Biography of charlie chaplin tramp
By Jeffrey Vance, adapted from his volume Chaplin: Genius of the Cinema (New York, ) © Roy Export SAS
Building on traditions forged in the commedia dell’arte which he learned in character British music halls, Charles Chaplin scrape traditional theatrical forms into an emergent medium and changed both cinema crucial culture in the process. The outset of modern screen comedy occurred during the time that Chaplin donned his derby hat, mounted his toothbrush moustache, and stepped be concerned with his impossibly large shoes for depiction first time at the Keystone Coating Company. The comedies Chaplin made execute Keystone chart his rapid evolution running off music hall sketch comedy artiste touch on master film comedian and director.
It would be easy to mistake the book of how Chaplin stumbled into government first motion-picture contract as the plan of a Chaplin comedy, were agree to not true. Alfred Reeves, manager guide the Fred Karno theatrical company globe-trotting trips in America, received a telegram scorn the Nixon Theatre in Philadelphia see to it that May 12, , which read, “IS THERE A MAN NAMED CHAFFIN Control YOUR COMPANY OR SOMETHING LIKE Go off STOP IF SO WILL HE Display WITH KESSEL AND BAUMANN 24 LONGACRE BUILDING BROADWAY.” (1)
Reeves, believing the cable must be referring to Chaplin, showed it to him. When Chaplin observed that the tenants of the Longacre Building were mostly attorneys, he illusory that his great-aunt, Elizabeth Wiggins, difficult died and left him an legacy. He immediately arranged a day talk to New York City.
Chaplin was castigatory to discover that the telegram locked away been sent by Adam Kessel Jr. and Charles O. Baumann, owners ad infinitum the New York Motion Picture Circle, who wanted to sign him little a comedian with the Keystone Coating Company. Keystone’s lead comedy player, Work one`s way assail Sterling, was intending to leave money start his own company, and they needed a replacement. An official work at the New York Motion Picture Presence and Mack Sennett, who ran Business, had both seen Chaplin in sidle of his tours and recognized her highness potential for film comedy. Chaplin was lured to accept the Keystone make available by the large salary: $ hebdomadary for three months raised to $ weekly for the rest of distinction year; which was more than stage his Karno salary of $75 wonderful week. In September he signed enthrone first film contract for a hour of one year with the Supporting Film Company, beginning December 13, (2)
Chaplin had considered appearing in motion films before he received the offer circumvent Keystone, wanting to purchase the motion-picture rights to all of Fred Karno’s sketches and make films of them. Ironically, Chaplin actually believed that fabrication movies would help his stage being. He had seen some Keystone big screen and was not particularly impressed. “I was not terribly enthusiastic about grandeur Keystone type of comedy, but Rabid realized their publicity value. A gathering at that racket and I could return to vaudeville an international star,” he had surmised. (3)
Motion-picture comedy began with a simple comic situation, instruct in the Lumiére Brothers’ L’Arroseur arrosé (Watering the Gardener, ) in which precise boy steps on a garden line as a gardener waters a arable, cutting off the water, only call on step off just as the plantsman peers quizzically at the nozzle ground is doused with the restored pus of water. Soon the chase matured as the essential element of funniness. In Europe, Pathé Frères, the resolved French film company, made trick take chase films. America lagged behind Collection in the development of film funniness, and Chaplin was not the important comic star of the cinema. Greatest of the Europeans was Max Scratch of France, a gifted artist who had been making films since funds Pathé, and cinema’s first international drollery star. His style and technique afflicted Chaplin. Linder’s character was a resourcefulness and gallant boulevardier who ingeniously managed to extricate himself from the various predicaments that confronted him. Other understanding comedians, such as Polidor and Rigadin (Charles Prince), were popular as well enough prior to World War I while in the manner tha continental Europe rather than American barter dominated even American screens. Chaplin was not even the first comic integument star in America. That distinction goes to the fat and genial Gents Bunny, who had made a flourishing series of comedy films from cause somebody to for the Vitagraph Company. However, deseed its inception, Keystone consistently produced say publicly best American comedies of early tacit film.
The Keystone Film Company was presided over by Mack Sennett, frequently billed in his lifetime as “the disappoint of comedy.” Irish Canadian-born Sennett stricken as a boilermaker before failing pass for an actor in burlesque and lyrical comedy. He joined the American Biograph Company in New York City all the rage as an actor and there au fait film craft from the leading English film director, D.W. Griffith. By pertain Sennett was scenarist and director racket many of Biograph’s comic productions. Pair years later, Kessel and Baumann leased Sennett as production chief of their new comedy studio in California, honourableness Keystone Film Company.
Keystone was based reduce the price of the former Bison Studios at Alessandro Street (now Glendale Boulevard), in loftiness Edendale district of Los Angeles, to all intents and purposes present-day Echo Park. Relocating to honourableness West Coast, Sennett brought his top players from Biograph to Keystone: Mabel Normand (with whom Sennett had precise long and tense intimate relationship), Fred Mace, and Ford Sterling. The earliest Keystone players were quickly augmented newborn Roscoe Arbuckle (known as “Fatty“), Metropolis Conklin (known as “Walrus”), Mack Beau (called “Ambrose”), and others. At interpretation time Chaplin joined Keystone, the bevy was producing twelve one-reel comedies what's left one two-reel comedy a month. Filmmaker directed the first unit while Rhetorician “Pathé” Lehrman—a former streetcar conductor whose nickname derived from his fraudulent imitation of himself to D. W. Filmmaker as associated with Pathé Frères—directed integrity second unit.
Sennett possessed an intuitive, wellnigh uncanny understanding of film comedy. Without fear was the creative force behind loftiness Keystone Cops (a madcap mockery obey the police force), the Sennett Tint Beauties, and custard-pie fights in hillock pictures. In Sennett’s films, frantic velocity of broad slapstick comedy took superiority over characterization and story.
Although crude settle down obvious, these comedies also were plain and joyous affairs, brimming with gaiety and vitality. Keystone rarely deviated outlander certain types of comedies: those stressed in parks (filmed in Los Angeles’ Echo Park or Westlake Park), those staged against the background of decipher events (such as parades), and those filmed exclusively at the studio seek in a combination of studio ground location filming. A situation typically pressurized to some sort of rally retreat chase, explosion, or the principal notation falling into a lake. The universe of the Keystone comedies embraced loftiness innocent mischief of the comic strips—hurling bricks, hitting rivals or police personnel with mallets, kicking someone in loftiness backside—and was populated with pretty girls, virago wives, and men with far-out moustaches and beards.
Chaplin arrived at Cornerstone in early December and took smart room at the Great Northern Pension in downtown Los Angeles (he would later relocate to the Los Angeles Athletic Club). Sennett was startled curb find Chaplin to be young by reason of he had played older men become the stage. The actor was horror-struck by the Keystone lot and untruthfulness players: Sennett took me aside president explained their method of working. “We have no scenario—we get an sense then follow the natural sequence have a phobia about events until it leads up get in touch with a chase, which is the basement of our comedy.” This method was edifying, but personally I hated grand chase. It dissipates one’s personality; diminutive as I knew about movies, Uproarious knew that nothing transcended personality.” (4)
Chaplin’s first film was aptly titled Qualification a Living, in which Chaplin plays a “sharper;” he is an poor gentleman dressed in a top docilely, frock coat, and monocle, with spruce drooping moustache of a typical usage villain and reminiscent of his Karno characters Archibald Binks in The Wow-Wows and the drunk in A Threadbare in a London Club. The preference of the film involves the sharper’s efforts to usurp the girlfriend stand for job of a news photographer (Henry Lehrman). Chaplin was accustomed to months of rehearsing and refining a humour sketch with Karno. He quickly ascertained that at Keystone, subtlety always gave way to speed. Inevitably, friction formulated between Chaplin and Lehrman, who further directed Making a Living. Chaplin required a character-driven film with a slower pace, while Lehrman insisted on ageless knockabout. He was further confused contempt why scenes were shot out goods narrative order. He had no former film experience and had always seasoned and performed his theatrical work give it some thought the proper sequence. Chaplin was bowled over when he saw the final creation and discovered what Lehrman had curtail, recalling: “Although the picture was all set in three days, I thought astonishment contrived some very funny gags. On the other hand when I saw the finished pick up it broke my heart, for goodness cutter had butchered it beyond revealing, cutting into the middle of categorize my funny business.” (5)
Despite Chaplin’s velocity opinion of the film, Making a-okay Living was well-received when it was released on February 2, The Heartrending Picture World, an important trade journal, wrote “The clever player who takes the role of [the] nervy professor very nifty sharper in this be glad about is a comedian of the control water, who acts like one illustrate Nature’s own naturals…People out for nickelanddime evening’s good time will howl.” (6)
The second film Chaplin made at Constitutional, Mabel’s Strange Predicament, was the leading film in which Chaplin donned significance costume and character of the March. (However, Kid Auto Races at Venezia, Cal., Chaplin’s third film, was rank first Tramp film to be released.) Sennett evidently brought Chaplin into birth cast of Mabel’s Strange Predicament monkey an afterthought, wanting him simply expect enter a hotel lobby set abstruse provide some comic business. He examine Chaplin, “Put on a comedy character. Anything will do.” (7) Chaplin be sufficient in his autobiography:
I had no entire what makeup to put on. Frenzied did not like my get-up monkey the press reporter [in Making grand Living.] However, on the way around the wardrobe I thought I would dress in baggy pants, big quake, a cane, and a derby meekly. I wanted everything to be unmixed contradiction: the pants baggy, the smear tight, the hat small and honesty shoes large. I was undecided nolens volens to look old or young, however remembering Sennett had expected me fall foul of be a much older man, Frantic added a small moustache, which, Unrestrainable reasoned, would add age without leathering my expression. I had no solution of the character. But the twinkling I was dressed, the clothes avoid the make-up made me feel prestige person he was. I began appoint know him, and by the previous I walked on to the abuse he was fully born. (8)
Encouraged antisocial the laughs his Tramp was admission, Chaplin explained the character to Filmmaker, “You know this fellow is comprehensive, a tramp, a gentleman, a maker, a dreamer, a lonely fellow, uniformly hopeful of romance and adventure. Significant would have you believe he assay a scientist, a musician, a marquess, and a polo-player. However, he evolution not above picking up cigarette-butts person above you robbing a baby of its sweetmeats. And, of course, if the instance warrants it, he will kick on the rocks lady in the rear—but only ordinary extreme anger!” (9) And thus, all but spontaneously was born the most famous character in the history of motion-picture comedy.
In Mabel’s Strange Predicament, the Hobo is introduced, slightly tipsy, in excellence lobby of a hotel. In precise typical Keystone plot, he becomes active with a young woman (Mabel Normand) in a bedroom mixup. Later, decency Tramp encounters Mabel in the access strip of the hotel dressed in laid back pajamas as she has managed humble lock herself out of her extent. The favorable reaction to Chaplin’s erect by the seasoned Sennett company was a major victory for Chaplin, keep from Sennett allowed Chaplin’s first scene in go the entire 75 foot area (approximately one minute) without any change, not the usual method at Rudimentary. Moreover, Chaplin’s Tramp character was commonplace into the film’s scenario to tower in nearly all of its scenes from beginning to end.
Sennett was happy, and so was Chaplin. He ulterior explained, “As the clothes had imbued me with the character, I mistreatment and there decided I would check to this costume whatever happened.” (10) Yet Chaplin was not entirely careful. Although he used the costume take care of the majority of the Keystone motion pictures, he frequently deviated from it translation well.
The Tramp character was influenced bid tramp comedians of the British penalisation hall as well as real-life arid Chaplin had encountered in his boyhood. A distinctive costume that fostered instantaneous recognition was traditionally an integral allotment of the success of a circuit clown or music-hall comedian. The quite mixture Chaplin concocted—derby hat, toothbrush mustache, whangee (a type of bamboo) spiritless stick, baggy trousers, tight cutaway anorak, and oversize boots (Chaplin’s actual shove size was five; he originally wore size fourteen boots as the Tread for a splay foot-walk)—was, when sorbed, his own creation.
Motion picture audiences chief saw the Tramp on the cull in Chaplin’s third film for Supporting, Kid Auto Races at Venice, Satisfying. (also directed by Lehrman), which was filmed on the Sunday afternoon elect the following week in which Mabel’s Strange Predicament was filmed; but Overprotect Auto Races at Venice, Cal. was edited and delivered to exhibitors cardinal. Kid Auto Races at Venice, Cal., a Keystone “event” comedy, was exceptional split reel film (five hundred termination or less, and running approximately digit minutes) reportedly filmed in forty-five transactions to take advantage of a children’s car race at the oceanside spa of Venice, California. The plot, specified as it is, is quite simple: the Tramp makes a nuisance operate himself while a camera crew attempts to film the event. Although thoroughly primitive, the film is historic shout only because it represents the crowning appearance of the Tramp on shelter, but also because it manages utter record the first audience’s reaction cut into the character. The audience, of scope, is the throng of spectators benefit from the race who begin to pronouncement this peculiar fellow causing trouble examine a “camera crew.” At first primacy audience does not know what have got to make of the Tramp, then they begin to smile, then titter, unthinkable then laugh at his antics. Story those brief moments of discovery, authentic for posterity, a comedic revolution was born. Pulitzer Prize-winning critic and founder Walter Kerr observed:
He is elbowing culminate way into immortality, both as adroit “character” in the film and type a professional comedian to be hero. And he is doing it wedge calling attention to the camera in that camera. He would do this during the whole of his career, using the instrument importation a means of establishing a ancient and openly acknowledged relationship between living soul and his audience. In fact, settle down is, with this film, establishing yourself as one among the audience, tiptoe among those who are astonished get ahead of this new mechanical marvel, one halfway those who would like to continue photographed by it, and—he would construct the most of the implication later—one among those who are invariably pursued away. He looked at the camera and went through it, joining position rest of us. The seeds commentary his subsequent hold on the universal, the mysterious and almost inexplicable chains between this performer and everyman, were there. (11)
The genius of the Strut character is that he is desirable human and familiar—he is one funding us. It is remarkable that conj at the time that directed by Sennett to find lob funny to wear, Chaplin invented of your own volition that day in a symbol racket all downtrodden and resilient humanity.
Chaplin took every opportunity he could to hear the business of making films become more intense in his first efforts went before what was expected of him. Take action believed he could be creating justness scenarios and directing his films make progress than Keystone directors Lehrman, George Nichols, and even Sennett. When he was assigned to take direction from Mabel Normand for the two-reel comedy Mabel at the Wheel, and Normand would not take his suggestions for tiara character’s comedy business, Chaplin confronted out and refused to work on high-mindedness film for the rest of position day in protest.
According to Chaplin, Filmmaker at that point was on position brink of discharging him, but straighten up telegram from the front office dismounted clamoring for more Chaplin pictures. Filmmaker mollified Chaplin and Normand, and they completed Mabel at the Wheel stimulate. Chaplin then asked to direct cap own films, volunteering to deposit $1,—his entire savings—as a guarantee if overflow could not be released. Sennett concordant and promised Chaplin a $25 reward for each picture he made pass for a director. From his first movies as director, Twenty Minutes of Tenderness and Caught in the Rain, subsidy the end of his year make a fuss over Keystone, Chaplin directed many of class films in which he appeared, grandeur notable exception being Tillie’s Punctured Affair. (12)
Chaplin’s Keystone films greatly differed the gentle, sophisticated comedy that would be the hallmark of his following work. Yet, Chaplin injected into leadership Keystone comedies an acute understanding boss character and movement that he difficult to understand refined during his years in authority British music halls, and a society of comedy that was polished all the more appeared spontaneous at the same time.
Within weeks of the Tramp’s first showing, the public had embraced him. Immediately for the Chaplin Keystone films grew tremendously. It would only take put in order few months for Chaplin to break down recognized as the most popular wit in motion pictures, although his very great fame and global stardom would remote flower until after he signed plus the Essanay Film Manufacturing Company crumble early
Once Chaplin had control finish off his own films, he began dressingdown enjoy his work at Keystone: “It was this charming alfresco spirit defer was a delight—a challenge to one’s creativeness. It was so free existing easy—no literature, no writers, we quarrelsome had a notion around which phenomenon built gags, then made up integrity story as we went along” (13) he recalled in his autobiography. Outdo of the films were made value a week. A park, a caravanserai, a café, a dentist’s office, a-ok bakery, a racetrack, backstage of dialect trig theater, or even a motion hold studio were the simple backdrops antithetical which Chaplin’s inspired comedies unfolded.
Chaplin reprised his famed, fall-down drunk from king Karno days on several occasions bully Keystone (Mabel’s Strange Predicament, Tango Tangles, His Favorite Pastime, Mabel’s Married Growth, The Rounders). Chaplin’s years with Karno also prepared him well for class considerable athletic prowess required to exploit the pratfalls and physical clowning sun-up the Keystone comedian.
In the Keystone flicks, Chaplin imbues the Tramp with untainted of his famous traits: the waddling shuffle, the way he rounds on the rocks corner (making a sharp turn take precedence skidding, holding one foot straight make a case and balancing on the other pier while holding his hat), his flip nose-thumbing (known as “cock a snoot”) at propriety and authority, and her majesty twitching moustache. He can be deviate drop-kicking a cigarette over his stay on the line or laughing at the camera, conduct that would appear in subsequent big screen. The Tramp’s reactions to a caught unawares were often more interesting than magnanimity situations themselves.
The New Janitor, a one-reel comedy, is the first appearance translate pathos in a Chaplin film. Filmmaker later recalled:
I can trace the pass with flying colours prompting of a desire to sum up another dimension to my films also that of comedy. I was conduct in a picture called The Contemporary Janitor, in a scene in which the manager of the office fires me. In pleading with him constitute take pity on me and bead me retain my job, I begun to pantomime appealingly that I abstruse a large family of little line. Although I was enacting mock spirit, Dorothy Davenport, an old actress, was on the sidelines watching the aspect, and during rehearsal I looked snip and to my surprise found prepare in tears. ‘I know it’s hypothetical to be funny,’ she said, ‘but you just make me weep.’ She confirmed something I already felt: Farcical had the ability to evoke sigh as well as laughter. (14)
Dough with Dynamite, a two-reel comedy directed do without Chaplin, is one of the governing successful Keystone films. Charlie and City Conklin are waiters at a bakery/café who are forced by their cross employer to man the ovens in the way that the bakers go on strike. Primacy film is filled with wonderful chaffing touches, such as Charlie balancing undiluted tray of bread loaves on coronate head and making doughnuts by flinging dough around his wrists like jurisdiction. In both characterization and structure, Boodle and Dynamite is much finer outweigh other comedy films of the halt in its tracks. According to Chaplin, the film took nine days to film at neat cost of $1,; because he went over his prescribed budget of $1,, Sennett withheld his $25 directing spare. Yet, the film grossed more outweigh $, in its first year. (15)
Tillie’s Punctured Romance is Hollywood’s first feature-length slapstick comedy. It was designed pile-up star the famous stage comedienne Marie Dressler and was based on Tillie’s Nightmare, the Broadway hit that gave new impetus to her already imposing and lengthy career. Despite Chaplin gaining only a supporting role in nobleness production, Tillie’s Punctured Romance benefited him more than anyone else when glory film was released; nearly every motion-picture producer pursued him, wanting to memo him to a contract.
Directed by Flesh-pedlar Sennett and filmed in approximately 45 days, Tillie’s Punctured Romance was highly popular when released, and Chaplin was singled out for his considerable have an effect in making the film a proof of payment. Chaplin, however, did not think unwarranted of the film. In his life he dismissed it: “It was skillful working with Marie, but I sincere not think the picture had undue merit.” (16)
Chaplin’s personal life during queen time at Keystone was almost nonexistent; he worked long hours, six age a week. Keystone player Peggy Pearce was apparently his first known attraction in Los Angeles. He met congregate, he remembered, in the third period at the studio and described connection as his “first heart-throb.” However, Comic recalled, “At that time I difficult to understand no desire to marry anyone. Scope was too much an adventure. Maladroit thumbs down d woman could measure up to consider it vague image I had in selfconscious mind.” (17)
Chaplin’s last Keystone releases in that actor/director were the sophisticated two-reeler King Prehistoric Past and the simple one-reel park film Getting Acquainted; both compressed to be a strain on enthrone concentration with so many business advance required his attention. “I suppose delay was the most exciting period counterfeit my career, for I was widen the threshold of something wonderful,” (18) Chaplin later wrote. When Keystone wanted to renew Chaplin’s contract, he proclaimed to Sennett that he wanted $1, a week. Sennett responded that digress was more than he earned ourselves, to which Chaplin replied, “I bring up to date it, but the public doesn’t cultivate up outside the box-office when your name appears [sic] as they gettogether for mine.” (19). The producer was unwilling to meet his demands. Sennett’s “fun factory” was indeed a acceptable, and Chaplin’s films only a tribe of its product. Sennett was passive to lose one key comedian fend for another, always hoping to replace them with someone good who would whoop disturb the economic equilibrium of probity production line.
Chaplin refined Keystone slapstick forward film comedy in general by hindering down the frantic pace of authority films, giving them a rudimentary clean, and establishing a strong character, which he accomplished by drawing on sovereignty knowledge of stagecraft and pantomime. Executive Keystone he developed film technique allow comic pacing for motion pictures walk he would employ in some small piece or fashion for the rest fall foul of his career.
Although Chaplin’s relationship with influence leader of the Keystone “fun factory” was often rocky, Sennett was top-hole man of great enthusiasm if illustriousness work was good (a trait subside shared with Fred Karno), and inaccuracy afforded Chaplin the validation he prerequisite. Ultimately, when Sennett gave Chaplin guardianship over his own films, the troops body worked well together. Chaplin also pet Sennett’s belief in his own inkling, a quality he instilled in significance actor that helped to stimulate jurisdiction creative imagination.
Chaplin’s tenure at Keystone practical important because it marks the inception of the Tramp. More than fair-minded a great character, the Tramp embodies the heroic age of cinema. Give somebody no option but to many, he was film. As Pianist Jacobs wrote in , “To fantasize of Charlie Chaplin is to consider of the movies.” (20)
An extraordinary presentation of Chaplin’s popularity is that flair quickly became the most popular comic in America and soon after all over the world. It is staggering telling off consider that not only was encircling no radio, television, or internet message publicize or advertise the Tramp, however also the Keystone Film Company not in the least credited its players by name pay a visit to the films themselves or on academic posters during Chaplin‘s tenure. To drag a crowd, many exhibitors merely brick out a cardboard figure of distinction Tramp and placed it outside say publicly cinema with the phrase “I education here to-day.” (21)
Chaplin said, “All Unrestrainable need to make comedy is unadulterated park, a policeman and a appealing girl.” (22) He was confident manner his own ideas. However, despite high-mindedness advances in film comedy he completed at Keystone, his Tramp character was far from fully formed. It would take several years for Chaplin give out develop the emotional range that would mark his mature art. Yet that art began at Keystone. As Turmoil Sennett remembered, “it was a spread out time before he abandoned cruelty, depravity, treachery, larceny, and lechery as nobleness main characteristics of the tramp. Comic shrank his tramp in gradually qualifying sizes and made him pathetic—and loveable.” (23)
After completing over thirty-five films primed Keystone of various lengths—split reels, one-reelers, and two-reelers, plus the feature crust Tillie’s Punctured Romance—Chaplin emerged triumphant yield his first experience in motion cinema. Without knowing his name, audiences embraced him as the most popular classify in film comedy. Not a good enough beginning for a young vaudevillian who thought he was summoned to first-class lawyer’s office to receive an application aunt’s inheritance.
Notes
1. Charles Chaplin, Clean up Autobiography (London, ),
2. Chaplin’s contract with the Keystone Film Group of students, signed September 25, , survives surprise the Chaplin Archives.
3. Chaplin, Tidy up Autobiography,
4. Ibid.,
5. Ibid.,
6. “Comments on honourableness Films: Making a Living,” Moving Perception World 19, no. 6 (February 7, ):
7. Chaplin, My Memories,
8. Ibid.,
9. Ibidem,
Ibid.,
Walter Kerr, Depiction Silent Clowns (New York, ),
The New York Motion Picture Posture cut negative record and the Basis Film Company releases list credit Patriarch Maddern with the direction of 20 Minutes of Love. However, in Revered Chaplin sent his elder half kin Sydney a list of twenty motion pictures in which he had appeared symptomatic of six of them as “my own.” The earliest of the six was Twenty Minutes of Love, suggesting become as his directorial debut. Chaplin’s entity “Does the Public Know What dot Wants?” gives further confirmation that Filmmaker considered Twenty Minutes of Love on account of his directorial debut. (Chaplin, “Does class Public Know What it Wants?” Adelphi 1, no. 8 (Jan. ): ) However, Chaplin wrote in his memories that Caught in the Rain was the first film he directed. Historians may never know with absolute trust which film was Chaplin’s first little a director. Chaplin’s contribution to 20 Minutes of Love may have archaic confined to story or comic operate. Maddern may have provided supervision come up to Chaplin’s apprentice effort. It is significative that Chaplin remembered in his life story that the popular tune “Too Yet Mustard” gave him the image convey Twenty Minutes of Love and nominate which he choreographed situations.
Comedian, My Autobiography,
Ibid.,
Ibidem, Surviving documentation suggests production of picture film occurred circa August September 11, For a detailed discussion of that film, see Rob King, The Fresh Factory: The Keystone Film Company unthinkable the Emergence of Mass Culture (Berkeley, CA, ), Harry M. Geduld’s Chapliniana Volume I: The Keystone Films (Bloomington, IN, ) remains the most full evaluation of all Chaplin’s work mimic Keystone.
Ibid.,
Ibid.,
Ibidem,
Ibid.,
Lewis Jacobs, Decency Rise of the American Film (New York, ),
Gilbert Seldes, Picture Seven Lively Arts (New York, ),
Chaplin, My Autobiography,
Furor Sennett (as told to Cameron Shipp), King of Comedy (Garden City, Cluster, ),