was part of a love triangle that included George Brent and Robert Young, was well reviewed and modestly successful. ''The Secret Fury'' (1950), also for RKO, was a mystery melodrama that was widely panned, with one critic commenting that Colbert and her co-star Robert Ryan "wandered through the film like two abandoned children in search of their father".

Decline of film career

In the early 1950s, Colbert traveled to Europe and began making fewer films. She appeared in the French film ''Royal Affairs in Versailles'', one of only two films she made in her native country, and a success at the local box-office. Colbert had a supporting role rather than top billing in the film, which also featured a number of well known French cinema performers.

In 1954, after a successful appearance in a television version of ''The Royal Family'', she began acting in various teleplays. From 1954 to 1960, she appeared in the television adaptations of ''Blithe Spirit'' in 1956 and ''The Bells of St. Mary's'' in 1959. She also guest starred on ''Robert Montgomery Presents'', ''Playhouse 90'', and ''Zane Grey Theater''.

In 1958, she returned to Broadway in ''The Marriage-Go-Round'', for which she was nominated for a Best Actress Tony Award.

By 1955 she had stopped making films, although returned to the screen in ''Parrish'' (1961) for Warner Brothers. When the film was released, most of the studio publicity was in support of the young male lead Troy Donahue, who was being groomed by the studio. Colbert, playing the supporting role of Donahue's mother, received little attention, and the film was not a success. She never made another film although the press occasionally referred to upcoming projects that did not exist. Embarrassed, Colbert instructed her agent to stop his attempts to generate interest in her as a film actress. In the late 1960s, a reporter asked her why she had made no more films, to which she replied, "Because there have been no offers."

Her occasional acting ventures were limited to theater and included performances on Broadway and in London in ''The Irregular Verb to Love'' (1963); ''The Kingfisher'' (1978) in which she co-starred with Rex Harrison, and Frederick Lonsdale's ''Aren't We All?'' (1985) also with Rex Harrison.

In 1987, Colbert appeared in a supporting role in the television miniseries ''The Two Mrs. Grenvilles''. The production was a ratings success and was nominated for several awards. Colbert won a Golden Globe and received a nomination for an Emmy Award. This marked her final performance on film, however she continued to act in theater.

Personal life

In 1928, Colbert married Norman Foster, an actor and director, who appeared with Colbert in the Broadway show ''The Barker''. However, she and her first husband lived apart, never sharing a home together in Hollywood, supposedly because Colbert's mother disliked Foster and wouldn't allow him into their home. Colbert and Foster divorced in 1935, and in December of that year, Colbert married Dr. Joel Pressman, a surgeon at UCLA. The marriage lasted 33 years, until Pressman's death of liver cancer in 1968.

Colbert had one brother, Charles (1898–1971), who used the surname Wendling and served as her agent and business manager for a time. He is credited with negotiating some of her more lucrative contracts in the late 1930s and early 1940s.

Colbert was a staunch Republican and conservative.

Final years and death

For years, Colbert divided her time between her apartment in Manhattan and her summer home in Speightstown, Barbados. After suffering a series of strokes in 1993, she remained in her Barbados home, Belle-rive, where she died on July 30, 1996, at age 92. She was buried in the Parish of St. Peter Cemetery in Barbados. Colbert left no immediate family.

The bulk of Colbert's estate was left to a friend, Helen O'Hagan, a retired director of corporate relations at Saks Fifth Avenue, whom Colbert had met in 1961 on the set of the her last film and who cared for Colbert following her 1993 strokes.

Contemporary reception

Colbert established one of the most successful film careers of any actress of her generation, and was considered a dependable and bankable star. Her status was reflected in her earnings as one of the best paid performers of the 1930s and 1940s. Colbert once commented that she had sacrificed for the sake of her career.

In discussing Colbert's career, her contemporaries confirmed her drive. Irene Dunne commented that she had lacked Colbert's "terrifying ambition" and noted that if Colbert "finished work on a film on a Saturday, she would be looking for a new project by Monday". Hedda Hopper wrote that Colbert placed her career "ahead of everything save possibly her marriage", and described her as the "smartest and canniest" of Hollywood actresses, with a strong sense of what was best for her, and a "deep rooted desire to be in shape, efficient and under control".

Other actors admired Colbert's comic timing; David Niven related in his biography that Gary Cooper was "terrified" at the prospect of working with Colbert in his first comedy, ''Bluebeard's Eighth Wife,'' because he considered Colbert to be an expert in the genre. The film gave Niven one of his first significant parts, and he wrote that Colbert took a nurturing role towards him and "was the soul of fun and a most generous performer," although he noted that her insistence that she be filmed only from her left side created difficulties for the cameramen. Her fastidious attitude in this regard became well known, with Doris Day quoted as saying, "God wasted half a face on Claudette". During her heyday, film technicians described the right side of her face as "the dark side of the moon." In a 1930s interview Constance Bennett replied to questions about her own demands, with the comment that Colbert's idiosyncrasies were far more excessive, but Bennett acknowledged that it was an integral part of Colbert's success. Colbert was also generally respected for her professionalism, with the ''New York Times'' stating that she was known for giving "110 percent" to any project she worked on, and she was also highly regarded for learning the technical aspects of studio lighting and cinematography that allowed her to maintain a distinctive film image. In her biography, Myrna Loy stated that Colbert, along with Joan Crawford, "knew more about lighting than the experts did."

Modern critics and film historians note that Colbert demonstrated versatility throughout her career, and played characters that ranged from vamps to housewives, and that encompassed screwball comedy and drama. Pauline Kael wrote that Colbert was widely admired by American audiences from the time of ''It Happened One Night'' because she represented "Americans' idealized view of themselves—breezy, likable, sexy, gallant and maybe just a little hare-brained."

She found it difficult to make the transition to playing more mature characters as she approached middle-age and expressed her admiration for Bette Davis, saying that she had been able to make the transition more easily because she had shrewdly played character roles as a young woman.

She was praised for her sense of style and awareness of fashion, and she ensured throughout her career, that she was impeccably groomed and costumed. Such was the importance she placed upon costuming, that for the 1946 melodrama, ''Tomorrow is Forever'', Jean Louis was hired to create eighteen changes of wardrobe for her.

When she received a Kennedy Center Honor, her fashion sense was referred to with a quotation from Jeanie Basinger in ''The International Dictionary of Films and Filmmakers'': "[Her] glamour is the sort that women attain for themselves by using their intelligence to create a timeless personal style." The writer A. Scott Berg described Colbert as one of Paramount Studio's greatest assets as she had "proved deft in all genres" and had "helped define femininity for her generation with her chic manner."

Colbert is cited as a leading female exponent of screwball comedy, along with such actresses as Jean Arthur, Irene Dunne, Carole Lombard, Myrna Loy and Rosalind Russell. In her comedy films, she invariably played shrewd and self reliant women, but unlike many of her contemporaries, Colbert rarely engaged in physical comedy, with her characters more likely to be observers and commentators.

Filmography

Awards and honors

Colbert was nominated for the Academy Award for Best Actress for three films, ''It Happened One Night'' (1935), ''Private Worlds'' (1936), and ''Since You Went Away'' (1945), winning for ''It Happened One Night''. In addition, she won a Golden Globe Award for Best Supporting Actress in a Series, Mini-series, or Motion Picture Made for Television for her role in ''The Two Mrs. Grenvilles'' (1988), and was nominated for an Emmy Award for the same.

Claudette Colbert remains the only actress in the history of cinema to star in three films in the same year to be nominated for Best Picture Academy Award, those films being ''Cleopatra'', ''Imitation of Life'', and ''It Happened One Night'' which were all made in 1934. A male also accomplished this feat, John C. Reilly in 2002, when he started in ''The Hours'', ''Chicago'', and ''Gangs of New York''.

In 1980, Colbert was awarded the Sarah Siddons Award for her theatre work. In 1984, Colbert was awarded the Gala Tribute award by the Film Society of Lincoln Center. The same year, a building at the old Kaufman Astoria Studios in New York, where she had made ten films in early career, was renamed in her honor. In 1985, Colbert was awarded a Drama Desk Special Award.

In 1989, Colbert was the recipient of the Kennedy Center Honors for lifetime achievement. In 1990, Colbert was honored with the San Sebastián International Film Festival Donostia Lifetime Achievement Award.

For her contribution to the motion picture industry, Claudette Colbert has a star on the Hollywood Walk of Fame at 6812 Hollywood Blvd.

References

Bibliography

Anderson, Christopher (1997). ''An Affair to Remember, The Remarkable Love Story of Katharine Hepburn and Spencer Tracy''. William Morrow and Co. Inc. ISBN 0-688-15311-9

Berg, A. Scott (1989). ''Goldwyn''. Sphere Books. ISBN 0-7474-0593-X

Chandler, Charlotte (2006). ''The Girl Who Walked Home Alone, Bette Davis, A Personal Biography''. Simon & Schuster. ISBN 0-7432-6208-5

Chaneles, Sol (1974). ''The Movie Makers''. Octopus Books. ISBN 0-7064-038708

DiBattista, Maria (2001). ''Fast Talking Dames''. Yale University Press. ISBN 0-300-09903-7

Edmonds, I. G. and Mimura, Reiko (1980). ''The Oscar Directors''. Tantivy Press. ISBN 0-498-02444-X

Edwards, Anne (1988). ''The DeMilles, An American Family''. William Collins, Sons & Co. ISBN 0-00-215241-X

Finler, Joel W. (1989). ''The Hollywood Story: Everything You Always Wanted to Know About the American Film Industry But Didn't Know Where to Look''. Pyramid Books. ISBN 1-855-10009-6

Harris, Warren G. (2002). ''Clark Gable, A Biography''. Aurum Press. ISBN 1-85410-904-9

Haver, Ronald (1980). ''David O. Selznick's Hollywood''. Bonanza Books, New York. ISBN 0-517-47665-7

Hirschnor, Joel (1983). ''Rating the Movie Stars for Home Video, TV and Cable''. Publications International Limited. ISBN 0-88176-152-4

Jewell, Richard B. and Harbin, Vernon (1982). ''The RKO Story'', Octopus Books. ISBN 0-7064-1285-0

Kael, Pauline (1984). ''5001 Nights at the Movies''. Zenith Books. ISBN 0-09-933550-6

Karney, Robyn (1984). ''The Movie Stars Story, An Illustrated Guide to 500 of the World's Most Famous Stars of the Cinema''. Octopus Books. ISBN 0-7064-2092-6

Kotsilibas-Davis and Loy, Myrna (1988). ''Being and Becoming''. Donald I. Fine Inc. ISBN 1-556611-101-0

Niven, David (1976). ''Bring on the Empty Horses''. Putnam. ISBN 0-399115-420-0

Quirk, Lawrence J. (1974). ''Claudette Colbert An Illustrated Biography''. Crown Publishers. ISBN 0-517-55678-2

Shipman, David (1970). ''The Great Movie Stars: The Golden Years''. Bonanza Books, New York. Library of Congress Catalogue Card Number 78-133803

Shipman, David (1988). ''Movie Talk''. St. Martin's Press. ISBN 0-312-03403-2

Springer, John (1978). ''They Had Faces Then, Annabella to Zorina, the Superstars, Stars and Starlets of the 1930s''. ISBN 0-8065-0657-1

External links

Category:1903 births Category:1996 deaths Category:People from Saint-Mandé Category:American people of French descent Category:American film actors Category:American stage actors Category:Art Students League of New York alumni Category:Best Actress Academy Award winners Category:Best Supporting Actress Golden Globe (television) winners Category:California Republicans Category:Disease-related deaths in Barbados Category:French emigrants to the United States Category:Kennedy Center honorees Category:Naturalized citizens of the United States Category:New York Republicans Category:20th-century actors

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Coordinates	50°47′58″N16°32′04″N
{{infobox person| name	Fred Astaire
birth name	Frederick Austerlitz
birth date	May 10, 1899
birth place	Omaha, Nebraska,United States
death date	June 22, 1987
death place	Los Angeles, California,United States
occupation	Actor, dancer, singer, choreographer
years active	1904–81
spouse	Phyllis Livingston Potter (1933–54; her death)Robyn Smith(1980–87; his death)
relatives	Adele Astaire(sister, deceased) }}

Fred Astaire (born Frederick Austerlitz; May 10, 1899 – June 22, 1987) was an American film and Broadway stage dancer, choreographer, singer and actor. His stage and subsequent film career spanned a total of 76 years, during which he made 31 musical films. He was named the fifth Greatest Male Star of All Time by the American Film Institute. He is particularly associated with Ginger Rogers, with whom he made ten films.

Gene Kelly, another major innovator in filmed dance, said that "the history of dance on film begins with Astaire". Beyond film and television, many classical dancers and choreographers, Rudolf Nureyev, Sammy Davis Jr., Michael Jackson, Gregory Hines, Mikhail Baryshnikov, George Balanchine and Jerome Robbins among them, also acknowledged his importance and influence.

Life and career

1899–1917: Early life and career

Astaire was born in Omaha, Nebraska, the son of Johanna "Ann" (née Geilus) and Frederic "Fritz" Austerlitz (born September 8, 1868, as Friedrich Emanuel Austerlitz). Astaire's mother was born in the United States to Lutheran German immigrants from East Prussia and Alsace, while Astaire's father was born in Linz, Austria, to Jewish parents who had converted to Catholicism.

After arriving in New York City at age 24 on October 26, 1892, and being processed at Ellis Island, Astaire's father, hoping to find work in his brewing trade, moved to Omaha, Nebraska, and landed a job with the Storz Brewing Company. Astaire's mother dreamed of escaping Omaha by virtue of her children's talents, after Astaire's sister, Adele Astaire, early on revealed herself to be an instinctive dancer and singer. She planned a "brother-and-sister act," which was common in vaudeville at the time. Although Astaire refused dance lessons at first, he easily mimicked his older sister's step and took up piano, accordion and clarinet.

When their father suddenly lost his job, the family moved to New York City to launch the show business career of the children. Despite Adele and Fred's teasing rivalry, they quickly acknowledged their individual strengths, his durability and her greater talent. Sister and brother took the name "Astaire" in 1905, as they were taught dance, speaking, and singing in preparation for developing an act. Family legend attributes the name to an uncle surnamed "L'Astaire".

Their first act was called ''Juvenile Artists Presenting an Electric Musical Toe-Dancing Novelty''. Fred wore a top hat and tails in the first half and a lobster outfit in the second. The goofy act debuted in Keyport, New Jersey, in a "tryout theater." The local paper wrote, "the Astaires are the greatest child act in vaudeville."

As a result of their father's salesmanship, Fred and Adele rapidly landed a major contract and played the famed Orpheum Circuit not only in Omaha, but throughout the United States. Soon Adele grew to at least three inches taller than Fred and the pair began to look incongruous. The family decided to take a two-year break from show business to let time take its course and to avoid trouble from the Gerry Society and the child labor laws of the time. In 1912, Fred became an Episcopalian.

The career of the Astaire siblings resumed with mixed fortunes, though with increasing skill and polish, as they began to incorporate tap dancing into their routines. Astaire's dancing was inspired by Bill "Bojangles" Robinson and John "Bubbles" Sublett. From vaudeville dancer Aurelio Coccia, they learned the tango, waltz and other ballroom dances popularized by Vernon and Irene Castle.

Some sources state that the Astaire siblings appeared in a 1915 film entitled ''Fanchon, the Cricket'', starring Mary Pickford, but the Astaires have consistently denied this.

Fred Astaire first met George Gershwin, who was working as a song plugger in Jerome H. Remick's, in 1916. Fred had already been hunting for new music and dance ideas. Their chance meeting was to deeply affect the careers of both artists.

Astaire was always on the lookout for new steps on the circuit and was starting to demonstrate his ceaseless quest for novelty and perfection. The Astaires broke into Broadway in 1917 with ''Over the Top'', a patriotic revue.

1917–1933: Stage career in Broadway and London

They followed up with several more shows, and of their work in ''The Passing Show of 1918'' Heywood Broun wrote: "In an evening in which there was an abundance of good dancing, Fred Astaire stood out ... He and his partner, Adele Astaire, made the show pause early in the evening with a beautiful loose-limbed dance."

By this time, Astaire's dancing skill was beginning to outshine his sister's, though she still set the tone of their act and her sparkle and humor drew much of the attention, due in part to Fred's careful preparation and strong supporting choreography.

During the 1920s, Fred and Adele appeared on Broadway and on the London stage in shows such as George and Ira Gershwin's ''Lady Be Good'' (1924) and ''Funny Face'' (1927), and later in ''The Band Wagon'' (1931), winning popular acclaim with the theater crowd on both sides of the Atlantic. By then, Astaire's tap dancing was recognized as among the best, as Robert Benchley wrote in 1930, "I don't think that I will plunge the nation into war by stating that Fred is the greatest tap-dancer in the world."

After the close of ''Funny Face'', the Astaires went to Hollywood for a screen test (now lost) at Paramount Pictures, but were not considered suitable for films.

They split in 1932 when Adele married her first husband, Lord Charles Arthur Francis Cavendish, a son of the Duke of Devonshire. Fred Astaire went on to achieve success on his own on Broadway and in London with ''Gay Divorce'', while considering offers from Hollywood. The end of the partnership was traumatic for Astaire, but stimulated him to expand his range. Free of the brother-sister constraints of the former pairing and with a new partner (Claire Luce), he created a romantic partnered dance to Cole Porter's "Night and Day", which had been written for ''Gay Divorce''. Luce stated that she had to encourage him to take a more romantic approach: "Come on, Fred, I'm not your sister, you know." The success of the stage play was credited to this number, and when recreated in the film version of the play ''The Gay Divorcee'' (1934), it ushered in a new era in filmed dance. Recently, film footage taken by Fred Stone of Astaire performing in ''Gay Divorce'' with Luce's successor, Dorothy Stone, in New York in 1933 was uncovered by dancer and historian Betsy Baytos and now represents the earliest known performance footage of Astaire.

1933–1939: Astaire and Rogers at RKO

According to Hollywood folklore, a screen test report on Astaire for RKO Pictures, now lost along with the test, is reported to have read: "Can't sing. Can't act. Balding. Can dance a little." The producer of the Astaire-Rogers pictures, Pandro S. Berman, claimed he had never heard the story in the 1930s and that it only emerged years later. Astaire later insisted that the report had actually read: "Can't act. Slightly bald. ''Also dances''". In any case, the test was clearly disappointing, and David O. Selznick, who had signed Astaire to RKO and commissioned the test, stated in a memo, "I am uncertain about the man, but I feel, in spite of his enormous ears and bad chin line, that his charm is so tremendous that it comes through even on this wretched test." However, this did not affect RKO's plans for Astaire, first lending him for a few days to MGM in 1933 for his Hollywood debut, where he appeared as himself dancing with Joan Crawford in the successful musical film ''Dancing Lady''.

On his return to RKO Pictures, he got fifth billing alongside Ginger Rogers in the 1933 Dolores del Río vehicle ''Flying Down to Rio''. In a review, ''Variety'' magazine attributed its massive success to Astaire's presence: "The main point of ''Flying Down to Rio'' is the screen promise of Fred Astaire ... He's assuredly a bet after this one, for he's distinctly likable on the screen, the mike is kind to his voice and as a dancer he remains in a class by himself. The latter observation will be no news to the profession, which has long admitted that Astaire starts dancing where the others stop hoofing."

Having already been linked to his sister Adele on stage, Astaire was initially very reluctant to become part of another dance team. He wrote his agent, "I don't mind making another picture with her, but as for this ''team'' idea it's ''out!'' I've just managed to live down one partnership and I don't want to be bothered with any more." He was persuaded by the obvious public appeal of the Astaire-Rogers pairing. The partnership, and the choreography of Astaire and Hermes Pan, helped make dancing an important element of the Hollywood film musical. Astaire and Rogers made ten films together, including ''The Gay Divorcee'', ''Roberta'' (1935), ''Top Hat'' (1935), ''Follow the Fleet'' (1936), ''Swing Time'' (1936), ''Shall We Dance'' (1937), and ''Carefree'' (1938). Six out of the nine Astaire-Rogers musicals became the biggest moneymakers for RKO; all of the films brought a certain prestige and artistry that all studios coveted at the time. Their partnership elevated them both to stardom; as Katharine Hepburn reportedly said, "He gives her class and she gives him sex."

Astaire received a percentage of the films' profits, something extremely rare in actors' contracts at that time; and complete autonomy over how the dances would be presented, allowing him to revolutionize dance on film.

Astaire is credited with two important innovations in early film musicals. First, he insisted that the (almost stationary) camera film a dance routine in a single shot, if possible, while holding the dancers in full view at all times. Astaire famously quipped: "Either the camera will dance, or I will." Astaire maintained this policy from ''The Gay Divorcee'' (1934) onwards (until overruled by Francis Ford Coppola, who directed ''Finian's Rainbow'' (1968), Astaire's last film musical). Astaire's style of dance sequences thus contrasted with the Busby Berkeley musicals, which were known for dance sequences filled with extravagant aerial shots, quick takes, and zooms on certain areas of the body, such as the arms or legs. Second, Astaire was adamant that all song and dance routines be seamlessly integrated into the plotlines of the film. Instead of using dance as spectacle as Busby Berkeley did, Astaire used it to move the plot along. Typically, an Astaire picture would include a solo performance by Astaire — which he termed his "sock solo" — a partnered comedy dance routine, and a partnered romantic dance routine.

Dance commentators Arlene Croce, Hannah Hyam and John Mueller consider Rogers to have been Astaire's greatest dance partner, while recognizing that some of his later partners displayed superior technical dance skills, a view shared by Hermes Pan and Stanley Donen. Film critic Pauline Kael adopts a more neutral stance, while ''Time'' magazine film critic Richard Schickel writes "The nostalgia surrounding Rogers-Astaire tends to bleach out other partners."

Mueller sums up Rogers's abilities as follows: "Rogers was outstanding among Astaire's partners not because she was superior to others as a dancer, but because, as a skilled, intuitive actress, she was cagey enough to realize that acting did not stop when dancing began ... the reason so many women have fantasized about dancing with Fred Astaire is that Ginger Rogers conveyed the impression that dancing with him is the most thrilling experience imaginable." According to Astaire, "Ginger had never danced with a partner before ["Flying Down to Rio"]. She faked it an awful lot. She couldn't tap and she couldn't do this and that ... but Ginger had style and talent and improved as she went along. She got so that after a while everyone else who danced with me looked wrong."

For her part, Rogers described Astaire's uncompromising standards extending to the whole production, "Sometimes he'll think of a new line of dialogue or a new angle for the story ... they never know what time of night he'll call up and start ranting enthusiastically about a fresh idea ... No loafing on the job on an Astaire picture, and no cutting corners."

Astaire was still unwilling to have his career tied exclusively to any partnership, however. He negotiated with RKO to strike out on his own with ''A Damsel in Distress'' in 1937 with an inexperienced, non-dancing Joan Fontaine, unsuccessfully as it turned out. He returned to make two more films with Rogers, ''Carefree'' (1938) and ''The Story of Vernon and Irene Castle'' (1939). While both films earned respectable gross incomes, they both lost money due to increased production costs and Astaire left RKO. Rogers remained and went on to become the studio's hottest property in the early forties. They were reunited in 1949 at MGM for their final outing, ''The Barkleys of Broadway''.

1940–1947: Drifting to an early retirement

In 1939, Astaire left RKO to freelance and pursue new film opportunities, with mixed though generally successful outcomes. Throughout this period, Astaire continued to value the input of choreographic collaborators and, unlike the 1930s when he worked almost exclusively with Hermes Pan, he tapped the talents of other choreographers in an effort to continually innovate. His first post-Ginger dance partner was the redoubtable Eleanor Powell — considered the finest female tap-dancer of her generation — in ''Broadway Melody of 1940'' where they performed a celebrated extended dance routine to Cole Porter's "Begin the Beguine". In his autobiography ''Steps in Time'', Astaire remarked, "She 'put 'em down like a man', no ricky-ticky-sissy stuff with Ellie. She really knocked out a tap dance in a class by herself."

He played alongside Bing Crosby in ''Holiday Inn'' (1942) and later ''Blue Skies'' (1946), but in spite of the enormous financial success of both, was reportedly dissatisfied with roles where he lost the girl to Crosby. The former film is particularly remembered for his virtuoso solo dance to "Let's Say it with Firecrackers" while the latter film featured an innovative song and dance routine to a song indelibly associated with him: "Puttin' on the Ritz". Other partners during this period included Paulette Goddard in ''Second Chorus'' (1940), in which he dance-conducted the Artie Shaw orchestra.

He made two pictures with Rita Hayworth, the daughter of his former vaudeville dance idols, the Cansinos: the first ''You'll Never Get Rich'' (1941) catapulted Hayworth to stardom and provided Astaire with his first opportunity to integrate Latin-American dance idioms into his style, taking advantage of Hayworth's professional Latin dance pedigree. His second film with Hayworth, ''You Were Never Lovelier'' (1942) was equally successful, and featured a duet to Kern's "I'm Old Fashioned" which became the centerpiece of Jerome Robbins's 1983 New York City Ballet tribute to Astaire. He next appeared opposite the seventeen-year-old Joan Leslie in the wartime drama ''The Sky's the Limit'' (1943) where he introduced Arlen and Mercer's "One for My Baby" while dancing on a bar counter in a dark and troubled routine. This film which was choreographed by Astaire alone and achieved modest box office success, represented an important departure for Astaire from his usual charming happy-go-lucky screen persona and confused contemporary critics.

His next partner, Lucille Bremer, was featured in two lavish vehicles, both directed by Vincente Minnelli: the fantasy ''Yolanda and the Thief'' which featured an avant-garde surrealistic ballet, and the musical revue ''Ziegfeld Follies'' (1946) which featured a memorable teaming of Astaire with Gene Kelly to "The Babbit and the Bromide", a Gershwin song Astaire had introduced with his sister Adele back in 1927. While ''Follies'' was a hit, ''Yolanda'' bombed at the box office and Astaire, ever insecure and believing his career was beginning to falter surprised his audiences by announcing his retirement during the production of ''Blue Skies'' (1946), nominating "Puttin' on the Ritz" as his farewell dance.

After announcing his retirement in 1946, Astaire concentrated on his horse-racing interests and went on to found the Fred Astaire Dance Studios in 1947 — which he subsequently sold in 1966.

1948–1957: Productive years with MGM and second retirement

thumb|In ''Daddy Long Legs'' (1955)However, he soon returned to the big screen to replace the injured Kelly in ''Easter Parade'' opposite Judy Garland, Ann Miller and Peter Lawford, and for a final reunion with Rogers in ''The Barkleys of Broadway'' (1949). He then went on to make more musicals throughout the 1950s: ''Let's Dance'' (1950) with Betty Hutton, ''Royal Wedding'' (1951) with Jane Powell, ''Three Little Words'' (1950) and ''The Belle of New York'' (1952) with Vera-Ellen, ''The Band Wagon'' (1953) and ''Silk Stockings'' (1957) with Cyd Charisse, ''Daddy Long Legs'' (1955) with Leslie Caron, and ''Funny Face'' (1957) with Audrey Hepburn.

During 1952 Astaire recorded ''The Astaire Story'', a four-volume album with a quintet led by Oscar Peterson. The album provided a musical overview of Astaire's career, and was produced by Norman Granz. ''The Astaire Story'' later won the Grammy Hall of Fame Award in 1999, a special Grammy award to honor recordings that are at least twenty-five years old, and that have "qualitative or historical significance."

His legacy at this point was 30 musical films in 25 years. Afterwards, Astaire announced that he was retiring from dancing in film to concentrate on dramatic acting, scoring rave reviews for the nuclear war drama ''On the Beach'' (1959).

1958–1981: Branching out into televised dance and straight acting

Astaire did not retire from dancing completely. He made a series of four highly rated Emmy Award-winning musical specials for television in 1958, 1959, 1960, and 1968, each featuring Barrie Chase, with whom Astaire enjoyed an Indian summer of dance creativity. The first of these programs, 1958's ''An Evening with Fred Astaire'', won nine Emmy Awards, including "Best Single Performance by an Actor" and "Most Outstanding Single Program of the Year." It was also noteworthy for being the first major broadcast to be prerecorded on color videotape, and has recently been restored. The restoration won technical Emmy in 1988 for Ed Reitan, Don Kent, and Dan Einstein, who restored the original videotape, transferring its contents to a modern format, and filling in gaps where the tape had deteriorated with kinescope footage. Astaire personally won the Emmy for Best Single Performance by an Actor but the choice had a controversial backlash because many felt that his dancing in the special was not the type of "acting" the award was designed for. At one point Astaire even offered to return the award, but the Television Academy refused to consider it.

Fred played the role of Julian Osborne in the 1959 movie ''On the Beach'' and was nominated a Golden Globe Best Supporting Actor award for his performance, losing to Stephen Boyd in ''Ben Hur'' . Astaire's last major musical film was ''Finian's Rainbow'' (1968), directed by Francis Ford Coppola. He shed his white tie and tails to play an Irish rogue who believes if he buries a crock of gold in the shadows of Fort Knox it will multiply. His dance partner was Petula Clark, who portrayed his skeptical daughter. He admitted to being as nervous about singing with her as she confessed to being apprehensive about dancing with him. Unfortunately, the film was a box-office failure, though it has gained a strong reputation over the years since its release.

Astaire continued to act into the 1970s, appearing on television as the father of Robert Wagner's character of Alexander Mundy in ''It Takes a Thief'' and in films such as ''The Towering Inferno'' (1974), in which he danced with Jennifer Jones and for which he received his only Academy Award nomination, in the category of Best Supporting Actor. He voiced the mailman narrator in 1970's classic animated film ''Santa Claus is Comin' to Town''. He appeared in the first two ''That's Entertainment!'' documentaries in the mid 1970s. In the second, aged seventy-six, he performed a number of song-and-dance routines with Kelly, his last dance performances in a musical film. In the summer of 1975, he made three albums in London, ''Attitude Dancing'', ''They Can't Take These Away From Me'', and ''A Couple of Song and Dance Men'', the last an album of duets with Bing Crosby. In 1976, he played a supporting role as a dog owner in the cult movie ''The Amazing Dobermans'', co-starring Barbara Eden and James Franciscus. Fred Astaire played Dr. Seamus Scully in the French film ''The Purple Taxi'' (1977). In 1978, he co-starred with Helen Hayes in a well-received television film, ''A Family Upside Down,'' in which they play an elderly couple coping with failing health. Astaire won an Emmy Award for his performance. He made a well-publicized guest appearance on the science fiction television series ''Battlestar Galactica'' in 1979, as Chameleon, the possible father of Starbuck, in "The Man with Nine Lives", a role written for him by Donald P. Bellisario. Astaire asked his agent to obtain a role for him on ''Galactica'' because of his grandchildren's interest in the series. His final film role was the 1981 adaptation of Peter Straub's novel ''Ghost Story.'' This horror film was also the last for two of his most prominent castmates, Melvyn Douglas and Douglas Fairbanks, Jr.

Working methods and influence on filmed dance

Astaire was a virtuoso dancer, able to convey light-hearted venturesomeness or deep emotion when called for. His technical control and sense of rhythm were astonishing. Long after the photography for the solo dance number "I Want to Be a Dancin' Man" was completed for the 1952 feature "The Belle of New York", it was decided that Astaire's humble costume and the threadbare stage set were inadequate and the entire sequence was re-shot. The 1994 documentary ''That's Entertainment! III'' shows the two performances side-by-side in split screen. Frame for frame, the two performances are absolutely identical, down to the subtlest gesture.

Astaire's execution of a dance routine was prized for its elegance, grace, originality and precision. He drew from a variety of influences, including tap and other black rhythms, classical dance and the elevated style of Vernon and Irene Castle, to create a uniquely recognizable dance style which greatly influenced the American Smooth style of ballroom dance, and set standards against which subsequent film dance musicals would be judged. He termed his eclectic approach his "outlaw style", an unpredictable and instinctive blending of personal artistry. His dances are economical yet endlessly nuanced, as Jerome Robbins stated, "Astaire's dancing looks so simple, so disarming, so easy, yet the understructure, the way he sets the steps on, over or against the music, is so surprising and inventive." Astaire further observes:

Working out the steps is a very complicated process — something like writing music. You have to think of some step that flows into the next one, and the whole dance must have an integrated pattern. If the dance is right, there shouldn't be a single superfluous movement. It should build to a climax and stop!"

With very few exceptions, Astaire created his routines in collaboration with other choreographers, primarily Hermes Pan. They would often start with a blank slate:

"For maybe a couple of days we wouldn't get anywhere — just stand in front of the mirror and fool around ... Then suddenly I'd get an idea or one of them would get an idea ... So then we'd get started ... You might get practically the whole idea of the routine done that day, but then you'd work on it, edit it, scramble it, and so forth. It might take sometimes as long as two, three weeks to get something going."

Frequently, a dance sequence was built around two or three principal ideas, sometimes inspired by his own steps or by the music itself, suggesting a particular mood or action. Many of his dances were built around a "gimmick", such as dancing on the walls in "Royal Wedding," or dancing with his shadows in ''Swing Time'', that he or his collaborator had thought up earlier and saved for the right situation. They would spend weeks creating all the dance sequences in a secluded rehearsal space before filming would begin, working with a rehearsal pianist (often the composer Hal Borne) who in turn would communicate modifications to the musical orchestrators.

His perfectionism was legendary; however, his relentless insistence on rehearsals and retakes was a burden to some. When time approached for the shooting of a number, Astaire would rehearse for another two weeks, and record the singing and music. With all the preparation completed, the actual shooting would go quickly, conserving costs. Astaire agonized during the entire process, frequently asking colleagues for acceptance for his work, as Vincente Minnelli stated, "He lacks confidence to the most enormous degree of all the people in the world. He will not even go to see his rushes ... He always thinks he is no good." As Astaire himself observed, "I've never yet got anything 100% right. Still it's never as bad as I think it is."

Although he viewed himself as an entertainer first and foremost, his consummate artistry won him the admiration of such twentieth century dance legends as Gene Kelly, George Balanchine, the Nicholas Brothers, Mikhail Baryshnikov, Margot Fonteyn, Bob Fosse, Gregory Hines, Rudolf Nureyev, Michael Jackson and Bill Robinson. Balanchine compared him to Bach, describing him as "the most interesting, the most inventive, the most elegant dancer of our times", while for Baryshnikov he was "a genius ... a classical dancer like I never saw in my life".

Influence on popular song

Extremely modest about his singing abilities (he frequently claimed that he couldn't sing), Astaire introduced some of the most celebrated songs from the Great American Songbook, in particular, Cole Porter's: "Night and Day" in ''Gay Divorce'' (1932); Irving Berlin's "Isn't This a Lovely Day?", "Cheek to Cheek" and "Top Hat, White Tie and Tails" in ''Top Hat'' (1935), "Let's Face the Music and Dance" in ''Follow the Fleet'' (1936) and "Change Partners" in ''Carefree'' (1938). He first presented Jerome Kern's "The Way You Look Tonight" in ''Swing Time'' (1936); the Gershwins' "They Can't Take That Away From Me" in ''Shall We Dance'' (1937), "A Foggy Day" and "Nice Work if You Can Get it" in ''A Damsel in Distress'' (1937); Johnny Mercer's "One for My Baby" from ''The Sky's the Limit'' (1943) and "Something's Gotta Give" from ''Daddy Long Legs'' (1955); and Harry Warren and Arthur Freed's "This Heart of Mine" from ''Ziegfeld Follies'' (1946).

Astaire also co-introduced a number of song classics via song duets with his partners. For example, with his sister Adele, he co-introduced the Gershwins' "I'll Build a Stairway to Paradise" from ''Stop Flirting'' (1923), "Fascinating Rhythm" in ''Lady, Be Good'' (1924), "Funny Face" in ''Funny Face'' (1927); and, in duets with Ginger Rogers, he presented Irving Berlin's "I'm Putting all My Eggs in One Basket" in ''Follow the Fleet'' (1936), Jerome Kern's "Pick Yourself Up" and "A Fine Romance" in ''Swing Time'' (1936), along with The Gershwins' "Let's Call The Whole Thing Off" from ''Shall We Dance'' (1937). With Judy Garland, he sang Irving Berlin's "A Couple of Swells" from ''Easter Parade'' (1948); and, with Jack Buchanan, Oscar Levant, and Nanette Fabray he delivered Betty Comden and Adolph Green's "That's Entertainment" from ''The Band Wagon'' (1953).

Although he possessed a light voice, he was admired for his lyricism, diction and phrasing — the grace and elegance so prized in his dancing seemed to be reflected in his singing, a capacity for synthesis which led Burton Lane to describe him as "The world's greatest musical performer." Irving Berlin considered Astaire the equal of any male interpreter of his songs — "as good as Jolson, Crosby or Sinatra, not necessarily because of his voice, but for his conception of projecting a song." Jerome Kern considered him the supreme male interpreter of his songs and Cole Porter and Johnny Mercer also admired his unique treatment of their work. And while George Gershwin was somewhat critical of Astaire's singing abilities, he wrote many of his most memorable songs for him. In his heyday, Astaire was referenced in lyrics of songwriters Cole Porter, Lorenz Hart and Eric Maschwitz and continues to inspire modern songwriters.

Astaire was a songwriter of note himself, with "I'm Building Up to an Awful Letdown" (written with lyricist Johnny Mercer) reaching number four in the Hit Parade of 1936. He recorded his own "It's Just Like Taking Candy from a Baby" with Benny Goodman in 1940, and nurtured a lifelong ambition to be a successful popular song composer.

Awards, honors and tributes

1938 — Invited to place his hand and foot prints in cement at Grauman's Chinese Theatre, Hollywood.

1950 — Ginger Rogers presented an honorary Academy Award to Astaire "for his unique artistry and his contributions to the technique of musical pictures".

1950 — Golden Globe for "Best Motion Picture Actor -Music/Comedy" for ''Three Little Words''

1958 — Emmy Award for "Best Single Performance by an Actor" for ''An Evening with Fred Astaire''

1959 — Dance Magazine award

1960 — Nominated for Emmy Award for "Program Achievement" for ''Another Evening with Fred Astaire''

1960 — Golden Globe Cecil B. DeMille Award for "Lifetime Achievement in Motion Pictures"

1961 — Emmy Award for "Program Achievement" in 1961 for ''Astaire Time''

1961 — Voted Champion of Champions — Best Television performer in annual television critics and columnists poll conducted by ''Television Today'' and ''Motion Picture Daily''

1965 — The George Award from the George Eastman House for "outstanding contributions to motion pictures"

1968 — Nominated for an Emmy Award for ''Musical Variety Program'' for ''The Fred Astaire Show''

1972 — Named Musical Comedy Star of the Century by ''Liberty, "The Nostalgia Magazine"''.

1973 — Subject of a Gala by the Film Society of Lincoln Center

1975 — Academy Award nomination for ''The Towering Inferno''

1975 — Golden Globe for "Best Supporting Actor", BAFTA and David di Donatello awards for ''The Towering Inferno''

1978 — Emmy Award for "Best Actor — Drama or Comedy Special" for ''A Family Upside Down''

1978 — Honored by the Academy of Television Arts & Sciences.

1978 — First recipient of the Kennedy Center Honors

1978 — National Artist Award from the American National Theatre Association for "contributing immeasurably to the American Theatre"

1981 — The Lifetime Achievement Award from the American Film Institute

1982 — The Anglo-American Contemporary Dance Foundation announces the Astaire Awards "to honor Fred Astaire and his sister Adele and to reward the achievement of an outstanding dancer or dancers". The awards have since been renamed The Fred and Adele Astaire Awards

1987 — The Capezio Dance Shoe Award (co-awarded with Rudolph Nureyev)

1987 — Inducted into the National Museum of Dance C.V. Whitney Hall of Fame in Saratoga Springs, New York

1989 — Posthumous award of Grammy Lifetime Achievement Award

1991 — Posthumous induction into the Ballroom Dancer's Hall of Fame

2000 — Ava Astaire McKenzie unveils a plaque in honor of her father, erected by the citizens of Lismore, County Waterford, Ireland

2008 — Conference to honor the life and work of Fred Astaire at Oriel College, University of Oxford, June 21–24.

Built in 1905, the Gottlieb Storz Mansion in Astaire's hometown of Omaha includes the "Adele and Fred Astaire Ballroom" on the top floor, which is the only memorial to their Omaha roots.

Astaire is referenced in the 2003 animated feature, ''The Triplets of Belleville'', in which he is eaten by his shoes after a fast-paced dance act.

Personal life

Politically, Astaire was a conservative and a lifelong Republican Party supporter, though he never made his political views publicly known. Along with Bing Crosby, George Murphy, Ginger Rogers and others he was a charter (founding) member of the Hollywood Republican Committee. He was churchgoing, supportive of American military action and was dismissive of the more open sexiness of movies in the 1970s.

Always immaculately turned out, with Cary Grant he was called "the best-dressed actor in American movies". Astaire remained a male fashion icon even into his later years, eschewing his trademark top hat, white tie and tails (which he never really cared for) in favor of a breezy casual style of tailored sports jackets, colored shirts, cravats and slacks — the latter usually held up by the idiosyncratic use of an old tie in place of a belt.

Astaire married for the first time in 1933, to the 25-year-old Phyllis Potter (née Phyllis Livingston Baker, 1908–1954), a Boston-born New York socialite and former wife of Eliphalet Nott Potter III (1906–1981), after pursuing her ardently for roughly two years. Phyllis's death from lung cancer, at the age of 46, ended 21 years of a blissful marriage and left Astaire devastated. Astaire attempted to drop out of the film ''Daddy Long Legs'' (1955), offering to pay the production costs to date, but was persuaded to stay.

In addition to Phyllis Potter's son, Eliphalet IV, known as Peter, the Astaires had two children. Fred, Jr. (born 1936) appeared with his father in the movie ''Midas Run'', but became a charter pilot and rancher instead of an actor. Ava Astaire McKenzie (born 1942) remains actively involved in promoting her late father's heritage.

His friend David Niven described him as "a pixie — timid, always warm-hearted, with a penchant for schoolboy jokes." Astaire was a lifelong golf and Thoroughbred horse racing enthusiast. In 1946 his horse Triplicate won the prestigious Hollywood Gold Cup and San Juan Capistrano Handicap. He remained physically active well into his eighties. At age seventy-eight, he broke his left wrist while riding his grandson's skateboard.

He remarried in 1980 to Robyn Smith, a jockey almost 45 years his junior. Smith was a jockey for Alfred G. Vanderbilt II.

Astaire died from pneumonia on June 22, 1987. He was interred in the Oakwood Memorial Park Cemetery in Chatsworth, California. One last request of his was to thank his fans for their years of support.

Astaire has never been portrayed on film. He always refused permission for such portrayals, saying, "However much they offer me — and offers come in all the time — I shall not sell." Astaire's will included a clause requesting that no such portrayal ever take place; he commented, "It is there because I have no particular desire to have my life misinterpreted, which it would be."

Stage, film and television work

Musical films

''Dancing Lady'' (1933)

''Flying Down to Rio'' (1933)*

''The Gay Divorcee'' (1934)*

''Roberta'' (1935)*

''Top Hat'' (1935)*

''Follow the Fleet'' (1936)*

''Swing Time'' (1936)*

''Shall We Dance'' (1937)*

''A Damsel in Distress'' (1937)

''Carefree'' (1938)*

''The Story of Vernon and Irene Castle'' (1939)*

''Broadway Melody of 1940'' (1940)

''Second Chorus'' (1940)

''You'll Never Get Rich'' (1941)

''Holiday Inn'' (1942)

''You Were Never Lovelier'' (1942)

''The Sky's the Limit'' (1943)

''Yolanda and the Thief'' (1945)

''Ziegfeld Follies'' (1946)

''Blue Skies'' (1946)

''Easter Parade'' (1948)

''The Barkleys of Broadway'' (1949)*

''Three Little Words'' (1950)

''Let's Dance'' (1950)

''Royal Wedding'' (1951)

''The Belle of New York'' (1952)

''The Band Wagon'' (1953)

''Daddy Long Legs'' (1955)

''Funny Face'' (1957)

''Silk Stockings'' (1957)

''Finian's Rainbow'' (1968)

''That's Entertainment, Part II'' (1976) (narrator and performer)

Performances with Ginger Rogers

Notes

References

Bibliography

External links

Fred Astaire tribute site

Fred Astaire biography at AlsoDances.Net

Time.com: The Great American Flyer Fred Astaire:1899-1987

Time Magazine archive: Astaire essay by Richard Corliss

Astaire's religious views incl. many extracts from his biographers

Astaire or Kelly: A Generation Apart at Indian Auteur

Ava Astaire discusses her father's legacy. (BBC Television — Realplayer required)

"He's in Heaven ... " — In Memoriam Fred Astaire

Radio Interview — Fred Astaire — 1968

Links to photos of Astaire

"Fred Astaire and the art of fun": an essay on the Oxford Fred Astaire conference from TLS, July 16, 2008.

Category:1899 births Category:1987 deaths Category:American Episcopalians Category:Academy Honorary Award recipients Category:American ballroom dancers Category:20th-century actors Category:Traditional pop music singers Category:American crooners Category:American choreographers Category:American people of German descent Category:American people of Austrian-Jewish descent Category:American film actors Category:American tap dancers Category:BAFTA winners (people) Category:BAFTA Award for Best Supporting Actor Category:Best Musical or Comedy Actor Golden Globe (film) winners Category:Best Supporting Actor Golden Globe (film) winners Category:California Republicans Category:Cecil B. DeMille Award Golden Globe winners Category:Deaths from pneumonia Category:Emmy Award winners Category:Grammy Lifetime Achievement Award winners Category:Burials at Oakwood Memorial Park Cemetery Category:Kennedy Center honorees Category:National Museum of Dance Hall of Fame inductees Category:Actors from Omaha, Nebraska Category:RCA Victor artists Category:MGM Records artists Category:Vaudeville performers Category:American racehorse owners and breeders Category:Infectious disease deaths in California Category:Film choreographers

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