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.[2] 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.[3] 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.[4]
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.[5] 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 was identified with left-wing politics during the McCarthy era and he was ultimately forced to resettle in Europe from 1952.
In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time.[6] 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".[7] George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".[8]
[edit] Biography
[edit] Background and childhood hardship
Charles Spencer Chaplin was born on 16 April 1889 to Hannah Chaplin (née Hannah Harriet Pedlingham Hill, 1865–1928) and Charles Chaplin Sr. (1863–1901). There is no official record of his birth, although Chaplin believed he was born at East Street, Walworth, in South London.[9][note 1] His mother and father had married four years previously, at which time Chaplin Sr. became the legal carer of Hannah's illegitimate son, Sydney John (1885–1965).[12][note 2] At the time of his birth, Chaplin's parents were both entertainers in the music hall tradition: Hannah, the daughter of a shoemaker,[13] had a brief and unsuccessful career under the stage name Lily Harley,[14] while Charles Sr., a butcher's son,[15] worked as a popular singer.[16] The Chaplins became estranged in around 1891;[17] a year later, Hannah gave birth to a third son—George Wheeler Dryden—fathered by music hall entertainer Leo Dryden. The child was taken by Dryden at six months old, and did not re-enter Chaplin's life for 30 years.[18]
Chaplin's childhood was fraught with poverty and hardship, prompting biographer David Robinson to describe his eventual trajectory as "the most dramatic of all the rags to riches stories ever told."[19] His early years were spent with his mother and brother in the London district of Kennington; Hannah had no means of income, other than occasional nursing and dressmaking, and Chaplin Sr. provided no support for his sons.[20] Because of this poverty, Chaplin was sent to a workhouse at seven years old. The council housed him at the Central London District School for paupers, which Chaplin remembered as "a forlorn existence".[21] He was briefly reunited with his mother at nine years old, before Hannah was forced to readmit her family to the workhouse in July 1898. The boys were promptly sent to Norwood Schools, another charity institution.[22]
I was hardly aware of a crisis because we lived in a continual crisis; and, being a boy, I dismissed our troubles with gracious forgetfulness.[23]
—Chaplin on his childhood
In September 1898, Hannah Chaplin was committed to Cane Hill mental asylum—she had developed a psychosis seemingly brought on by malnutrition and an infection of syphilis.[24] Chaplin recalled his anguish at the news: "Why had she done this? Mother, so light-hearted and gay, how could she go insane?"[25] For the two months she was there, Chaplin and his brother were sent to live with their father, whom the young boy scarcely knew.[26] Charles Chaplin Sr. was by then a severe alcoholic, and life with the man was bad enough to provoke a visit from the National Society for the Prevention of Cruelty to Children.[27] He died two years later, at 37 years old, from cirrhosis of the liver.[28] Hannah Chaplin entered a period of remission, but in May 1903 became ill again. Chaplin, then 14, had the task of taking his mother to the infirmary.[29] He lived alone for several days, searching for food and occasionally sleeping rough, until his brother Sydney returned from the navy.[30] Hannah Chaplin was released from the asylum eight months later,[31] but in March 1905 her madness returned, this time permanently. "There was nothing we could do but accept poor mother's fate", Chaplin later wrote, and she remained in care until her death in 1928.[32]
[edit] Young performer
Chaplin's first stage appearance came at five years old, when he took over from his mother one night in Aldershot. Hannah had been booed off stage, and the manager chose Chaplin, who was standing in the wings, to go on as her replacement. The young boy confidently entertained the crowd, and received laughter and applause.[33] It was an isolated performance, but at nine years old Chaplin became interested in the theatre. He credited his mother, later writing "[she] imbued me with the feeling that I had some sort of talent."[34] Through his father's connections, Chaplin became a member of The Eight Lancashire Lads clog dancing troupe.[35] He began his professional career in this way, as the group toured English music halls throughout 1899 and 1900.[36] Chaplin worked hard and the act was popular with audiences, but dancing did not satisfy the child and he dreamt of forming a comedy act.[37]
What had happened? It seemed the world had suddenly changed, had taken me into its fond embrace and adopted me.[38]
—Chaplin reflecting on his change in fortunes
By age 13 Chaplin had fully abandoned education.[39] He supported himself with a range of jobs, but said he "never lost sight of my ultimate aim to become an actor."[40] At 14, shortly after his mother's relapse, he registered with a theatrical agency in London's West End. The manager sensed potential in Chaplin and he was soon on the stage.[41] His first role was a newsboy in H. A. Saintsbury's Jim, a Romance of Cockayne. It opened in July 1903 in Kingston upon Thames, but the show was unsuccessful and it closed after two weeks. Chaplin's comic performance, however, was singled out for praise in many of the reviews.[42] From October 1903 to June 1904, Chaplin toured with Saintsbury in Charles Frohman's production of Sherlock Holmes.[43] He repeated his performance of Billy the pageboy for two subsequent tours,[44] and was so successful that he was called to London to play the role alongside William Gillette, the original Holmes.[note 3] "It was like tidings from heaven", Chaplin recalled.[46] Chaplin starred in the West End production at the Duke of York's Theatre from 17 October to 2 December 1905.[47] He completed one final tour of Sherlock Holmes in early 1906, eventually leaving the play after more than two and a half years.[48]
[edit] Vaudeville star
Star of the
Karno comedy company, c. 1912
Chaplin quickly began work in another role, touring with his brother—who was also pursuing an acting career—in a comedy sketch called Repairs. He left the troupe in May 1906, and joined the vaudeville act Casey's Court Circus.[49] Chaplin's specialism with the company was a burlesque of Dick Turpin and the music hall star "Dr. Bodie". It was popular with audiences and Chaplin became the star of the show. When they finished touring in July 1907, the 18 year old was an accomplished comedian.[50] Several months of unemployment followed, however, and Chaplin lived a solitary existence while lodging with a family in Kennington. He attempted to develop a solo comedy act, but his Jewish impersonation was poorly received and he performed it only once.[51]
By 1908, Sydney Chaplin had become a star of Fred Karno's prestigious comedy company.[52] In February, he managed to secure a two-week trial for his younger brother. Karno was initially wary, thinking Chaplin a "pale, puny, sullen-looking youngster" who "looked much too shy to do any good in the theatre."[53] But the teenager made an impact on his first night at the London Coliseum, winning more laughs in his small role than the star, and he was quickly signed to a contract. His salary was £3 10s a week.[54][note 4] Chaplin's most successful role with the Karno company was a drunk called the Inebriate Swell, a character recognised by Robinson as "very Chaplinesque".[56] He took it to Paris in the autumn of 1909.[57] In April 1910, he was given the lead role in a new sketch, Jimmy the Fearless, or The Boy 'Ero. It was a big success, and Chaplin received considerable press attention.[58]
Karno selected his new star to join a fraction of the company that toured America; he also signed Chaplin to a new contract, which doubled his pay.[59] The young comedian headed the show and impressed American reviewers, being described as "one of the best pantomime artists ever seen here."[60] The tour lasted 21 months, and the troupe—which also included Stan Laurel of later Laurel and Hardy fame—returned to England in June 1912.[61] Chaplin recalled: "I had a disquieting feeling of sinking back into a depressing commonplaceness", and was therefore "elated" when a new tour began in October.[62]
[edit] Entering films
Chaplin's second American tour with the Karno company was not particularly successful, as cast members fell sick and audiences failed to grasp the troupe's burlesque humour.[63] They had been there six months when Chaplin's manager received a telegram, asking "Is there a man named Chaffin in your company or something like that" with the request that that this comedian contact the New York Motion Picture Company. A member of NYMPC had seen Chaplin perform (accounts of whom and where vary) and felt that he would make a good replacement for Fred Mace, outgoing star of their Keystone Studios.[64] Chaplin thought the Keystone comedies "a crude mélange of rough and rumble", but liked the idea of working in films and justified, "Besides, it would mean a new life".[65] He met with the company, and a contract was drawn up in July 1913. After some adjustments, Chaplin signed with Keystone on 25 September.[66] The contract stipulated a year's work at $150 a week.[67]
Chaplin arrived in Los Angeles, home of the Keystone studio, in early December 1913.[68] His boss was Mack Sennett, who initially expressed concern that the 24-year-old looked too young. Chaplin reassured him, "I can make up as old as you like."[69] He was not used in a picture until late January, during which time the comedian attempted to learn the processes of filmmaking.[70] Making a Living marked his film debut, released 2 February 1914. Chaplin strongly disliked the picture, but one review picked him out as "a comedian of the first water."[71] For his second appearance in front of cameras, Chaplin selected the costume with which he became identified. He described the process in his autobiography:
"I wanted everything to be a contradiction: the pants baggy, the coat tight, the hat small and the shoes large ... I added a small moustache, which, I reasoned, would add age without hiding my expression. I had no idea of the character. But the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked on stage he was fully born."
[72]
The film was Mabel's Strange Predicament, but "The Tramp" character, as it became known, debuted to audiences in Kid Auto Races at Venice—shot later but released two days earlier.[73] Chaplin adopted the character permanently, and attempted to make suggestions for the films he appeared in. These ideas were dismissed by his directors.[74] During the filming of his tenth picture he clashed with director Mabel Normand, and was almost released from his contract. Sennett kept him on, however, when a request arrived for more Chaplin films. With an insurance of $1,500 promised in case of failure, Sennett also allowed Chaplin to direct his own film.[75]
Caught in the Rain (issued 4 May 1914), Chaplin's first directed picture, was among Keystone's most successful releases to date. Robinson writes that the comedian already demonstrated "a special mastery of telling stories in images" at this early stage in his career.[76] Chaplin proceeded to direct every short film in which he appeared for Keystone, approximately one per week, which he remembered as the most exciting time of his career.[77] His films introduced a slower, more expressive form of comedy than the typical Keystone farce,[78] and he developed a large fan base.[79] In June, Keystone issued adverts in Britain with the words: "Are you prepared for the Chaplin boom? There has never been so instantaneous a hit as that of Chas Chaplin".[80] In November 1914, Chaplin appeared in the first feature length comedy film, Tillie's Punctured Romance, directed by Sennett. Chaplin only had a supporting role, but the movie's success meant it was pivotal in advancing his career.[81] When Chaplin's contract came up for renewal at the end of the year, he asked for $1,000 a week. Sennett refused this amount as too large, and so the comedian waited to receive an offer from another studio.[82]
[edit] Essanay
The Essanay Film Manufacturing Company sent Chaplin an offer of $1,250 a week with a signing bonus of $10,000. This large amount was irresistible to him, and in late December 1914 he travelled to Chicago to join the studio.[83] Chaplin was unimpressed with the conditions there, and after making one film (His New Job, released 1 February 1915), moved to the company's small studio in Niles, California.[84] There, Chaplin began to form a stock company of regular players, including Leo White, Bud Jamison, Paddy McGuire and Billy Armstrong. In San Francisco he recruited a leading lady—Edna Purviance.[85] She went on to appear in 35 films with Chaplin over eight years.[86] The pair also formed a romantic relationship that lasted into 1917.[87]
Chaplin asserted a high level of control over his pictures, and started to put more time and care into each film.[88] There was a month long wait between the release of his second production, A Night Out, to his third, The Champion.[89] With The Tramp, issued April 1915, Chaplin began to inject greater emotion into his pictures.[90] The use of pathos was developed further with The Bank, released four films and four months later, as Chaplin chose to have a sad ending. Robinson notes that this was an innovation in comedy films, and marked the time when serious critics began to appreciate his work.[91] Chaplin made 14 films for Essanay, the last of which was a parody of Carmen named Burlesque on Carmen (1916). The film was re-cut and expanded by the studio without Chaplin's consent, leading the star to seek an injunction in May 1916. The court dismissed this claim since he had failed to fulfil his contract requirements,[note 5] but Chaplin subsequently ensured that every contract he signed prohibited the alteration of his finished products.[92]
[edit] Global celebrity
Chaplin showing off some of his merchandise that became widely available in 1915
During the course of 1915, Chaplin became a cultural phenomenon. Shops were stocked with Chaplin merchandise, he was featured in cartoons and comic strips, and several songs were written about the star.[93] As his Essanay contract came to an end, and fully aware of his popularity, Chaplin requested a $150,000 signing bonus from his next studio. He received several offers, including Universal, Fox, and Vitagraph, the best of which came from the Mutual Film Corporation at $10,000 a week.[94] A contract was negotiated with Mutual that amounted to $670,000 a year, making Chaplin—at 26 years old—one of the highest paid people in the world.[95] John R. Freuler, the studio President, explained, "We can afford to pay Mr Chaplin this large sum annually because the public wants Chaplin and will pay for him." The comedian made statements to the press in which he claimed money was not his main concern, but that he was "simply making hay while the sun shines."[96]
Mutual gave Chaplin his own Los Angeles studio to work in, which opened in March 1916.[97] He added two key members to his stock company, Albert Austin and Eric Campbell,[98] and embarked on a series of elaborate productions—The Floorwalker, The Fireman, The Vagabond, One A.M. and The Count.[99] For The Pawnshop he recruited the actor Henry Bergman, who was to work with Chaplin for 30 years.[100] Behind the Screen and The Rink finished off Chaplin's releases for 1916. The Mutual contract stipulated that Chaplin release a two-reel film every four weeks, which he had managed to meet. With the new year, however, Chaplin began to demand more time.[101] He made only four more films for Mutual over the next ten months—Easy Street, The Cure. The Immigrant and The Adventurer.[102] With their careful construction—and in the case of Easy Street and The Immigrant, their social commentary—these films are considered by Chaplin scholars to be among his finest work.[103][104] Later in life, Chaplin referred to his Mutual years as "the happiest period of my career."[105]
Chaplin was the subject of a backlash in the British media for not fighting in World War 1.[106] He defended himself, revealing that he had registered for the draft but was not asked to fight.[107] Chaplin was in fact a favourite with the troops, who thanked him for bringing joy to their lives,[108] and outside of this campaign his popularity continued to grow worldwide. The name of Charlie Chaplin was said to be "a part of the common language of almost every country", and his "little, baggy-trousered figure" was "universally familiar".[109] In 1917, it was reported that nine out of ten men attended costume parties dressed as Chaplin. The same year, a study by the Boston Society for Psychical Research concluded that Chaplin was "an American obsession."[110] Minnie Maddern Fiske, a respected actress, wrote in Harper's Weekly that "a constantly increasing body of cultured, artistic people are beginning to regard the young English buffoon, Charles Chaplin, as an extraordinary artist, as well as a comic genius."[109]
[edit] Artistic independence
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 A Dog's Life (1918), Shoulder Arms (1918), The Pilgrim (1923) and the feature-length classic The Kid (1921).
In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s.
All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, A Woman of Paris (1923). This was followed by the classic comedies The Gold Rush (1925) and The Circus (1928).
On 29 March 1929 at the bungalow of Mary Pickford at United Artists brought together Chaplin, Pickford, Douglas Fairbanks, Norma Talmadge, John Barrymore, Dolores del Río, Gloria Swanson and D.W. Griffith to speak on the radio show The Dodge Brothers Hour to prove he could meet the challenge of talking movies.[111]
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;[112] 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".[113]
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.
[edit] The Great Dictator
Charlie Chaplin in the film
The Great Dictator
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",[114] 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.[114]
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.[114]
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[115] 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.[116]
[edit] McCarthy era
During the era of McCarthyism, Chaplin was accused of "un-American activities" as a suspected communist. 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.[117] In February 2012 an MI5 file on Chaplin was opened to the public which revealed that the FBI had contacted the British secret service to provide them with information which would enable them to ban Chaplin from the US.[118] In particular, it wanted MI5 to find out where Chaplin was born and pursue suggestions that his real name was Israel Thornstein. MI5 searched, but to no avail. A suggestion that he "may have been born in France" also came to nothing.
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. 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."[119]
That Chaplin was unprepared to remain abroad, or that the revocation of his right to re-enter the United States, 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.[120]
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 while on a layover 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'd 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 saw him 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.
[edit] Final works
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.
He received a knighthood on 4 March 1975, at the age of 85.[121] Chaplin's last completed work was the score for his 1923 film A Woman of Paris, which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult.
Chaplin's grave in Switzerland
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 25 December 1977.[122] Charlie Chaplin was survived by his wife, nine children and 24 grandchildren.[123]
Chaplin was interred in Corsier-Sur-Vevey Cemetery, Switzerland.[124] On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family.[125] The plot failed; the robbers were captured, and the corpse was recovered eleven weeks later near Lake Geneva. His body was reburied under 6 feet (1.8 m) of concrete to prevent further attempts.
[edit] 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.[126] 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.[127] 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.[126]
[edit] Comparison with other silent comics
A clip from the Charlie Chaplin silent film,
The Bond (1918).
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.
[edit] 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.[128] It was also Michael Jackson's favourite song.[129][130] "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.[131] In 1973, Chaplin won the Oscar for Best Film Score for his film, Limelight.[132] 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.[133]
[edit] Politics
Chaplin with American socialist
Max Eastman in Hollywood 1919
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[citation needed] 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, which was met with public scorn until popular tastes changed with a new generation open to its style of dark humour.[citation needed] 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.”
[edit] 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.[134]
For Chaplin's entire career, some level of controversy existed over claims of Chaplin having Jewish ancestry. Nazi propaganda in the 1930s and 1940s prominently portrayed him as Jewish (named Karl Tonstein), relying on articles published in the U.S. press before,[135] 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."[136] Although baptised in the Church of England, Chaplin was thought to be an agnostic for most of his life.[137]
Chaplin's many relationships with younger women remains another enduring source of interest. 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.
[edit] Personal life and family
Chaplin's mother died in 1928 in Glendale, California,[138] 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.[139] In 1928, Chaplin built the Montecito Inn in Montecito near Santa Barbara as an escape from show business with his closest friends.[140]
The South African duo Locnville, Andrew and Brian Chaplin, are related to Chaplin (their grandfather was Chaplin's first cousin).
[edit] Relationships
- 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.
-
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.[141] The couple divorced in November 1920, with Harris getting some of their community property and a US$100,000 settlement.[141] 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.[142]
- 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.
- 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.[143] 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.
-
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–??): 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.[144] Chaplin's public image in America was gravely damaged by these sensational trials.[117] 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".[145] 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."[146]
- 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.[147]
[edit] Children
[edit] 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.[150][151] 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-old girls; it was felt that honouring him would damage both the reputation of the British honours system and relations with the United States.[152]
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.[153] Chaplin's Swiss mansion is to be opened as a museum tracing his life from the music halls in London to Hollywood fame.[154][155]
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, as he and his family spent long holidays in The Butler Arms Hotel during the 1960s.[157]
[edit] 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.[158] This may help explain why City Lights and Modern Times, considered by several polls to be two of the greatest of all motion pictures,[159][160] 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.[161]
- 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.[162]
- 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.
Chaplin's American business partner, who helped promote and release his films in the U.S., was Mo Rothman (1919–2011). Rothman is also credited with urging Chaplin to end his self-imposed exile and visit the U.S. to appear and be honoured both by the Lincoln Center Film Society in New York and then at Hollywood's Academy Awards in 1972.[163]
[edit] Legacy
Chaplin's "tramp" character is possibly the most imitated on all levels of entertainment. Chaplin once entered a "Chaplin look-alike" competition and did not make the final round.[164][165] 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. E. C. Segar's 1916 comic strip "Charlie Chaplin's Comedy Capers" is an early example.[166] Segar's 'Chaplin' comics would later be collected in 1917 into five books, precursors of the later comic book format.[167] Two different animated cartoon series also starred 'Charlie' a tramp character, the first a series of nine shorts from 1916 by Movca Film Service.[168] And later ten films[169] 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".[170]
- 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.[171]
- 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).
- Shree 420 and Awaara main characters are heavily influenced by The Tramp.
- Kamal Haasan moulded his character "Chaplin Chellappa" on Chaplin in the Tamil film Punnagai Mannan[172]
- 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.
- 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.[173]
- 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.
- In 2002, on a UK poll broadcast by the BBC, Chaplin was ranked number 66 on a list of the 100 Greatest Britons.[174]
- In 2010 the New York Guitar Festival commissioned a number of contemporary artists to compose new scores for some of Chaplin's silent films. The artists included Justin Vernon of Bon Iver, Marc Ribot, David Bromberg, Alex de Grassi and Chicha Libre.[175]
- 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.[176]
[edit] Filmography and current rights issues
Chaplin from the film
The Great Dictator
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.
- ^ An MI5 investigation in 1952 was unable to find any record of Chaplin's birth.[10] Chaplin biographer David Robinson notes that it is not surprising that his parents failed to register the birth: "It was easy enough, particularly for music hall artists, constantly moving (if they were lucky) from one town to another, to put off and eventually forget this kind of formality; at that time the penalties were not strict or efficiently enforced."[9] In 2011 a letter sent to Chaplin in the 1970s came to light which claimed that he had been born in a Gypsy caravan at Black Patch Park in Smethwick, Staffordshire. Chaplin's son Michael has suggested that the information must have been significant to his father in order for him to retain the letter.[11]
- ^ Sydney was born when Hannah Chaplin was 19; his biological father cannot be known for sure. Hannah Chaplin later told her sons that he was a bookmaker named Hawkes, but this cannot be verified. Sydney's birth certificate and baptismal records omit the name of the father.[13]
- ^ William Gillette co-wrote the Sherlock Holmes play with Arthur Conan Doyle, and had been starring in it since its New York opening in 1899. He had come to London in 1905 to appear in a new play, Clarice. Its reception was poor, and Gillette decided to add an "after-piece" called The Painful Predicament of Sherlock Holmes. This short play was what Chaplin originally came to London to appear in. After three nights, however, Gillette chose to close Clarice and replace it with Sherlock Holmes. Chaplin had so pleased Gillette with his performance in The Painful Predicament that he was kept on as Billy for the full play.[45]
- ^ £3 10s was a considerable amount in 1908. Using the Retail Price Index, in 2012 this would be equivalent to a salary of £285 a week. Based on average earnings at that time, however, it held an "economic power" equivalent to £2,540.[55]
- ^ In July 1915, Chaplin had agreed to produce ten two-reel films for Essanay by the start of 1916. He completed only six films in this period, leading the court to conclude that extending Burlesque on Carmen to four reels was justified.
[edit] References
- ^ "Trivia for A Woman of Paris: A Drama of Fate (1923)". Internet Movie Database. Archived from the original on 18 November 2010. http://imdb.com/title/tt0014624/trivia. Retrieved 22 June 2007.
- ^ Obituary Variety Obituaries, 28 December 1977.
- ^ Blanke, David (2002). The 1910s. American popular culture through history (illustrated ed.). Westport, CT: Greenwood Publishing Group. p. 226. ISBN 978-0-313-31251-9.
- ^ Haupert, Michael (2006). The Entertainment Industry. Westport, CT: Greenwood Publishing Group. p. 242. ISBN 978-0-313-32173-3.
- ^ Kelly, Shawna (2008). Aviators in Early Hollywood (illustrated ed.). Mount Pleasant, SC: Arcadia Publishing. p. 16. ISBN 978-0-7385-5902-5.
- ^ "AFI's 100 YEARS...100 STARS". American Film Institute. Wed, 16 June 1999. Archived from the original on 22 August 2008. http://web.archive.org/web/20080822055357/http://www.afi.com/tvevents/100years/stars.aspx. Retrieved 4 June 2010.
- ^ Sieff, Martin.Washington Times -Books 21 December 2008
- ^ Walsh, John (25 November 2009). "The Big Question: Does Charlie Chaplin merit a museum in his honour, and what is his legacy? – News, People". The Independent (UK). Archived from the original on 18 November 2010. http://www.independent.co.uk/news/people/news/the-big-question-does-charlie-chaplin-merit-a-museum-in-his-honour-and-what-is-his-legacy-1826871.html. Retrieved 21 April 2010.
- ^ a b Robinson, p. 10.
- ^ "MI5 files: Was Chaplin really a Frenchman and called Thornstein?". The Telegraph. 17 February 2012. http://www.telegraph.co.uk/news/uknews/defence/9086510/MI5-files-Was-Chaplin-really-a-Frenchman-and-called-Thornstein.html. Retrieved 11 April 2012.
- ^ "Charlie Chaplain was 'born into a Midland gipsy family'". Express and Star. 18 February 2011. http://www.expressandstar.com/news/2011/02/18/charlie-chaplin-was-born-into-midland-gipsy-family/. Retrieved 17 February 2012.
- ^ Robinson, p. 4 for marriage, p. 3. for Sydney's birth, p. 19 for Charles Chaplin Sr.'s legal responsibility over Sydney.
- ^ a b Robinson, p. 3.
- ^ Robinson, pp. 5–7.
- ^ Weissman, p. 10.
- ^ Robinson, pp. 9–10, 12.
- ^ Robinson, p. 13.
- ^ Robinson, p. 15.
- ^ Robinson, p. xv.
- ^ Robinson, p. 16.
- ^ Chaplin, p. 29 for quote; Robinson, p. 19 for factual details.
- ^ Robinson, pp. 24–26.
- ^ Chaplin, p. 10.
- ^ Weissman, pp. 49–50.
- ^ Chaplin, p. 33.
- ^ Chaplin, pp. 15, 33.
- ^ Robinson, p. 27.
- ^ Robinson, p. 36.
- ^ Robinson, p. 27 for remission, p. 40 for infirmary admission.
- ^ Chaplin, p. 71–72 for living alone, pp. 73–74 for Sydney's return.
- ^ Robinson, p. 41.
- ^ Chaplin, p. 88; Robinson, pp. 55–56 for factual details.
- ^ Robinson, p. 17; Chaplin, p. 18.
- ^ Chaplin, p. 41.
- ^ Robinson, p. 28.
- ^ Robinson, p. 32.
- ^ Chaplin, p. 44.
- ^ Chaplin, p. 77.
- ^ Robinson, p. 39.
- ^ Chaplin, p. 76.
- ^ Robinson. pp. 44–45.
- ^ Robinson, pp. 46–47.
- ^ Robinson, p. 45 for being cast in the role; pp. 49–51 for tour.
- ^ Robinson, pp. 53, 58.
- ^ Robinson, pp. 59–60.
- ^ Chaplin, p. 89.
- ^ Robinson, p. 685.
- ^ Robinson, p. 63.
- ^ Robinson, pp. 63–64.
- ^ Robinson, pp. 64–68; Chaplin, p. 94.
- ^ Robinson, p. 68.
- ^ Robinson, p. 71 for Karno's reputation: "Fred Karno's Speechless comedians, though, were supreme of their kind".
- ^ Robinson, p. 76, covers Sydney Chaplin's contract and success with Karno and details of how he introduced Charlie to the company.
- ^ Robinson, pp. 76–77.
- ^ "Five Ways to Compute the Relative Value of a UK Pound Amount, 1270 to Present". Measuring Worth. http://www.measuringworth.com/ukcompare/. Retrieved 19 April 2012.
- ^ Robinson, p. 82.
- ^ Robinson, p. 81.
- ^ Robinson, pp. 84–85.
- ^ Robinson, p. 88.
- ^ Robinson, p. 91 says Chaplin was the American company's "leading comedian"; p. 92 for reviews.
- ^ Robinson, p. 95.
- ^ Chaplin, pp. 133–134 for quotations, Robinson p. 96 for factual details.
- ^ Robinson, pp. 96–97.
- ^ Robinson, p. 102.
- ^ Chaplin, pp. 138–139.
- ^ Robinson, p. 103.
- ^ Chaplin, p. 139.
- ^ Robinson, p. 107.
- ^ Chaplin, p. 141.
- ^ Robinson, p. 108.
- ^ Robinson, p. 110.
- ^ Chaplin, p. 145.
- ^ Robinson, p. 113.
- ^ Robinson, p. 120: "Mabel swept aside Chaplin's suggestions, just as Lehrman and Nichols had done." This refers to Mabel Normand, Henry Lehrman and George Nichols, who directed Chaplin's early films.
- ^ Robinson, p. 121.
- ^ Robinson, p. 123.
- ^ Chaplin, pp. 153, 157.
- ^ Robinson, p. 113.
- ^ Robinson, p. 125.
- ^ Robinson, p. 130.
- ^ Robinson, pp. 127–128.
- ^ Robinson, p. 131.
- ^ Robinson, p. 135.
- ^ Robinson, p. 137.
- ^ Robinson, p. 138.
- ^ Robinson, p. 139.
- ^ Robinson, p. 141 for beginning of relationship, p. 219 for end of relationship.
- ^ Chaplin, p. 165; Robinson, pp. 140, 143.
- ^ Robinson, p. 143.
- ^ Robinson, p. 142.
- ^ Robinson, p. 146.
- ^ Robinson, pp. 149–150; Chaplin, p. 173.
- ^ Robinson, pp. 152–153.
- ^ Robinson, p. 156.
- ^ Robinson, p. 160: "No person in the world other than a king or an emperor – unless perhaps Charlie Schwab of the US Steel Corporation – had ever received even half that salary."
- ^ Robinson, pp. 159, 162.
- ^ Robinson, p. 164.
- ^ Robinson, pp. 165–166.
- ^ Robinson, pp. 169–173.
- ^ Robinson, p. 175.
- ^ Robinson, pp. 179–180.
- ^ Robinson, p. 191.
- ^ ""The Happiest Days of My Life": Mutual". Charlie Chaplin. British Film Institute. http://chaplin.bfi.org.uk/resources/bfi/biog/biog.php?fid=biog6. Retrieved 28 April 2012.
- ^ Robinson, p. 191.
- ^ Chaplin, p. 188.
- ^ Robinson, p. 185.
- ^ Robinson, p. 186.
- ^ Robinson, p. 187.
- ^ a b Robinson, p. 210.
- ^ Robinson, p. 213.
- ^ Ramon, David (1997). Dolores del Río. Clío. ISBN [[Special:BookSources/ef>968-6932-35-6.|ef>968-6932-35-6.]].
- ^ "Chaplin as a composer". CharlieChaplin.com. http://www.charliechaplin.com/biography/articles/205-Chaplin-as-a-composer.
- ^ Monday, 9 Feb 1931 (9 February 1931). "Cinema: The New Pictures: Feb. 9, 1931". TIME. Archived from the original on 18 November 2010. http://www.time.com/time/magazine/article/0,9171,741027-1,00.html. Retrieved 21 April 2010.
- ^ a b c The Great Dictator at the Internet Movie Database
- ^ "The speech of the Great Dictator". Vagabundia.net. Archived from the original on 18 November 2010. http://www.vagabundia.net/dictator.html. Retrieved 29 August 2010.
- ^ "The Great Dictator (1940)". Movies.yahoo.com. http://movies.yahoo.com/movie/1800072595/awards. Retrieved 29 August 2010.
- ^ a b Whitfield, Stephen J., The Culture of the Cold War, page 187-192
- ^ Norton-Taylor, Richard (17 February 2012). "MI5 spied on Charlie Chaplin after FBI asked for help to banish him from US". The Guardian (London). Archived from the original on 17 February 2012. http://www.guardian.co.uk/uk/2012/feb/17/mi5-spied-on-charlie-chaplin. Retrieved 17 February 2012.
- ^ "Names make news. Last week these names made this news". TIME. 27 April 1953. Archived from the original on 18 November 2010. http://www.time.com/time/magazine/article/0,9171,818302-2,00.html.
- ^ Richard Avedon: Darkness and Light (1996) American Masters, PBS
- ^ "Those Were the Days". Express and Star. http://www.expressandstar.com/days/1950-75/1975.html. Retrieved 9 October 2011.
- ^ "Charlie Chaplin Dead at 88; Made the Film an Art Form.". New York Times. 26 December 1977, Monday. http://www.nytimes.com/books/97/03/30/reviews/chaplin-obit.html. Retrieved 21 August 2007. "Charlie Chaplin, the poignant little tramp with the cane and comic walk who almost single-handedly elevated the novelty entertainment medium of motion pictures into art, died peacefully yesterday at his home in Switzerland. He was 88 years old."
- ^ Charlie Chaplin's grandchildren (French)
- ^ "Henri Langlois (1914–1977) – Find A Grave Memorial". findagrave.com. Archived from the original on 18 November 2010. http://www.findagrave.com/cgi-bin/fg.cgi?page=gr&GRid=1234. Retrieved 22 July 2010.
- ^ "Chaplin Body Stolen From Swiss Grave. Vehicle Apparently Used. British Envoy 'Appalled'.". New York Times. 3 March 1978, Friday. "The body of Charlie Chaplin was stolen last night or early today from the grave where it was buried two months ago in a small cemetery in the Swiss village of Corsier-surVevey, overlooking the eastern end of Lake Geneva."
- ^ a b Unknown Chaplin at the Internet Movie Database
- ^ Jones, Chuck. Chuck Amuck: The Life and Times of an Animated Cartoonist. Avon Books, ISBN 978-0-380-71214-4)
- ^ everyHit.com search results
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- ^ Higgins, Charlotte (5 November 2009). "Collector finds unseen Charlie Chaplin film in tin sold for £3.20 on eBay". The Guardian (London). Archived from the original on 18 November 2010. http://www.guardian.co.uk/culture/2009/nov/05/charlie-chaplin-ebay-reel-tin. Retrieved 28 April 2010.
- ^ "The Son of Charles and Hanna Thonstein". Filmography.co.il. Archived from the original on 13 December 2007. http://www.filmography.co.il/en/entry/8/. Retrieved 6 May 2011.
- ^ Harness, Kyp (2008). The art of Charlie Chaplin: a film-by-film analysis. McFarland & Co.. p. 163. ISBN 978-0-7864-3193-9. http://books.google.com/books?id=iu5kAAAAMAAJ. Retrieved 23 March 2011.
- ^ "The Religious Affiliation of Charlie Chaplin". Adherents.com. 2005. http://www.adherents.com/people/pc/Charlie_Chaplin.html.
- ^ Chaplin, Lita Grey; Vance, Jeffrey (1998). Wife of the life of the party. The Scarecrow Filmmakers Series. 61 (illustrated ed.). Scarecrow Press. p. 90. ISBN 978-0-8108-3432-3.
- ^ Mehran, Hooman. "Chaplin's writing and directing collaborators". British Film Institute. Archived from the original on 18 November 2010. http://chaplin.bfi.org.uk/programme/essays/collaborators.html. Retrieved 6 June 2010.
- ^ Hotka, Thomas Carl (11 March 2010). West of the East Coast. AuthorHouse. p. 143. ISBN 978-1-4490-8277-2. http://books.google.com/books?id=Ab6Dts2rH1wC&pg=PA143. Retrieved 10 October 2011.
- ^ a b Maland, Charles J. (1991). Chaplin and American Culture. Princeton University Press. pp. 43–44. ISBN 978-0-691-02860-6. http://books.google.com/books?id=hJhaiT7B04AC.
- ^ Zimmerman, Bonnie (1999). Lesbian Histories and Cultures. Routledge. p. 374. ISBN 978-0-8153-1920-7. http://books.google.com/books?id=0EUoCrFolGcC.
- ^ "International Herald Tribune. 23 August 2002. 1927:Chaplin Divorce Settled: In our pages: 100, 75 and 50 years ago". International Herald Tribune. 23 August 2002. http://www.nytimes.com/2002/08/23/opinion/23iht-edold_ed3__57.html. Retrieved 21 April 2010.
- ^ "Mann & Woman". Time (magazine). 3 April 1944. Archived from the original on 18 November 2010. http://www.time.com/time/magazine/article/0,9171,850389,00.html. Retrieved 21 August 2007. "Auburn-haired Joan Barry, 24, who wandered from her native Detroit to New York to Hollywood in pursuit of a theatrical career, became a Chaplin protegee in the summer of 1941. She fitted into a familiar pattern. Chaplin signed her to a $75-a-week contract, began training her for a part in a projected picture. Two weeks after the contract was signed she became his mistress. Throughout the summer and autumn, Miss Barry testified last week, she visited the ardent actor five or six times a week. By midwinter her visits were down to "maybe three times a week". By late summer of 1942, Chaplin had decided that she was unsuited for his movie. Her contract ended."
- ^ "Just Like the Movies". Time (magazine). 17 August 1953. Archived from the original on 18 November 2010. http://www.time.com/time/magazine/article/0,9171,858217,00.html. Retrieved 21 August 2007. "Another Chaplin ex-protegee, 33-year-old Joan Barry, who won a 1946 paternity suit against the comedian, was admitted to Patton State Hospital (for the mentally ill) after she was found walking the streets barefoot, carrying a pair of baby sandals and a child's ring, and murmuring: "This is magic, my god"."
- ^ Cult Movies – Joan Barry: The Most (In)famous Actress to Never Appear on Screen
- ^ "Charlie Chaplin marries Oona O’Neill". New York: A&E Television Networks. Archived from the original on 18 November 2010. http://www.history.com/this-day-in-history/6/16?catId=12. Retrieved 7 June 2010.
- ^ Or Charles Spencer Chaplin III because his grandfather was called Charles Spencer Chaplin, Sr., and his father could have been called Charles Spencer Chaplin, Jr.
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[edit] Bibliography
- 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.
[edit] External links
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Tamara Chaplin · Laurissa Newton · Allison Newton · Tyler Newton · Casey Newton
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| Name |
Chaplin, Charlie |
| Alternative names |
Chaplin, Charles Spencer, Jr. (full name) |
| Short description |
English actor and director |
| Date of birth |
16 April 1889(1889-04-16) |
| Place of birth |
Walworth, London, England |
| Date of death |
25 December 1977(1977-12-25) |
| Place of death |
Vevey, Switzerland |
lez:Чаплин, Чарльз
_By_Erling_Mandelmann.Jpg)
