Note how he is sitting with one foot tucked under him. Contemporary accounts describe him sitting this way during testimony. Read more here. It was also a way he liked to sit.
|Healdsburg Tribune, May 23, 1927|
|Healdsburg Tribune, May 23, 1927|
❝In the flesh there is little of the pathos about Charlie. He is essentially the comedian. For instance, during one of the usual interminable waits while the electricians were charging the lights Charlie ordered the radio turned on. (It seems he always has a loud speaker on the set--to amuse him during the waits.) The stage was suddenly flooded with the glorious voice of Lawrence Tibbett--a gramophone recording of one of his numbers from 'The Rogue Song.'
|Chaplin puts a record on the gramophone.|
Behind him are (L-R): Ralph Barton, Virginia Cherrill, Allan Garcia, & Carlyle Robinson.
At far left in the white coat (partially cut off) might be Granville Redmond.
❝Instantly Charlie sprang to his feet, struck a theatrical posture, and began to sing the song himself. As he imitated Tibbett he was pricelessly funny, capturing all of the grand opera star's mannerisms.1 But that wasn't all. The Chaplin singing voice is wonderful. The little fellow amazed me with his robustness of his middle register. And when Tibbett took the high notes Charlie was with him! Perhaps I am prejudiced, and I don't profess to be a music critic, but so far as I am concerned there is nothing to between Tibbett and Chaplin--as singers.
But of course it would never do for the pathetic little tramp of the funny shoes and bowler to burst into song--in character.2 The Chaplin of the films couldn't do such a thing. Yet if only once he might consent to play a different role, I am sure he could win new laurels--as a singer of the first order.❞
("A Day With Charlie," Picture Show, April 4th, 1931)
|With Baroness Ravensdale at the Chaplin Studios, Oct. 1926|
❝The Hollywood rhythm, which I came to next, held a series of motions by which certain of the stars would be known a mile off. My dear friend, Elinor Glyn, opened every door for me in that fantastic, faked world, where everyone on or off the 'set' seemed to have to play a part from dawn to dusk. Charlie Chaplin, with his wife, Lita Grey, gave me a fabulous dinner party, where to my immense bewilderment all the great cinema stars, husbands and wives, sat side by side. Perhaps this was desirable, as some of the unions lasted such a short time that one forgot which was the last wife or husband seen in public. Douglas Fairbanks and Mary Pickford were so regal I felt I should curtsy to them. They spoke only of royalty, of their five days in Russia and of Mussolini, and how he, Douglas Fairbanks, enthused thousands of Italians for Mussolini in a speech he made in public. All this went on whilst he and Mary held hands at the dinner-table.
Afterwards Charlie showed us his great film, A Woman of Paris, with Edna Purviance as the star. In that film he shot one scene a hundred and one times, and went back finally to the original. When I watched him rehearsing The Circus with Harry Crocker and Merna Kennedy, I saw him shoot one small scene forty-seven times in the afternoon. He interpreted both roles again and again for those two, portraying every emotion and reaction of their pathetic little love scene that only lasted a few moments. I said to him at the end of hours that I could not see that the two actors were much improved by the forty-seventh shot, and that anyhow the audience would be no wiser about this terrific amount of work he put into producing his films. He replied that until his conscience told him a scene was as near perfection as possible, he had to go on, even to seventy times seven. That no doubt accounts for the exquisite artistry in every picture he has ever produced. ...
Wondrous parties were given for me at which Charlie Chaplin did charades, or led a follow-my-leader round the room, pursued by the dance band and a motley of film stars doing every known antic and stunt. Bebe Daniels's beach house was full of gay, carefree stars, the flowerlike Virginia Vallee, Dick Barthelmess, William Powell, Beatrice Lillie, Harry Crocker, the Harold Lloyds, the Gish sisters and many more.
|Chaplin, the Baroness, and Harry Crocker|
❝At Charlie Chaplin's house one day he had just returned from the set with all his makeup on – a mass of us played baseball. Never have I seen such lovely bodies in such scanty bathing dresses, rushing round the lawn. Charlie Chaplin was always a mixture of utter enchantment, brilliancy, wit and humour, suddenly becoming very argumentative and serious over the control of mind over matter, or some such profundity — a genius if ever there was one. In discussing once with Fritz Kreisler, the great violinist, Charlie Chaplin's rudeness in keeping the Duke of Connaught waiting, he said to me, 'Yes, I know, but first in life is love, then after its tragedies, laughter, and we must bow to him whatever his faults, forgiving him that.' He then added a most significant remark on Russia, There you have a wild beast over the walls, and we only fight amongst ourselves, instead of producing a united front.' His words are as true today.
Marion Davies gave me a big dinner, when all the stars afterwards had to take a name out of a hat and act the part. Lita Grey had to play Mary Pickford, Sam Goldwyn Mr. Randolph Hearst, Marion Davies Mae Murray, and Lilian Gish with Jack Gilbert, Rudolph and Mimi out of La Bohéme. Jack Gilbert had also to act Ethel Barrymore.
I was intensely amused also at Elinor Glyn's party for me; a certain word crept in in the replies, 'So-and-so is going with So-and-so.' That meant on pain of death you asked So-and-so together, and sat them together; otherwise the evening was a shambles of jealousy.
Many of these people were simple and unostentatious, in spite of their vast fortunes. Tom Mix amongst his horses, showing me his ranch, was the simple cowboy again, though he had a super green car a mile long. He and I and Charlie Chaplin had a fierce argument on Patriotism, one night. Charlie had none, Mix had it strongly. Charlie contended England had done nothing for him. America had made him. Why should he have gone back and fought for England in the First World War? He added that he would certainly have been shot in the back, running away from a trench! It was better to make people laugh and forget their tears with his films. I murmured that Fritz Kreisler had fought in Austria and been wounded in the arm — it had no effect.❞--Baroness Mary Irene Curzon Ravensdale, In Many Rhythms, Weidenfeld & Nicolson, 1953
|Lucille Ball poses as Chaplin in 1962|
After lunch he took us into the house to his father's sitting room and
his father's study, where Benny, thrilled to bits, was invited to sit in
Charlie Chaplin's chair. He was in heaven.
Then Eugene took us to a little room with a TV set and a video recorder and
showed us a row of videotapes on a shelf. They were all of Benny Hill
'My father used to sit here and watch you all the time. He thought you were
the greatest,' Eugene told Benny.
I had never seen Benny quiet so overwhelmed. He could not believe what he
was seeing and hearing. There were tears in his eyes.
|Benny Hill as his character Fred Scuttle|
|With Ingmar Bergman|
|Elizabeth Taylor & Montgomery Clift in A Place In The Sun|
|George C. Scott in Dr. Strangelove|
|Peter Lorre in M|
|Carl Weathers & Sylvester Stallone in Rocky|
|L-R: Adolphe Menjou, Douglas Fairbanks, Jr, & Katharine Hepburn in Morning Glory|
|Belle Bennett as Stella Dallas|
|Hawaiian Gazette, October 19, 1917|
|Charlie with Sydney & Kono at the Kabuki-za Theater in Tokyo, 1932.|
(Photo: Charlie Chaplin In Japan by Ono Hiroyuki)
Hays handed Chaplin a synopsis of "The Rookie" and asked him to look at the first scene. "Chaplin scrutinized the paper with expressions of exaggerated concentration which brought general laughter. He shrugged with a pathetic gesture of frustration and the spectators rocked in their seats."
"I'm afraid I can't read it," he apologized to Hays, "I forgot to bring my glasses."
Nathan Burkan offered up his glasses and Chaplin "tried them on his nose and then stared blankly at the paper. His expression and pantomime of his inability to see brought more laughter in which Judge Bondy joined."
Judge Bondy leaned over the bench and proffered Chaplin the judicial spectacles. The actor took them with a bow, tried them frontwards, backwards, as a monocle with the extra glass riding over one ear, and then as a magnifying glass.
"I can read!" he cried with a happy smile and the crowd cheered. (New York Times, May 11, 1927)See more pics of bespectacled Charlie here.
"Long years of practice at dodging custard pies and various other missiles stood Charlie Chaplin in good stead Sunday night at the Petroushka Cafe, in Hollywood, when two men attempted to 'beat up' the famous film comedian." 1Late Sunday night, January 20th, 1924, Chaplin, actress Mary Miles Minter, screenwriter Carey Wilson and his wife, Nancy Everett, entered the exclusive Café Petroushka on Hollywood Blvd for a quiet dinner.
|Mary Miles Minter|
|Pittsburgh Press, Mar. 2, 1924|
|Photoplay, April 1924|
|Trenton Times, Jan. 27, 1924|
|Kansas City Star, Jan. 23, 1924|
The last part is hard to read. Its says:
"C.C. Julian Denies He Struck Blow That Messed Up Charlie's Countenance--
Actor Fears For Films' Future."
|Tennessean, Feb. 8th, 1924|
|Trenton Times, Jan. 23, 1924|
|San Bernardino Sun, Jan. 22, 1924|
|Pittsburgh Press, March 2, 1924|