Comedy-drama (dramedy^[1] or seriocomedy) is a genre of theatre, film, and television that combines elements of comedy and drama, having both humorous and serious content.^[2][3]

History[link]

Theatre[link]

Traditional Western theatre, beginning with the ancient Greeks, was divided into comedy and tragedy. A tragedy typically ended with the death or destruction of a fictional or historical hero, whereas a comedy focused on the lives of middle to lower class characters and ended with their success.^[4] The term drama was used to describe all the action of a play. Beginning in the 19th century, authors such as Anton Chekhov, George Bernard Shaw, and Henrik Ibsen^[5][6] blurred the line between comedy and drama.

Early television[link]

The advent of radio drama, cinema, and in particular television created greater pressure in marketing to clearly define a product as either comedy or drama. While in live theatre the difference became less and less significant, in mass media comedy and drama were clearly divided. Comedies were expected to keep a consistently light tone and not challenge the viewer by introducing more serious content.

By the early 1960s, television companies commonly presented half-hour-long "comedy" series or hour-long "dramas". Half-hour series were mostly restricted to situation comedy (sitcoms) or family comedy and were usually aired with either a live or overdubbed laugh track. One-hour dramas included such shows as police and detective series, westerns, science fiction, and serialized prime time soap operas.

While sitcoms would occasionally balance their humor with more dramatic and humanistic moments, these remained the exception to the rule as the 1960s progressed. Beginning around 1969 in the US, however, there was a brief spate of half-hour shows that purposely alternated between comedy and drama and aired without a laugh track, as well as some hour-long shows such as CHiPs in the late 70s to early 80s. These were known as "comedy-dramas". Another example was The Days and Nights of Molly Dodd, which aired from 1987–1991.

These early shows influenced how general TV comedies and series (especially family themed sitcoms) were developed. They often included brief dramatic interludes and more serious subject matter. An example of a successful comedy-drama series that distinguished this genre in television was the series Moonlighting. It generated critical acclaim and was a highly rated series worldwide. Another example of a successful comedy-drama was the television series Eight is Enough. The show was distinct, because it was not a comedy-drama in the traditional sense. It was an hour-long series that utilized a laugh track, which was very unusual, but is considered a comedy-drama for the fact that it alternated between drama and comedy.

In the United Kingdom, the format first appeared successfully in 1979 with the long-running series Minder, along with other notable comedy-dramas such as Auf Wiedersehen, Pet and Big Deal.

In addition, comedy-drama series have been associated with the single-camera production format.

Attributes of comedy-dramas on TV sitcoms[link]

In a comedy-drama, there is often an absence of a pre-recorded laughing track. Episodes can be either half an hour or an hour long. However, shows that use a 30-minute format tend to be more comedic with dramatic elements that keep storylines going forward, while shows that use a 60-minute format tend to be more dramatically based with humour used throughout the show either as comic relief or to punctuate certain scenes.

Storylines tend to be more serialized in comedy-dramas, with events taking place in earlier episodes being referred to or having an effect in later episodes. This can be compared to more traditional sitcoms, which focus on telling one standalone story every week. The continuity of character development and storylines are more relevant in comedy-dramas than in traditional sitcoms. Characters' backstories tend to have a greater overall effect on storyline. Something a character has done in the past will often catch up with him or her, as opposed to more traditional sitcoms, where a character's backstory is unlikely to be referenced by the story of the week.

See also[link]

References[link]

Notes

Grant Green (St. Louis, Missouri, June 6, 1935 – New York, January 31, 1979; some sources erroneously give the birth year as 1931^[1]) was a jazz guitarist and composer.

Recording prolifically and almost exclusively for Blue Note Records (as both leader and sideman) Green performed well in hard bop, soul jazz, bebop and Latin-tinged settings throughout his career. Critics Michael Erlewine and Ron Wynn write, "A severely underrated player during his lifetime, Grant Green is one of the great unsung heroes of jazz guitar ... Green's playing is immediately recognizable -- perhaps more than any other guitarist."^[2] Critic Dave Hunter described his sound as "lithe, loose, slightly bluesy and righteously groovy".^[3] He often performed in an organ trio, a small group with an organ and drummer.

Apart from Charlie Christian, Green's primary influences were saxophonists, particularly Charlie Parker, and his approach was therefore almost exclusively linear rather than chordal. The simplicity and immediacy of Green's playing, which tended to avoid chromaticism, derived from his early work playing rhythm and blues and, although at his best he achieved a synthesis of this style with bop, he was essentially a blues guitarist and returned almost exclusively to this style in his later career.^[4] Green used a Gibson ES-330, then a Gibson L7 with a Gibson McCarty pickguard/pick-up, an Epiphone Emperor (with the same pick-up) and finally had a custom built D'Aquisto. George Benson said he would turn all the bass and treble off the amp, and max the midrange. This way he could get his signature punchy, biting tone.

Biography[link]

Green was born in St. Louis, Missouri. He first performed in a professional setting at the age of 12. His influences were Charlie Christian, Charlie Parker, Ike Quebec, Lester Young, Jimmy Raney, Jimmy Smith and Miles Davis, he first played boogie-woogie before moving on to jazz. His first recordings in St. Louis were with tenor saxophonist Jimmy Forrest for the Delmark label. The drummer in the band was Elvin Jones, later the powerhouse behind John Coltrane. Grant recorded with Elvin again in the early Sixties. Lou Donaldson discovered Grant playing in a bar in St. Louis. After touring together with Donaldson, Grant arrived in New York around 1959-60.

Lou Donaldson introduced Grant to Alfred Lion of Blue Note Records. Lion was so impressed with Grant that, rather than testing Grant as a sideman, as was the usual Blue Note practice, Lion arranged for him to record as a bandleader first. Green's initial recording session went unreleased until 2001, however, owing to a lack of confidence on Green's behalf. [1] [2]

Despite the shelving of his first session, Green's recording relationship with Lion and Blue Note was to last, with a few exceptions, throughout the Sixties. From 1961 to 1965, Grant made more appearances on Blue Note LPs, as leader or sideman, than anyone else. Grant's first issued album as a leader was Grant's First Stand. This was followed in the same year by Green Street and Grantstand. Grant was named best new star in the Down Beat critics' poll, 1962, and, as a result, his influence spread wider than New York. He often provided support to the other important musicians on Blue Note, including saxophonists Hank Mobley, Ike Quebec, Stanley Turrentine and Harold Vick, as well as organist Larry Young.

Sunday Mornin' , The Latin Bit and Feelin' the Spirit are all loose concept albums, each taking a musical theme or style: Gospel, Latin and spirituals respectively. Grant always carried off his more commercial dates with artistic success during this period. Idle Moments (1963), featuring Joe Henderson and Bobby Hutcherson, and Solid (1964), featuring the Coltrane rhythm section, are acclaimed as two of Grant's best recordings.

Many of Grant's recordings were not released during his lifetime. These include Matador, in which Grant is once again in the heavyweight company of the Coltrane rhythm section, and a series of sessions with pianist Sonny Clark. In 1966 Grant left Blue Note and recorded for several other labels, including Verve. From 1967 to 1969 Grant was, for the most part, inactive due to personal problems and the effects of heroin addiction. In 1969 Grant returned with a new funk-influenced band. His recordings from this period include the commercially successful Green is Beautiful and the soundtrack to the film The Final Comedown. Grant was also a huge influence on guitarists, from George Benson to Stevie Ray Vaughan. Still to this day guitarists try to get his signature sound, Idle Moments is considered one of the top 100 jazz albums of all time.

Grant left Blue Note again in 1974 and the subsequent recordings he made with other labels divide opinion: some consider Green to have been the 'Father of Acid Jazz' (and his late recordings have been sampled by artists including US3, A Tribe Called Quest and Public Enemy^[5]), whilst others have dismissed them (Michael Cuscuna wrote in the sleeve notes for the album Matador that "During the 1970s he made some pretty lame records").

Grant spent much of 1978 in hospital and, against the advice of doctors, went back on the road to earn some money. While in New York to play an engagement at George Benson's Breezin' Lounge, Grant collapsed in his car of a heart attack in New York City on January 31, 1979. He was buried in Greenwood Cemetery in his hometown of St. Louis, Missouri, and was survived by six children. Since Green's demise, his reputation has grown to legendary status and many compilations of both his earlier (post-bop/straight ahead and soul jazz) and later (funkier/dancefloor jazz) periods, exist.

Discography[link]

As leader[link]

Blue Note Records

Other labels

As sideman[link]

1959

• Jimmy Forrest - All the Gin Is Gone (Delmark)
• Jimmy Forrest - Black Forrest (Delmark)

1960

• Sam Lazar - Space Flight (Argo)
• Willie Dixon - Blues Roots Series, Vol. 12 (Chess)

1961

• Lou Donaldson - Here 'Tis (Blue Note)
• Baby Face Willette - Face to Face (Blue Note)
• Baby Face Willette - Stop and Listen (Blue Note)
• Brother Jack McDuff - The Honeydripper (Prestige)
• Stanley Turrentine - Up at "Minton's" (Blue Note)
• Dave Bailey - Reaching Out (Jazztime)
• Hank Mobley - Workout (Blue Note)
• Horace Parlan - Up & Down (Blue Note)
• Brother Jack McDuff - Steppin' Out (Prestige)
• Brother Jack McDuff - Goodnight, It's Time To Go (Prestige)
• Stanley Turrentine - ZT's Blues (Blue Note)
• Lou Donaldson - A Man with a Horn (Blue Note)
• Sonny Red/Grant Green/Barry Harris - The Mode (Jazzland)
• Sonny Red - Images (Jazzland)
• Ike Quebec - Blue and Sentimental (Blue Note)

1962

• Joe Carroll - Man with a Happy Sound (Charlie Parker Records)
• Dodo Greene - My Hour of Need (Blue Note)
• Don Wilkerson - Elder Don (Blue Note)
• Lou Donaldson - The Natural Soul (Blue Note)
• Don Wilkerson - Preach Brother! (Blue Note)

1963

• Lou Donaldson - Good Gracious! (Blue Note)
• Jimmy Smith - I'm Movin' On (Blue Note)
• Jimmy Smith - Special Guests (Blue Note Japan)
• Booker Ervin - Back from the Gig (Blue Note)
• Herbie Hancock - My Point of View (Blue Note)
• Horace Parlan - Happy Frame of Mind (Blue Note)
• "Big" John Patton - Along Came John (Blue Note)
• Gloria Coleman - Soul Sisters (Impulse!)
• Harold Vick - Steppin' Out! (Blue Note)
• "Big" John Patton - Blue John (Blue Note)
• Don Wilkerson - Shoutin' (Blue Note)
• George Braith - Two Souls in One (Blue Note)
• Mary Lou Williams - Black Christ of the Andes (Saba/MPS)
• George Braith - Soulstream (Blue Note)
• Bobby Hutcherson - The Kicker (Blue Note)

1964

• Lee Morgan - Search for the New Land (Blue Note)
• George Braith - Extension (Blue Note)
• "Big" John Patton - The Way I Feel (Blue Note)
• Larry Young - Into Somethin' (Blue Note)
• Donald Byrd - I'm Tryin' to Get Home (Blue Note)

1965

• Johnny Hodges/Wild Bill Davis - Joe's Blues (Verve)
• Grassella Oliphant - The Grass Is Greener (Atlantic)
• "Big" John Patton - Oh Baby! (Blue Note)
• Lou Donaldson - Musty Rusty (Cadet)
• Johnny Hodges/Wild Bill Davis - Wings and Things (Verve)
• "Big" John Patton - Let 'em Roll (Blue Note)

1966

• George Braith - Laughing Souls (Prestige)
• "Big" John Patton - Got a Good Thing Goin' (Blue Note)
• Art Blakey - Hold On, I'm Coming (Limelight)
• Stanley Turrentine - Rough 'n' Tumble (Blue Note)

1969

• Rusty Bryant - Returns (Prestige)
• Charles Kynard - The Soul Brotherhood (Prestige)
• Reuben Wilson - Love Bug (Blue Note)
• Don Patterson - Brother-4 (Prestige)
• Don Patterson - Donnybrook (Prestige)
• Don Patterson - Tune Up! (Prestige)

1970

• Charles Kynard - Afro-Disiac (Prestige)
• Fats Theus - Black Out (CTI)
• Houston Person - Person to Person! (Prestige)

1973

• Houston Person - The Real Thing (Eastbound)

References[link]

External links[link]

• Great Jazz Guitar Players: Grant Green
• Grant Green discography at MusicBrainz
• Grant Green Pages
• The Grant Green Tone
• Grant Green Discography Project
• Evergreen - Grant Green Tribute Page
• German Grant Green site with fully illustrated discography
• Grant Green discography with cover photos

Emily Blunt
Emily Blunt at the Toronto International Film Festival (2011)
Born	Emily Olivia Leah Blunt (1983-02-23) 23 February 1983 (age 29) London, England
Occupation	Actress
Years active	2003–present
Spouse	John Krasinski (2010–present)
Relatives	Crispin Blunt (uncle) Peter Blunt (grandfather)

Emily Olivia Leah Blunt (born 23 February 1983) is an English actress best known for her roles in The Devil Wears Prada (2006), The Young Victoria (2009), and The Adjustment Bureau (2011). She has been nominated for three Golden Globe Awards, two London Film Critics' Circle Awards, and one BAFTA Award. She won a Golden Globe Award for her work in the BBC television drama Gideon's Daughter (2007).^[1]

Early life[link]

Emily Blunt was born 23 February 1983 in Roehampton, London, England. She is the second of four children born to Joanna, an English teacher and former actress, and barrister Oliver Simon Peter Blunt, QC, one of the highest-profile barristers in the United Kingdom, earning an estimated £1million annually.^{[2][3][4][5][6]} Her siblings are Felicity, Sebastian, and Suzanna. Her grandfather was Major-General Peter Blunt and one of her paternal uncles is Crispin Blunt, Conservative Member of Parliament for Reigate.^[7][8]

Blunt attended Ibstock Place School and, at the age of 16, went to Hurtwood House, a private sixth-form college known for its performing arts programme.^{[citation needed]} There, she was discovered by an agent.^{[citation needed]} Blunt made her professional debut in Bliss, a musical written by Paul Sellar, at the 2000 Edinburgh Fringe while she was still an A-level student.^{[citation needed]} She went on to perform at the National Theatre and at Chichester Festival Theatre.^{[citation needed]}

Film career[link]

In 2003, Blunt made her screen debut in the British television drama Boudica, about the life of the ancient Celtic warrior-queen who fought the Romans. That same year, she was praised for her performance as the 16th century queen Catherine Howard in the two-part British television drama Henry VIII.

In 2004, Blunt delivered her breakout performance as Tamsin in the dark British film, My Summer of Love, a story of deception and lesbian love in the English countryside. She shared an Evening Standard British Film Award for Most Promising Newcomer with co-star Natalie Press.

In 2005, Blunt co-starred with Bill Nighy and Miranda Richardson in the British television drama Gideon's Daughter, an original screenplay written and directed by Stephen Poliakoff, in which she played the troubled only child of New Labour spin doctor Gideon Warner, played by Nighy. Blunt won a Golden Globe for her performance.

Blunt at the British Academy Film Awards in February 2007

In 2006, Blunt appeared opposite Meryl Streep and Anne Hathaway in the box-office success The Devil Wears Prada. Streep and Hathaway received most of the critical attention initially, but Blunt proved to be equally memorable, with Entertainment Weekly naming her the Best Female Scene-Stealer in their end-of-summer special issue. She appeared at the 79th Academy Awards where she co-presented the award for best costume design with her Prada co-star Hathaway. Blunt spoke about the weight loss, claiming she had to go "painfully thin".^[9] That same year, Blunt co-starred with Susan Sarandon in the independent drama Irresistible. Following production, Sarandon strongly suggested to director David Auburn that he cast Blunt in his next film, The Girl in the Park— a role she did not accept.

In 2007, Blunt appeared in four films: Wind Chill, The Jane Austen Book Club, Dan in Real Life, and Charlie Wilson's War. In 2008, Blunt appeared in two films, Sunshine Cleaning in the role of Norah Lorkowski, and The Great Buck Howard as Valerie Brennan.

In 2009, Blunt played Queen Victoria in The Young Victoria, directed by Jean-Marc Vallée and written by Julian Fellowes. She also starred in the Toby Spanton-directed short film Curiosity. She was director Jon Favreau's first choice to play the Black Widow in Iron Man 2 but scheduling conflicts with Gulliver's Travels forced her to cede the role to Scarlett Johansson.^[10] She voiced Angelina's mother, Matilda Mouseling, in the television series, Angelina Ballerina: The Next Steps.

In 2010, Blunt co-starred with Benicio del Toro and Anthony Hopkins in the big-budget movie The Wolfman, which was released on 12 February. She also starred in Gulliver's Travels and in The Adjustment Bureau, alongside Matt Damon, as a ballet dancer "being mysteriously kept apart" from Damon's character.^[11][12] Blunt was offered the female lead in the Captain America: The First Avenger film but turned it down.^[13]

In January 2011, Blunt began filming an American science-fiction film Looper, directed by Rian Johnson and co-starring Bruce Willis. She appeared in the British comedy film Salmon Fishing in the Yemen, directed by Lasse Hallström and co-starring Ewan McGregor and Kristin Scott Thomas.^[14] She briefly appeared in The Muppets as Miss Piggy's receptionist. She also starred in the 2012 film The Five-Year Engagement, directed by Nicholas Stoller and co-starring Jason Segel. She is scheduled to star in Arthur Newman, Golf Pro with Colin Firth in 2012.^[15]

Personal life[link]

Blunt had a three-year relationship with Canadian singer Michael Bublé. They met in Melbourne backstage at the Australian television Logie Awards in 2005 and later shared a home in Vancouver, Canada. They broke up in 2008.^[16]

In November 2008, Blunt began dating American actor John Krasinski. On 10 July 2010, they married in Como, Italy.^[17]

Her sister Felicity, who works as a literary agent, became engaged to actor Stanley Tucci in 2011 after the pair were introduced by Emily.^[18] Her brother Sebastian is an actor.^[19]

Filmography[link]

Awards and nominations[link]

References[link]

External links[link]

Wikimedia Commons has media related to: Emily Blunt

• Emily Blunt at the Internet Movie Database
• Emily Blunt Interview: Blunt Force Los Angeles Times Magazine
• Emily Blunt Video Interview Los Angeles Times Magazine

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Sir Charlie Chaplin
Chaplin as The Tramp, 1915
Birth name	Charles Spencer Chaplin
Born	(1889-04-16)16 April 1889 Walworth, London, England, United Kingdom
Died	25 December 1977(1977-12-25) (aged 88) Vevey, Switzerland
Medium	Film, music, mimicry
Nationality	British
Years active	1895–1976[1]
Genres	Slapstick, mime, visual comedy
Influenced	Benny Hill Marcel Marceau The Three Stooges Federico Fellini Milton Berle Peter Sellers Rowan Atkinson Johnny Depp Jacques Tati Woody Allen
Spouse	Mildred Harris (m. 1918–1921) «start: (1918)–end+1: (1922)»"Marriage: Mildred Harris to Charlie Chaplin" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Charlie_Chaplin) 1 child Lita Grey (m. 1924–1927) «start: (1924)–end+1: (1928)»"Marriage: Lita Grey to Charlie Chaplin" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Charlie_Chaplin) 2 children Paulette Goddard (m. 1936–1942) «start: (1936)–end+1: (1943)»"Marriage: Paulette Goddard to Charlie Chaplin" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Charlie_Chaplin) Oona O'Neill (m. 1943–1977) «start: (1943)–end+1: (1978)»"Marriage: Oona O'Neill to Charlie Chaplin" Location: (linkback:http://en-wiki.pop.wn.com/index.php/Charlie_Chaplin) 8 children
Signature

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]

Early years (1889–1913)[link]

Background and childhood hardship[link]

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]

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]

Young performer[link]

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 from 1899 to 1902.^[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]

By age 13 Chaplin had fully abandoned education.^{[39][note 3]} He supported himself with a range of jobs, but said he "never lost sight of my ultimate aim to become an actor."^[41] 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.^[42] 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.^[43] From October 1903 to June 1904, Chaplin toured with Saintsbury in Charles Frohman's production of Sherlock Holmes.^[44] He repeated his performance of Billy the pageboy for two subsequent tours,^[45] and was so successful that he was called to London to play the role alongside William Gillette, the original Holmes.^{[note 4]} "It was like tidings from heaven", Chaplin recalled.^[47] Chaplin starred in the West End production at the Duke of York's Theatre from 17 October to 2 December 1905.^[48] He completed one final tour of Sherlock Holmes in early 1906, eventually leaving the play after more than two and a half years.^[49]

Vaudeville[link]

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.^[50] 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.^[51] 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.^[52]

By 1908, Sydney Chaplin had become a star of Fred Karno's prestigious comedy company.^[53] 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."^[54] 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.^{[55][note 5]} Chaplin's most successful role with the Karno company was a drunk called the Inebriate Swell, a character recognised by Robinson as "very Chaplinesque".^[57] He took it to Paris in the autumn of 1909.^[58] 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.^[59]

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.^[60] The young comedian headed the show and impressed American reviewers, being described as "one of the best pantomime artists ever seen here."^[61] 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.^[62] 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.^[63]

Entering films (1914–1917)[link]

Beginning with Keystone[link]

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.^[64] 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.^[65] 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".^[66] He met with the company, and a contract was drawn up in July 1913. After some adjustments, Chaplin signed with Keystone on 25 September.^[67] The contract stipulated a year's work at $150 a week.^[68]

Chaplin (left) in his first film appearance, Making a Living (1914)

The Tramp débuts in Kid Auto Races at Venice (1914), Chaplin's second released film

Chaplin arrived in Los Angeles, home of the Keystone studio, in early December 1913.^[69] 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."^[70] He was not used in a picture until late January, during which time the comedian attempted to learn the processes of filmmaking.^[71] 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."^[72] 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."^[73]

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.^[74] Chaplin adopted the character permanently, and attempted to make suggestions for the films he appeared in. These ideas were dismissed by his directors.^[75] 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.^[76]

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.^[77] 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.^[78] His films introduced a slower, more expressive form of comedy than the typical Keystone farce,^[79] and he developed a large fan base.^[80] 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".^[81] 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.^[82] 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.^[83]

Developing with Essanay[link]

Chaplin and Edna Purviance, his frequent leading lady, in Work (1915)

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.^[84] 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.^[85] 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.^[86] She went on to appear in 35 films with Chaplin over eight years.^[87] The pair also formed a romantic relationship that lasted into 1917.^[88]

Chaplin asserted a high level of control over his pictures, and started to put more time and care into each film.^[89] There was a month long wait between the release of his second production, A Night Out, to his third, The Champion.^[90] With The Tramp, issued April 1915, Chaplin began to inject greater emotion into his pictures.^[91] 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.^[92] 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 6]} but Chaplin subsequently ensured that every contract he signed prohibited the alteration of his finished products.^[93]

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.^[94] 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.^[95]

Global celebrity with Mutual[link]

Chaplin showing off some of his merchandise, c. 1918

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.^[96] 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."^[97]

Mutual gave Chaplin his own Los Angeles studio to work in, which opened in March 1916.^[98] He added two key members to his stock company, Albert Austin and Eric Campbell,^[99] and embarked on a series of elaborate productions—The Floorwalker, The Fireman, The Vagabond, One A.M. and The Count.^[100] For The Pawnshop he recruited the actor Henry Bergman, who was to work with Chaplin for 30 years.^[101] 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.^[102] He made only four more films for Mutual over the next ten months of 1917—Easy Street, The Cure. The Immigrant and The Adventurer.^[103] 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.^[104][105] Later in life, Chaplin referred to his Mutual years as "the happiest period of my career."^[106]

Chaplin was the subject of a backlash in the British media for not fighting in World War 1.^[107] He defended himself, revealing that he had registered for the draft but was not asked to fight.^[108] Despite this campaign Chaplin was a favourite with the troops,^[109] and 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 according to Harper's Weekly his "little, baggy-trousered figure" was "universally familiar".^[110] In 1917, Chaplin imitators were widespread enough for the star to take legal action,^[111] and it was reported that nine out of ten men attended costume parties dressed as Chaplin.^[112] The same year, a study by the Boston Society for Psychical Research concluded that Chaplin was "an American obsession."^[112] The actress Minnie Maddern Fiske 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."^[110]

First National (1918–1923)[link]

A Dog's Life (1918). It was around this time that Chaplin began to conceive the Tramp as "a sort of Pierrot", or sad clown.

Mutual were patient with Chaplin's decreased rate of output, and the contract ended amicably. The star's primary concern in finding a new distributor was independence; Sydney Chaplin, then his business manager, told the press: "Charlie [must] be allowed all the time he needs and all the money for producing [films] the way he wants ... It is quality, not quantity, we are after."^[113] On 17 June 1917, Chaplin signed to complete eight films for First National Exhibitors' Circuit.^[114] He chose to build a new studio, situated on five acres of land off Sunset Boulevard, with production facilities of the highest order.^[115] It was completed in January 1918,^[116] and Chaplin was given freedom over the making of his pictures.^[117]

A Dog's Life, released April 1918, was the first film under the new contract. Chaplin paid yet more concern to story construction, and began treating the Tramp as "a sort of Pierrot."^[118] The film was described by Louis Delluc as "cinema's first total work of art."^[119] Following its completion, Chaplin embarked on the Third Liberty Bond campaign, touring the Unites States for one month to raise money for the Allies of World War One.^[120] He also produced a short propaganda film, donated to the government for fund-raising, called The Bond.^[121] Chaplin's next release was war-based, placing the Tramp in the trenches for Shoulder Arms. Associates warned him against making a comedy about the war, but he recalled: "Dangerous or not, the idea excited me."^[122] It took four months to produce, eventually released in October 1918 at 45 minutes long, and was highly successful.^[123]

[edit] Mildred Harris, founding United Artists and The Kid

In September 1918, Chaplin married the 17-year-old actress Mildred Harris. It was a hushed affair conducted at a registry office; Harris had revealed she was pregnant, and the star was eager to avoid controversy.^[124] Soon after, this pregnancy was found to be a false alarm.^[125] Chaplin's unhappiness with the union was matched by his dissatisfaction with First National.^[126] After the release of Shoulder Arms he requested more money from the company, which was refused. Frustrated with their lack of concern for quality,^[127] Chaplin joined forces with Douglas Fairbanks, Mary Pickford, and D. W. Griffith to form a new distribution company—United Artists, established in January 1919.^[128] The "revolutionary" arrangement gave the four partners complete control over their pictures, which they were to fund personally.^[129] Chaplin was eager to start with the new company, and offered to buy out his contract with First National. They declined this, and insisted that he complete the final six films he owed them.^[130]

The Kid (1921), with Jackie Coogan, combined comedy with drama and was Chaplin's first film to exceed an hour.

Chaplin felt that marriage stunted his creativity, and he struggled over the production of his next film, Sunnyside.^[131] Mildred was pregnant during this period, and on 7 July 1919 she gave birth to a boy. Norman Spencer Chaplin was born malformed, and died three days later.^[132] The event seems to have influenced Chaplin's work, as he planned a film that turned the Tramp into the carer of a young boy.^[133] Filming on The Kid began in August 1919, with four-year-old Jackie Coogan his co-star.^[134] It soon occurred to Chaplin that it was turning into a large project, so to placate First National he halted production and quickly filmed A Day's Pleasure. Both it and Sunnyside were considered a disappointment by viewers.^[135]

The Kid was in production until May 1920.^[136] Shortly before this, Chaplin and his wife had separated after 18 months of marriage—they were "irreconcilably mismated", he remembered.^[137] Chaplin became fearful that Mildred would claim The Kid as part of the divorce proceedings, so packed the 400,000 feet negative into crates and travelled to Salt Lake City to cut the film in a hotel room.^[138] At 68 minutes, it was his longest picture to date. Dealing with issues of poverty and parent–child separation, The Kid is thought to be influenced by Chaplin's own childhood^[117] and was the first film to combine comedy and drama.^[139] It was released on 6 January 1921 to instant success, and by 1924 had been screened in over 50 countries.^[140]

Chaplin spent five months on his next film, the two-reeler The Idle Class.^[141] Following its September 1921 release, Chaplin chose to return to England for the first time in almost a decade. He told the press as he arrived, "I felt I had to come home ... I mean to enjoy myself thoroughly, and go to all the old corners that I knew when I was a boy."^[142] Robinson writes, "The scenes that awaited him in London were astonishing. His homecoming was a triumph hardly paralleled in the twentieth century".^[143] Chaplin was away for five weeks, and later wrote a book about the trip.^[144] He subsequently worked to fulfil his First National contract, and released Pay Day, his final two-reeler, in February 1922. The Pilgrim was delayed by distribution disagreements with the studio, and released a year later.^[145]

Independent filmmaker (1924–1975)[link]

[edit] A Woman of Paris and The Gold Rush

Having satisfied his First National contract, Chaplin was free to make his first picture for United Artists. In November 1922 he began filming A Woman of Paris, a romantic drama about ill-fated lovers.^[146] Chaplin intended it as a star-making vehicle for Edna Purviance,^[147] and did not appear in the picture himself other than in a brief, uncredited cameo.^[148] Filming took seven months, followed by three months of editing the large negative.^[149] A Woman of Paris premièred in September 1923 and was widely acclaimed by critics.^[150] The public, however, seemed to have little interest in a Chaplin film without Chaplin, and it was a box-office disappointment. The filmmaker was hurt by this failure—he had long wanted to produce a dramatic film and was proud of the result—and withdrew A Woman of Paris from circulation as soon as he could.^[151] During production of the film Chaplin had been involved with the actress Pola Negri, a romantic pairing that received vast media interest. In January 1923 the pair announced their engagement; by July they had separated, leading to speculation that the relationship was a publicity stunt.^[152]

The Tramp resorts to eating his boot in a famous scene from The Gold Rush (1925)

For his next film Chaplin returned to comedy. Setting high standards, he told himself, "This next film must be an epic! The Greatest!"^[153] A photograph from the 1898 Klondike Gold Rush provided his inspiration.^[154] The Tramp was to become a lonely prospector fighting adversity and looking for love amid the historic event. With Georgia Hale his new leading lady, Chaplin began filming the picture in February 1924.^[155] It was an elaborate production that included location shooting in the Truckee mountains with 600 extras, extravagant sets, and special effects.^[156] The last scene was not shot until May 1925, after 15 months. At a cost of almost $1,000,000,^[157] Chaplin felt it was the best film he had made to that point.^[158] The Gold Rush opened in August 1925 and earned a profit of $5,000,000.^[159] It contains some of Chaplin's most famous gags, such as the "Dance of the Rolls",^[160] and he later said it was the film he would most like to be remembered for.^[161]

[edit] Lita Grey and The Circus

Lita Grey, Chaplin's second wife (photographed in 1921). Their unhappy marriage and bitter divorce was a great strain for the star.

While making The Gold Rush, Chaplin married for the second time. Mirroring the circumstances of his first union, Lita Grey was a teenage actress—originally set to star in The Gold Rush—whose surprise announcement of pregnancy forced Chaplin into marriage. She was 16 and he was 35, meaning Chaplin could have been charged with de facto rape under Californian law.^[162] He therefore arranged a discreet marriage in Mexico on 24 November 1924.^[163] When their son, Charles Spencer Chaplin, Jr, was born on 5 May 1925, Chaplin sent Lita and the child into hiding: it was seen as too close to their wedding, so a fake birth announcement was made to the press at the end of June.^[164]

Chaplin was markedly unhappy with the marriage, and spent long hours at the studio to avoid seeing his wife.^[165] Soon after The Gold Rush's release he was at work on a new film: The Circus.^[166] Chaplin built a story around the idea of walking a tightrope while besieged by monkeys, which became the film's "climactic incident", and turned The Tramp into the accidental star of a circus.^[167] David Robinson notes that the film provided "a welcome distraction" from the "wretchedness" of his home life; Lita was pregnant for a second time, frustrating Chaplin and exacerbating difficulties between the pair. Their second son, Sydney Earle Chaplin, was born on 30 March 1926.^[168] Filming on The Circus was continuing steadily when a fire broke out on 28 September, destroying the entire set. Although the studio was quickly brought back into operation, it marked the beginning of severe difficulties for Chaplin.^[169] In November, Lita took their children and left the family home. Unwilling to allow his film to be drawn into the divorce proceedings, Chaplin announced that production on The Circus had been temporarily suspended.^[170]

Lita's lawyers issued their divorce complaint on 10 January 1927. The document, which ran to an exceptional 52 pages, not only sought heavy material gains but was designed to ruin Chaplin's public image. Accusations of infidelity and abuse were bolstered with lurid details of his sexual preferences. Chaplin entered a nervous breakdown, as the story became headline news and pirated copies of the document were read by the public.^[171] The star's fanbase was nevertheless strong enough to survive this smear campaign, and he was heartened by declarations of support.^[172] Eager to end the case without further scandal, Chaplin's lawyers agreed to a cash settlement of $600,000—the largest awarded by American courts at that time.^[173] Production on The Circus resumed, and the film was completed in October 1927.^[174] It was released the following January to a positive reception.^[175] The Lita affair was soon forgotten,^[176] but Chaplin was deeply affected by it: the stress of the ordeal turned his hair white, and his second wife received only a passing mention in his autobiography.^[177]

1930s[link]

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;^[178] 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".^[179]

[edit] The Great Dictator

Chaplin satirising Adolf Hitler in 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",^[180] 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.^[180]

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.^[180]

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^[181] 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.^[182]

McCarthy era[link]

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.^[183] 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.^[184] 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."^[185]

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.^[186]

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.

Following his exile from the United States, Chaplin made his home in Vevey, Switzerland. His 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.

Final works[link]

Chaplin in 1965, by Erling Mandelmann

Chaplin 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. Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964. He briefly returned to the United States in 1972 to receive an honorary Academy Award.

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.^[187] 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[link]

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.^[188] Charlie Chaplin was survived by his wife, nine children and 24 grandchildren.^[189]

Chaplin was interred in Corsier-Sur-Vevey Cemetery, Switzerland.^[190] On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family.^[191] 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.

Filmmaking[link]

Method[link]

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.^[192] 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.^[193] 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.^[192]

Themes[link]

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, was controversial. His 1947 black comedy, Monsieur Verdoux showed a critical view of capitalism, which was met with public scorn. 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.

Music[link]

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.^[194] It was also Michael Jackson's favourite song.^[195][196] "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.^[197] In 1973, Chaplin won the Oscar for Best Film Score for his film, Limelight.^[198]

Personal life and family[link]

Chaplin's mother died in 1928 in Glendale, California,^[199] 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.^[200] In 1928, Chaplin built the Montecito Inn in Montecito near Santa Barbara as an escape from show business with his closest friends.^[201]

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

Relationships[link]

• 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, 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.^[202] The couple divorced in November 1920, with Harris getting some of their community property and a US$100,000 settlement.^[202] 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.^[203]
• 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.^[204] 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.
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  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–??): 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.^[205] Chaplin's public image in America was gravely damaged by these sensational trials.^[183] 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".^[206] 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."^[207]
• 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.^[208]