His whole autobiography is full of great stories. Traumatic childhood, going to America, making a huge success in movies, etc.
One story I really liked is a good example of what it was like to be super famous to an extent that no one had experienced before. With the popularity of movies, going from a fad to a international medium, Charlie was one of the first people to experience it.
He tells the story in his autobiography of how he fist found out how famous he really was. He was finishing up his film “Burlesque on Carmen” in 1915 (parody of the opera Carmen) and sent a telegram from California to his brother Sydney in New York saying that he’ll be leaving by train and to meet him in New York about various offers that were coming through.
With telegrams, a message is sent from city to city until it gets to its destination (this video from the Arizona Ghostriders helps explain it more). So each city got word that Chaplin was coming through, and so crowds began to gather in each train station. And each city there were bigger and bigger crowds. When the train got to Amarillo, Texas, this is what he saw:
Peeking out of the wash-room window, I saw the station packed with a large milling crowd. Bunting and flags were wrapped and hung from pillar to post, and on the platform were several long tables set with refreshments. A celebration to welcome the arrival or departure of some local potentate, I thought. So I began to lather my face. But the excitement grew, then quite audibly I heard voices saying: ‘Where is he?’ Then a stampede entered the car, people running up and down the aisle shouting: ‘Where is he? Where’s Charlie Chaplin?’
Chaplin, Charles . My Autobiography (Neversink) (p. 234). Melville House. Kindle Edition.
And a day or so later when reaching Kansas City:
The large railroad station in Kansas City was packed solidly with people. The police were having difficulty controlling further crowds accumulating outside. A ladder was placed against the train to enable me to mount it and show myself on the roof. I found myself repeating the same banal words as in Amarillo. More telegrams awaited me: would I visit schools and institutions? I stuffed them in my suitcase, to be answered in New York. From Kansas City to Chicago people were again standing at railroad junctions and in fields, waving as the train swept by. I wanted to enjoy it all without reservation, but I kept thinking the world had gone crazy! If a few slapstick comedies could arouse such excitement, was there not something bogus about all celebrity? I had always thought I would like the public’s attention, and here it was – paradoxically isolating me with a depressing sense of loneliness.
Chaplin, Charles . My Autobiography (Neversink) (pp. 236-237). Melville House. Kindle Edition.
It seemed that everyone knew me, but I knew no one…
Chaplin, Charles . My Autobiography (Neversink) (p. 238). Melville House. Kindle Edition.
Below is a shortened version on a 1921 newsreel when he returned for a visit to London. It’s not the same event as what he writes about above, but it gives you a brief idea of what it was like where you can get an idea of the crowds:
One person towers ahead of other bad guys. Standing at 6’5, and just under 300 pounds, it’s Eric Campbell.
He worked with Chaplin back in the Fred Karno days in England, and later found his way to America. Chaplin brought him into his cast at Mutual, and they worked on 11 of Chaplin’s 12 Mutual films from The Floorwalker in 1916 to The Adventurer in 1917. His last appearance was as a golfer in the unreleased How to Make Movies.
He was great as the big bully, his Goliath to Charlie’s David. And those make-uped eyebrows! He was a bit of a cartoonish bad guy, but he was fantastic at it. Sadly he died young in 1917 in a car accident.
Continuing on with Chaplin’s 125th anniversary of his birth and 100th anniversary of his first film! HUZZAH!
I was listening to a song, Perpetuum Mobile by Penguin Cafe Orchestra, and it popped in my head of a scene from a not-so-well-known Charlie Chaplin film that was never released (until a few years ago). The song itself does not necessarily remind one of Chaplin, but the tempo reminded me of the stop motion building of his studio from the film, How to Make Movies (a kind of “behind the scenes” type movie). And other things just fell into place.
Below are embeds of the film (no need to adjust the volume, there is no sound at all for the film), and two different places to listen to the song (your choice). I start the song right after the “Hollywood, Cal.” title card (about 0:14), and the song ends as Charlie finishes eating the lemon and skips away from the camera.
Here is the song on YouTube:
Have Spotify? (Where I first heard the song.)
It’s not a 100% match, but it does match quite a bit of it especially since it’s not an obvious song choice (Maple Leaf Rag always reminds me of Chaplin), and ends at a good spot. Fun to watch 🙂
Some thoughts on the film:
Although the film was never released to the public, Chaplin did release the beginning part of it when he put together three of his silent films together, A Dog’s Life, Should Arms, and The Pilgrim, in 1959 for The Chaplin Revue. He added music (which is wonderful! Especially for guy who couldn’t read or write music) and narrated short intros before each of the three films. Right before A Dog’s Life, he narrates parts of HTMM.
Such as the scene where the 1918 Charlie arrives at the studio, older Chaplin says “Now you see my arrival. (Charlie gets out of car) That’s me. I looked much younger there. (laughs) That was at least ten years ago” he says, 40 years later! Always makes me chuckle.
I just tried looking for it online, and (as of right now) it’s been removed and I cannot find another one.
It is an amazing look (albeit staged) at how he worked at that time of his career. And a lot of fun to see him, for a good amount of the film, as his own person, no costume. Interacting with his cast, directing, going over gags, putting on, and later taking off, his famous tramp costume, and some golf outtakes from The Idle Class.
And like many of his other films, he wrote, produced, directed it, and starred in this one.
The lemon that Chaplin eats is from citrus trees that grew on the lot. The land was covered with them, and when Chaplin build his studio, he kept a few standing.
And now I’ll head off and watch one of The Chaplin Revue collection movies, Shoulder Arms…
