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Home , American Cinematheque, A Busy Day, A Film Johnnie, A Jitney Elopement, A King in New York, A Woman of Paris

E PILOGUE: THE ’S CONTINUING LONGEVITY, POST-1977

If it is still not clear from the preceding chapters that several factions of Americans came together post-1947 to force a re-assessment and even- tual re-invigoration of Charlie and his Little Tramp persona in American culture, then the outpouring of love and admiration heaped upon him at his death must solidify this fact. critic noted in the Village Voice that “we can still say that Charles Chaplin was arguably the single most important artist produced by the cinema, cer- tainly its most extraordinary performer and probably still its most univer- sal icon.” 1 Alden Whitman’s New York Times obituary claimed that “no motion picture actor so captured and enthralled the world as did Charles Spencer Chaplin, a ragamuffi n who became an immortal artist for his deft and effective humanization of man’s tragicomic confl icts with fate.” 2 And, fi lm critic Stanley Kauffmann wrote in The New Republic :

Yes, is not a deathless image. Yes, he made us laugh and cry and presumably always will. But, out of the Chaplin moments, put just two together and think of them, and you understand why talking about the Little Fellow is not enough. Think of the moment in The Rink when, with his torso almost motionless, his roller-skated feet move so quickly under him as he tries to keep his balance that his legs almost become a solid blur like the spinning spokes of a wheel. Then think of the last scene in when the formerly blind girl realizes that this little was her savior, and then the camera goes to his face. The fi rst moment is physical virtuosity past the reach of most who devote their lives to absolutely nothing else. The second moment is to speak quietly, great acting. […] No, the Tramp, image

© The Author(s) 2016 231 L.S. Haven, ’s Little Tramp in America, 1947–77, DOI 10.1007/978-3-319-40478-3 232 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

of genius though he is, is only a kind of middle ground, a medium for even greater genius. 3

By the date of Chaplin’s death at his home in Corsier-sur-, on Christmas day, 1977, he had achieved a place in the pantheon of fi lm greats that has largely remained intact since that date. However, Chaplin and his persona have not escaped all scrutiny and cri- tique since that time. There will always be those individuals and groups that refer to his work as “overly sentimental,” his camera work as “prehistoric” 4 or who still hope to diminish him by bringing up past grievances about his politics or public behavior—even his legendary penuriousness. There will always be those who wish to compare him to or even . Yet, due to the iconic of his Little Tramp persona, Chaplin’s status today is strongly set in place as “the king of .” Since 1977, Chaplin has inspired books, documentaries, a biopic, con- ferences and meetings, a musical and, more recently, an online presence, in the form of tumblrs, blogs, Facebook pages and other digital efforts that are effective both in spreading the word and keeping the Chaplin name and image alive, thereby allowing his work to reach new generations. In this chapter, I will provide a short overview of a select group of these efforts in order to better describe the trajectory of Chaplin and his persona in more recent times and on into the future. One of the fi rst signifi cant events postmortem was the re-release of Chaplin’s 1923 fi lm, his fi rst for and one in which he does not star, Woman of Paris. , according to one source, had succeeded in obtaining the fi lm from Chaplin for a premiere screening at MOMA in January 1977, but it was not released to theaters until more than a year and four months after Chaplin’s passing. Jack Kroll attended the screening and reported the fi lm to be “a master metaphor” for Chaplin himself and his obsession with fallen or semifallen women: “Chaplin makes male chauvinism into art: Marie and her two gal friends are all commodities, but they are commodities as characters.” 5 Kroll’s impressions were echoed by Penelope Gilliatt of the New Yorker , who wrote that it “is a fi lm with a sense of comedy which is debonair and ele- gant and bitterly close to the bone.” 6 Janet Maslin, in , noted “the wisdom of , which was fi rst released in 1923 but often feels as if it were made just yesterday, really does seem bound- less; so do the affection and generosity with which Mr. Chaplin presents his characters.” 7 Out of circulation for some 50 years, A Woman of Paris EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 233 did its work reinforcing Chaplin’s fi lmmaking skill well outside the realm of the Little Tramp persona, especially among fi lm critics and scholars. Perhaps there’s no greater indication of Chaplin’s re-ascension to the “King of Comedy” throne in the hearts of average Americans, how- ever, than the overwhelming success of IBM’s personal computer cam- paign with the Little Tramp as mascot/“spokesperson,” beginning in August 1981. 8 After approving an ad campaign that utilized the Little Tramp character put forth by advertising company Lord, Geller, Federico, Einstein, IBM licensed the image through the Chaplin estate’s Bubbles, Inc., in a one-year agreement renewable each fall. 9 The logic behind this decision? As Marguerite Zientara argues: “Perhaps no symbol other than the lovable, affable of Charlie Chaplin could have succeeded in making notoriously cold and impersonal IBM appear friendly.” 10 P. David McGovern, advertising director at IBM’s PC division, seems to support this point: “We wanted to make sure that people understood that we’re trying to help solve the confusion and uncertainty about computers. We showed that our product is approachable and friendly.” 11 Also important was the theory of Robert Wells, of Lord, Geller that “if he can do it, you can do it.” 12 , 13 After more than 30 Chaplin imitators auditioned for the role in both and New York, street artist and mime Billy Scudder 14 was engaged to play the Little Tramp character in the television commercials— the only medium the campaign initially required. Scudder explained that he just tried to act “the way Charlie would do things. The essence of the character is in the vulnerability. IBM is such a big, powerful company. By using Charlie, the element of fear disappears.” 15 The fi rst commercial with Scudder was so overwhelmingly successful that the campaign moved into print by the end of the year. In one report, “The campaign was such a success that IBM PC’s practically fl ew out of dealer stores. In the fi rst year of the IBM PC, it went from a zero mar- ket share to 28% and grew from there.” 16 Lord, Geller chose fi ve distinct themes for the television spots, in both 30- and 60-second versions and approximately 30 different versions of the print ads, 17 all arranged around the theme “Keeping up with Modern Times.” Many references to actual Chaplin fi lms were made in the ads, especially to the fi lms City Lights, Modern Times and The Kid . As one reporter noted, “the commercials are elaborate Madison Avenue extravaganzas.” 18 Two ads typical of the television campaign are known by the names “The Bakery” and “The Hats.” The 30-second “The Bakery” 234 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 shows the Little Tramp working at placing cakes coming to him on a conveyor belt into boxes. The conveyor speeds up and the cakes increase in size creating chaos. In the next scene, the Little Tramp is shown in an offi ce setting, reading a manual and working on an IBM PC. He puts his feet up on the desk, a signal that order has been restored. The fi nal scene of the commercial shows the Little Tramp back in the bakery, receiving a kiss from a female customer to whom he gives a cake with a rose on it. Not only has order been restored, but Charlie gets the girl as well. In “Hats” the Little Tramp’s abode is a mess due to his unruly collection of hats, the result of his current business endeavor, the “Hat of the Month Club.” He then answers the door to the mailman, who gives him a fl yer advertising the IBM PC. In the next scene, Charlie is shown working on the computer and order appears to be restored, because now he has a group of employ- ees shipping hats. The mailman delivers a large stack of orders for more such merchandise. In this commercial, the girl is replaced by a fl uffy white dog wearing a sort of fl apper’s feathered headpiece. Charlie gives the dog a few pats in the scene’s fi nal moments. Print ads included headlines such as the award-winning “How to Test Drive the IBM Personal Computer” and “Keeping up with Modern Times,” but also a series of “How To’s”—“How to Practice What You Teach,” “How to Balance the Books,” and “How to Put the Big Board on a Small Screen.” While the heyday of this ad campaign was 1981–1984, before Apple IIc’s became the better product, IBM kept exclusive rights to the Little Tramp character until 1987. 19 Paul Richter, in his article “Estate Zealously Guards Chaplin’s Little Tramp,” interviewed the Chaplin fam- ily’s lawyer in the States, Herbert Jacoby, about the all-out assault on the copyrighted image. By June 1984, he had written warning letters to some 75 companies, Apple among them. A 30-second Apple IIc commercial launched that year showed a table with both an IBM PC and the Apple IIc on it, ending with a bamboo cane encircling the Apple IIc as the better and more preferred product. 20 , 21 1983 turned out to be a signifi cant year in Chaplin and the Little Tramp’s afterlife due to the initial broadcast in the UK of and David Gill’s monumental three-part documentary, . Filmmaker and preservationist Kevin Brownlow, whose book The Parade’s Gone By was discussed in Chap. 5 , and dancer turned fi lmmaker David Gill partnered on what is still the most important documentary treat- ment of Chaplin and his work ever made. And it all came about partly by happenstance and partly good luck. David Robinson, Chaplin’s future EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 235 biographer, suggested that the two contact Rachel Ford, 22 Chaplin’s long- time business manager. After some delay, she invited Brownlow and Gill in 1977 to a fi lm vault (Denham Laboratories) in London where some never-publically-seen outtakes were stored, with the understanding that they could choose a fi lm “snippet” of a minute or two for their current project, the 13-part television series . Over the course of the visit, the two men were shown outtakes from City Lights, Modern Times and The that literally blew their minds. In addition, she showed them fi lms of celebrities visiting the Chaplin studios through the years, and never-used shorts such as The Professor . Gill recalled,

“I was absolutely sick with excitement, realizing what we were doing at that moment, seeing a fi lm which Charlie had shot, cut, put together—a little scene that ran about six or seven minutes, complete with a beginning, middle and end—perfect in all its ways and lying on that shelf unknown to anyone outside of Charlie’s immediate circle for 50 years! It felt like opening the door on Tutankhamen—an emotional moment.” 23

Brownlow added, “On the drive back, David and I mulled over the extraordinary glimpses into what Chaplin regarded as his second-best. ‘That City Lights sequence,’ said David, ‘was like a perfect, self-contained short story by Chekov.’ We didn’t say anything to each other at the time, but we both registered the same thought. One day, we had to fi nd a way of using this material.” 24 Then, a second treasure trove of Chaplin outtakes was discovered as part of ’s collection. Brownlow and Gill had tread waters safely around Rohauer during their Hollywood project, but found him wary of displaying these particular treasures to the pair. In fact, he had the outtakes spread throughout France in various warehouses and other types of storage. However, Gill was able to coordinate the consolidation of the fi lm cans and have them shipped to a neutral base in . Upon fi nally viewing this vast collection, Brownlow and Gill realized what they actually saw before them: “Because he didn’t have a script—and because he couldn’t be behind the camera and in front of it at the same time, as director and star—Chaplin worked out all of his ideas on fi lm, not paper.” 25 From these outtakes then, the two could piece together a visual diary of Chaplin’s day-to-day fi lmmaking methods, a story never before told on page or screen. The result was a three-part documentary, titled Unknown Chaplin , released in the UK by on January 5, 1983, 236 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 with the hour-long parts titled “My Happiest Years,” “Hidden Treasures” and “The Great Director.” Pioneer composer of silent fi lm music at that time, , provided the sound track and veteran fi lm actor , also a personal friend, provided the narration. That the States took its time showing any interest in the series is evidenced by the fact that it wasn’t shown here until PBS broadcast it as part of its series, over three weeks, July 14, 21 and 28, 1986. Yet, it became as important to Chaplin’s legacy in America as the publication of what is still the defi nitive Chaplin , David Robinson’s Chaplin: His Life and Art , released two years later. Robinson’s story began in 1972 when, as a journalist for the London Times , he had written a favorable review of a re-issue of Chaplin’s Limelight . He received a Christmas card that year from Oona and Charlie, much to his surprise, and then was later invited to a party after Charlie’s knighthood in 1975 and to the recording studio when he supervised the recording of the music for A Woman of Paris —Chaplin’s last visit to a studio of any kind. Soon thereafter, Robinson became re-acquainted with Jerry Epstein, Chaplin’s associate producer on and A Countess from Hong Kong and also wrote a favorable review of and her husband Jean-Baptiste Thierreé’s “Cirque Imaginaire,” a review that led to their fi rst London performance. Epstein then sug- gested Robinson write a book, and worked to get him some appointments with Lady Chaplin—“always diffi cult because we were both very shy!” 26 Eventually, Lady Chaplin invited Robinson to Vevey to have a look at what she believed were only “old studio records and scrapbooks.” Thus began a series of 3- to 4-day visits to Vevey, Switzerland in which Robinson spent dawn to dusk in the basement of the , going through piles of documents never before accessed by a Chaplin biographer (for that is what he was to become) and Lady Chaplin “convinced herself that Charlie had said that I was the one to do it.” 27 Kevin Brownlow recalls that “David Robinson has chosen to scale an unconquered peak. […] He may have chosen a fascinating subject, but to marshal the facts, to make sense of them and to produce a readable and entertaining book was like climbing Everest without oxygen. He was faced with a staggering amount of material.” 28 But Robinson didn’t stop with the Chaplin archival documents. According to Film Quarterly reviewer Brian Henderson: “Robinson has done extensive research in the public archives of London and in old the- atrical records to provide a defi nitive account of Chaplin’s parents and EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 237 his own early life, their career and his. […] [It] is by far the best that has appeared and will no doubt remain the standard biography for some time to come.” 29 Numbering more than 800 pages, including multiple appendices, Robinson’s bio was released in the States in time for Christmas 1985. Other reviewers quickly echoed Henderson’s comments. Garson Kanin, in a lengthy review of the book for the New York Times Book Review, noted: “In his painstaking and brilliantly researched book, with its immense wealth of names and dates and places and fi gures, Mr. Robinson has given us a valuable and important chronicle.” 30 Ever the perfectionist, Robinson brought out a second edition with both corrected and additional information in 2001. Next to Chaplin’s autobiography, no book comes close to Robinson’s in terms of both its reliable, objective information and beauty of writing. And, it caused many to hope that the “Chaplin archives,” such as they were, would soon be available to others. But this was not to occur until 2002. 1989 was the centennial of Charlie Chaplin’s birth and as such, was celebrated all over the world, but not so much in America—at least by American fi lm scholars. One such scholar noted: “the centennial of the birth of Charles Spencer Chaplin has been met by American fi lm scholars with a fair amount of neglect. […] There has been no scholarly conference to mark the occasion, no special issues of journals.” 31 Counter to these remarks, Chaplin was hardly neglected on his centennial in other factions of American society, namely the rank-and-fi le fi lm enthusiasts active well outside of the Academy. The Museum of , one such institu- tion, under the leadership of Charles Silver, mounted a retrospective of Chaplin’s works and published alongside it Silver’s glossy tome, Charles Chaplin: An Appreciation. The American Cinematheque in Hollywood presented a three-day tribute entitled “Chaplin: The King of Comedy” in July that year, screening all of his post-1918 work and featuring a variety of special guests, such as Chaplin costars and Marilyn Nash ( ), and Albert Sandrey (Limelight ) and composer (Modern Times )—quite a lineup of Chaplin luminaries. 32 Perhaps equally ambitious was the Silent Society’s event held on the Chaplin stage at the old Charlie Chaplin studios on La Brea and DeLongpre, at the time the A & M Records lot. Randy Habercamp, now of the American Motion Picture Arts and Sciences in Los Angeles, was, at the time, the president of the Silent Society, a group founded by Habercamp, Bob Birchard, David Shepard and Donna Fisk in April 238 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

1986: “a volunteer organization designed to dispel the rumor that silent fi lms are ‘technically handicapped.’” 33 The group had recently merged with Hollywood Heritage, Inc., a community group still working today to preserve physical aspects (real estate, architecture, properties, etc.) of old Hollywood. The Charlie Chaplin Centennial Celebration was essentially a party, beginning at 6:00 PM on Sunday, , 1989, with admis- sion tickets costing $10. Music was provided by Robert Israel, by that time a well-known composer of silent fi lms scores, including for Chaplin’s . Lady Chaplin is acknowledged as having provided her consent for the event and pristine prints of Chaplin fi lms Kid Auto Races (1914), How to Make Movies (1918) and The Kid (1921) were screened. LA mayor Tom Bradley had even pronounced the day “Charlie Chaplin Day” in his city. Birchard, in his program notes for the event, remarked: “Today there are few who remember the issues that stirred such political passion against Chaplin, fewer still who experienced the thrill of seeing the [at his apex of popularity], […] yet he is no mere legend, no dim fi gure of fading memory and yellowing press clippings.” 34 Walter Kerr and Bill Irwin had professed similar opinions in a nearly three-page tribute to Chaplin that appeared in the Sunday New York Times on April 9th, that also included sidebars by Chaplin costar (Limelight ) and friends caricaturist , Adolph Green and Carol Matthau. Irwin, a physical performer and mime, noted that Chaplin’s work inspired many of his successors in the fi eld: “If comic ideas are what keep you up a night, Charlie Chaplin is everywhere. Not just and pantomim- ists but breakdancers, stand-up comics and music-video makers draw con- stantly—often unconsciously—on the work of the silent fi lm .” 35 One fi lm scholar paying attention that year was Charles J. Maland. Maland’s seminal book Chaplin and American: The Evolution of a Star Image set the standard for the cultural study and analysis of a pop culture icon and celebrity. Film scholar Tom Gunning’s review of the book in Film Quarterly provides an apt summation of the books particular merits:

This volume by Maland stands almost alone as a new Chaplin study. While it doesn’t compensate for the neglect [of Chaplin by fi lm scholars in gen- eral], it does show that Chaplin scholarship not only survives but has moved into new territory. […] With a fair amount of theoretical precision, Maland defi nes a topic that is more (and also less) than Chaplin’s life and art. Following Richard Dyer’s approach to the star phenomenon, Maland pieces together the way the Chaplin star image was made, unmade and remade in the US over seven decades. 36 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 239

In fact, the “remade” portion of the study was the direct progenitor of Charlie Chaplin’s Little Tramp in America, 1947 – 77 , and, certainly, many other books and articles by other scholars over the course of the 25 years since its publication. Maland related to me that his initial interest in Chaplin arose from seeing the re-released First National fi lms in 1971 in Ann Arbor, Michigan where he was attending college. This resulted in his writing about two of the fi lms in his dissertation, a study of selected fi lms by Chaplin, Ford and Capra between 1936 and 1941. By the 1980s, Maland had decided to write a book about Chaplin, but since so much had already been written on the subject, he endeavored to come at the material from a new angle: “I didn’t think any of the existing scholarship was very clear about how and why his public reputation fell so much in the , leading to his exile from the US in 1941.” 37 A request to the government under the Freedom of Information Act for Chaplin’s FBI fi le and the receipt of 1700 pages shortly thereafter helped Maland conceive a book about Chaplin’s public reputation throughout his career, a project he then began in earnest in the summer of 1983, with publication of the book then in 1989. Another bump in Chaplin’s popularity occurred in 1992 with the release of ’s lengthy biopic, simply titled Chaplin . While the fi lm was largely panned by critics and failed to receive the acclaim Attenborough had desired, it succeeded in introducing Charlie Chaplin and his Little Tramp to a whole new generation of fans once again. Part of this was due to brat-pack actor Robert Downey, Jr. being cast in the title role. Known for his bad-boy behavior and lifestyle, Downey, Jr.’s reputation managed to glom itself onto the character he was playing, thereby providing that character, Chaplin, a whole new life as a sort of Generation-X, nonconformist malcontent. Another part was due to the casting of other recognizable actors— as her grand- mother, , Dan Ackroyd as , as , as , as and Kevin Kline as , Sr., among others. The fi lm made Chaplin suddenly prescient; he was alive, moving and talking up on the screen again and he looked like Robert Downey, Jr. (Fig. A.1 )! New young fans found themselves reading the biographies and looking for Chaplin’s fi lms to show on their VCRs, many for the fi rst time. As described, in his New York Times review of the fi lm, which was released in time for the Christmas moviegoing season in 1992, the fi lm contained two “welcome surprises”: 240 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

Fig. A.1 Richard Attenborough’s Chaplin , with Robert Downey, Jr., 1992. AF Archive/Alamy

The fi rst is Robert Downey, Jr. He is good and persuasive as the adult Charlie when the material allows, and close to brilliant when he does some of Charlie’s early and fi lm sketches. His routines are graceful, witty and, most important, really funny. And the other surprise is Geraldine Chaplin […] [who’s] splendid playing her own grandmother, Hannah Chaplin, whose slide into madness provides the movie its only emo- tional weight. 38

In a half interview, half fashion spread for the December 1992 issue of Mirabella magazine, Downey, Jr. joined his costar Moira Kelly (who played both Chaplin’s fi rst love Hetty Kelly and fourth wife Oona O’Neill) in various attractive Little-Tramp-like outfi ts and poses. Downey, Jr. men- tions to interviewer Peter Haldeman that the job was “everything from the ultimate honor to a waking up sweating mortar shells, convinced I was an absolute sham.” 39 Attenborough remarked, however, that “he sur- passed my wildest dreams. He is a phenomenon. He gives a performance of miraculous quality.” 40 The fi lm proved to be a big break for Downey, Jr., but he moved from an Academy award nomination for this role to EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 241 years of struggle with drugs and alcohol, from which he’s since resur- rected himself to become one of America’s most popular actors—but one forever-linked to this demanding role by both his followers and himself. The way Chaplin information is disseminated and the way Chaplin admirers and scholars connect with each other has changed since the advent of the personal computer and the Internet. In the 1990s, a Chaplin enthusiast could log on to the newsgroup moderated by Texas Tech pro- fessor and Chaplin scholar Connie Kuriyama, alt.movies.chaplin, and lurk or participate in an often antagonistic discussion about this or that minute Chaplin fi lmmaking or biographical point. Fast on its heels was the yahoo group [email protected], for many years now moderated by Lucy Jaffe who remembered, “I got involved in the yahoo group. I like posting research and odd things I fi nd. Whoever reads and responds, that’s fi ne. I’ve gotten some of my friends interested in Chaplin—lending DVDs, sending articles and YouTube fi les. I do try to get other people to give it a shot.” 41 Later, with the advent of Facebook, Twitter, tumblr and other social media, the venues for communication with like-minded individuals exploded, almost to the point of oversaturation. Roy Export S.A.S. now has both Facebook and Twitter accounts, reaching, at last count, some one million “likes” and 5500 followers, respectively. Most recently, webpages, blogs and tumblrs have accumulated in num- ber, but not always in quality. One of the most reliable, interesting and well-researched blogs is Jessica Buxton’s discoveringchaplin.com begun in 2012, which sends out posts to subscribers almost daily and, almost 70% of the time, presents totally new or forgotten information about Chaplin, his life and fi lmmaking. Buxton offered her motivation to me recently: “I wanted to have something that could possibly be used for research. I enjoy the research and I wanted a better outlet for that [than tumblr].” 42 Last year she scored an exclusive interview with Francesca Santoro, the child actress who played the small role of “Aggie” in Chaplin’s 1940 fi lm The Great . Buxton’s currently presenting a day-by-day series of the year 1936, in which she’s using production reports, news articles and other information (much of it from the Chaplin archive) to try to present where Chaplin was each day of the year and what he was doing. In addi- tion, she serves as a knowledgeable source for those with Chaplin ques- tions. Buxton noted:

Yes, somehow, people do ask me a lot of questions, because I’ve put myself out there in the community. They fi nd my blog and they fi nd me. When I 242 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

was a fan early on, people were nice enough to answer my questions, so I’m happy to do the same now for a new generation of fans. In my day there were the forums. You could get on those forums and ask questions. Now, that’s not the case. I feel like in some ways, people like me are the ambas- sadors of Chaplin and it’s a privilege to have that status. 43

Silent fi lm screenings with orchestral accompaniment really began in the 1990s, although pioneer silent fi lm composer, American-born Carl Davis got his start composing a score fi rst for Brownlow and Gill’s Hollywood series and later for their Unknown Chaplin and for Brownlow’s restoration of ’s Napoleon (1927). Still more common in Europe than in America, the screening with orchestral accompaniment event requires an experienced conductor and/or composer, a willing orchestra, a venue that can accommodate a screen large enough for the audience to see, and funds to rent the fi lm and scores from Roy Export, S. A. S., for whom this has become a lucrative endeavor. , born in Columbus, Ohio, became Chaplin’s collaborator in the early 2000’s when he was commis- sioned by the Chaplin offi ce to restore Chaplin’s original scores for use at such screenings and has since that time superseded Davis as maestro extraordinaire—a moment perhaps best marked by the rave reviews he received in September 2014 when the New York Philharmonic presented a screening of Modern Times under his baton. Changes didn’t come to the Chaplin estate and the sequestered Chaplin archive documents until Kate Guyonvarch took over as directrice/man- ager of the Chaplin offi ce and associated companies. Hired originally as an offi ce assistant in the 1980s, Guyonvarch worked for Pam Paumier, who had taken over for Rachel Ford after her retirement (Paumier and Ford worked together for years). Then, in 1994, when Paumier retired, Guyonvarch took the helm, although , Charlie and Oona’s second eldest daughter, worked along with Guyonvarch in this capacity until about 2010. 44 By the turn of the twenty-fi rst century, plans were in the works for a Chaplin archive database, and in June 2002 an agreement was signed between the Chaplin estate and the Cineteca di Bologna in Bologna, Italy, that this institution would scan the huge col- lection of documents (all except the scrapbooks or press books, as they’re termed, which are too large and some too fragile) and upload them to an extensive online database. This project, named Progetto Chaplin (Project Chaplin) was the vision of Guyonvarch and Cineteca di Bologna’s director Gian Luca Farinelli—a vision made into reality by project curator Cecilia EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 243

Cenciarelli and her team. Although items are still occasionally scanned as they come into the Chaplin collection, the project was considered com- plete as of 2009, the year in which the Cineteca di Bologna celebrated the project’s end at its yearly “Cinema Ritrovato” festival in a subfestival entitled “Chapliniana.” What exists now is beyond any Chaplin research- er’s dream—any and every imaginable Chaplin document available online. The Chaplin documents themselves exist in the Archives de 45 in Montreux, Switzerland, just fi ve kilometers from Chaplin’s estate on Lake , and the photographs and negatives are housed at the Musée de l’Elysée in nearby . Both collections are held in climate- controlled environments, hopefully for all time. America fi nally did host an academic conference 46 on Chaplin and I was the organizer. Entitled “Charlie in the Heartland: An International Charlie Chaplin Conference,” it was held at my institution, Ohio University Zanesville for three days in October 2010. I welcomed participants from 11 countries outside the United States, including Chaplin estate direc- trice Kate Guyonvarch, Chaplin biographer David Robinson, fi lm scholar Charles J. Maland, fi lm preservationist David Shepard and many others. Academic papers were interspersed between fi lm screenings (some with organ accompaniment), one of which was held in McConnelsville, Ohio in a restored cinema. The best thing about this conference, really, was that it brought Chaplin admirers and enthusiasts from all walks of life together in a warm and inviting event. The stars aligned, in other words, for the only time in America. The most recent -style musical attempt at the Chaplin biog- raphy hit the Great White Way in August 2012 at the Ethel Barrymore Theater. First titled Limelight , Chaplin (the musical) premiered at the La Jolla Playhouse in San Diego in 2010, then moved east. With music and lyrics by pianist and singer Christopher Curtis and (Hairspray ), the title role was performed by Rob McClure, 47 a relative unknown (Fig. A.2 ). 48 Rob Weinert-Kendt interviewed the actor, who underwent six auditions before securing the role, for the New York Times : “There’s been a bit of a Chaplin boot camp, with tightrope and roller- skating and violin lessons. […] Every time I think, Oh God, how am I going to learn all this?, I remember he did it, Chaplin did it all.” 49 Previews began on Broadway on August 20, with the show opening then on September 10, but it received mediocre reviews and completed only 24 previews and 136 performances before it closed on January 6, 2013. Yet, viewers well-versed in Chaplin expressed their appreciation for the musi- 244 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

Fig. A.2 Chaplin: The Musical at the Barrymore Theater, New York, 2012. Ed Rooney/Alamy EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 245 cal, with some attending more than once. Doreen Feeney, a New Jersey resident, proved to be a devoted fan of the musical:

I saw it twice on Broadway. I think it was performed fi rst at Vassar, but I saw it later at the New York Musical Theatre Festival. It played for just a few days on Restaurant Row in a church. It had potential then. The actor was trained by (not Rob McClure). Then I saw the show with McClure in preview on Broadway and also the day before it closed. McClure, a Jersey boy, was very good. But everyone’s always trying to cram 80+ years in two hours. My musical version would have the show end when he becomes the Tramp. 50

Gerry Mandel, of St. Louis, also experienced the musical:

Through a friend of a friend I worked some free tickets. I got tickets the night before the offi cial opening. Eight of us went—my friends, Mary Lee, my son and daughter. We toasted a long run for the show. I couldn’t wait to get the reviews, which were all bad. I thought the actor that played Chaplin, the colors—black and white—on stage were great, but the music was forget- table. And, they shouldn’t have tried to cover his whole life. It was neat to be in and see “Chaplin: The Musical” in lights. 51

Finally, for this epilogue, but hopefully not for Chaplin’s longevity overall is the “Chaplin’s World” Museum, ten plus years in the making, housed at Chaplin’s estate, the Manoir de Ban, in Corsier-sur-Vevey, Switzerland, that opened in 2016 on Chaplin’s birthday, April 16th. Although this event occurred in Europe, Americans, especially those already devoted to Charlie Chaplin, have already made the pilgrimage, or plan to make it in the next couple of months. But after the fervor of the 1960s and in America, after his complete resurgence in popularity here, Chaplin mania has waxed and waned, a phenomenon that I predict will continue as long as the family organization exists and there are a core of Chaplin admirers and scholars to carry Chaplin and his Little Tramp along with them into the future.

NOTES 1. Andrew Sarris, “Good-bye, Charlie,” Village Voice (Jan. 9, 1978), 35. 2. Alden Whitman, “Chaplin’s Little Tramp, an Everyman Trying to Gild Cage of Life, Enthralled World,” New York Times (Dec. 26, 1977), 28. 246 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

3. Stanley Kauffmann, “Chaplin’s History and Mystery,” The New Republic (May 6, 1978): 18. 4. During the writing of this chapter, for instance, Robin Ince of the UK’s Telegraph newspaper, published an essay entitled “Charlie Chaplin: Is He Still Funny?” in its , 2016 issue. 5. Jack Kroll, “Voluptuous Silence,” (Jan. 10, 1977), 65. 6. Penelope Gilliatt, “A Chaplin Restored to Us,” The New Yorker (April 17, 1978), 116. 7. Janet Maslin, “Rare Chaplin, A Woman of Paris , Film, New York Times (April 14, 1978). 8. See also Maland’s complete discussion of IBM’s Little Tramp cam- paign, pages 262–270. 9. Maland, Chaplin and American Culture , 363. 10. Marguerite Zientara, “Charlie Chaplin Earns Kudos for IBM,” InfoWorld (March 5, 1984), 71. 11. Kathy Root, “Kudos for a Tramp and a Motor Mouth,” Nation’s Business (April 1984), 44. 12. Root, “Kudos,” 44. 13. Another appropriate comment was provided by Rick Scott, spokes- person for IBM’s Entry Systems Division in Boca Raton, Florida: “The Little Tramp has all the human traits of getting frustrated, but he fi ghts the daily battles of life, he always maintains his sense of humor, and he’s a warm, friendly type of character. We think his gentle humor helps remove some of the mystique of computer tech- nology and makes the product and the company a little more per- sonal and a little more understandable” (qtd. in Zientara 71). 14. Scudder won 11 Cleo’s (the advertising world’s equivalent of the Oscar) and the Mobius award for best actor at the Chicago Film Festival two consecutive years ( www.billyscudder.com ). 15. Zientara, “Charlie Chaplin Earns,” 71. 16. “IBM Corp,” Advertising Age, available at adage.com/article/ adage-encyclopedia/ibm-corp/98715 /. 17. Zientara, “Charlie Chaplin Earns,” 71. 18. “Softening a Starchy Image,” Time (July 11, 1983), 54. 19. Maland, Chaplin and American Culture , 363. 20. Paul Richter, “Estate Zealously Guards Chaplin’s Little Tramp,” New York Times (June 12, 1984), 1, 5. 21. There also exists an Apple poster from 1984 that features a full- length Chaplin sitting next to a table with a Macintosh EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977 247

computer on it, looking at the camera with a look of surprise on his face. Like the IBM ads, there is a rose in a white vase on the table beside the computer. And, of course in 2000, Apple ran a series of ads on the theme “.” By that time, the exclusivity of IBM’s rights to the Chaplin persona well past, Apple featured Chaplin in his Little Tramp costume behind a movie camera direct- ing Modern Times —probably a subtle jab at IBM, oh, so many years later. 22. For more on Rachel Ford, see Chap. 4 . 23. Quoted in Maltin, “ Buffs,” 50. 24. Kevin Brownlow, The Search for Charlie Chaplin (Genova, Italy: Le Mani, 2005), 21. 25. Maltin, “Silent-Film Buffs,” 54. 26. David Robinson, email message to author, Feb. 6, 2016. 27. Robinson, email message to author. 28. Kevin Brownlow, “Best Beloved,” London Review of Books 7.7 (April 18, 1985), 5–6. 29. Brian Henderson, review of Chaplin: His Life and Art by David Robinson, Film Quarterly 40.1 (Autumn 1986), 36. 30. Garson Kanin, “The Paradoxical Sir Tramp,” New York Times Book Review (Nov. 10, 1985), 60. 31. Tom Gunning, review of Chaplin and American Culture: The Evolution of a Star Image , Film Quarterly 43.3 (Spring 1990), 41. 32. “Chaplin: The King of Comedy,” program, American Cinematheque (July 7–9, 1989), Los Angeles, California. 33. The Silent Society and CBS/Fox Video, “Charlie Chaplin Centennial Celebration,” program (April 16, 1989). 34. The Silent Society and CBS/Fox Video, “Charlie Chaplin Centennial Celebration.” 35. Bill Irwin, “How a Classic Keeps Inspiring Comedy,” New York Times (April 9, 1989): H1. 36. Gunning, review of Chaplin and American Culture , 41. 37. Charles J. Maland, email message to author, Mar. 7, 2016. 38. Vincent Canby, “Chaplin’s Life Story, with Robert Downey, Jr.,” New York Times (Dec. 25, 1992), B6. 39. Peter Haldeman, “It’s the Tramp! It’s !, Mirabella (Dec. 1992), 115. 40. Haldeman, “It’s the Tramp!”, 115. 41. Lucy Jaffe, interview with author, April 30, 2015. 248 EPILOGUE: THE LITTLE TRAMP’S CONTINUING LONGEVITY, POST-1977

42. Jessica Buxton, interview with author, June 13, 2015. 43. Buxton, interview with author. 44. Kate Guyonvarch, email message to author, Jan. 4, 2016. 45. The agreement with the Archives de Montreux was signed in March 2001. 46. The BFI started the ball rolling with an academic conference in June 2005 and Bologna hosted a large “Charlot 100 anni” celebration in June 2014, an event marking the 100th anniversary of the creation of the Little Tramp persona. 47. McClure was nominated for a Tony award for his performance in the role. 48. Jason Zinoman, “Theater.” New York Times (Aug. 19, 2012). 49. Rob Weinert-Kendt, “Walking the Walk, Cane in Hand,” New York Times (August 26, 2012). 50. Doreen Feeney, interview with author, Aug. 5, 2015. 51. Gerry Mandel, interview with author, April 17, 2015. APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

CHAPLIN FILM SCREENINGS 1 Theodore Huff Memorial Film Society, New York City, NY 2

Film Screened Dates of Screening Approximate Film Condition

A Night at the June 10, 1953 No info. Show (1915) June 10, 1953 No info. (1914) A Dog’s Life July 8, 1953; August No info; a reversal, but missing the end of the (1918) 21, 1956* scene when Charlie invites Edna to and steps on some gum. Pay Day (1922) July 8, 1953; No info; good print; no info. February 26, 1957; March 26, 1953 The Kid (1921) July 22, 1953; 2 reels only, but “still retains the Chaplin October 29, 1958*** magic”; 2 prints available, one a generation newer than the other, both mostly complete, except for the scene in which Charlie investigates the baby’s sex and the “moist baby” gag. His Trysting December 22, 1953 No info. Place (1914)

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© The Author(s) 2016 249 L.S. Haven, Charlie Chaplin’s Little Tramp in America, 1947–77, DOI 10.1007/978-3-319-40478-3 250 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

Film Screened Dates of Screening Approximate Film Condition

Shoulder Arms May 11, 1954;August 3-reel print, “the most complete print that we (1918) 21, 1956* have ever seen,” laboriously pieced together from 2 prints, one an original; a good quality dupe made from a recently rediscovered 35 mm original. His New December 20, 1955 No info. Profession (1914) The Circus January 29, 1957; Brand new, good sharp print, with (1928) June 23, 1959****; approximately 1 reel missing; excerpt only— March 17, baby & hot dog scene and the chase through 1964***** the hall of mirrors; “a bit ragged” with jump cuts and scenes shortened—still the best available today City Lights April 24, 1957 Excerpts—2 odd reels (1931) The Pilgrim May 16, 1958** “Pretty groggy shape,” choppy, with about a (1923) reel missing. The Gold Rush October 29, 1958*** 3-reel condensation, known as “Alaskan (1925) Adventures,” smoothly edited and focused on the comedy bits. Recreation October 29, 1958*** 2/3 of the original half-reel, exceptionally fi ne (1914) quality from a dupe negative. May 28, 1963 No info. (1918) May 4, 1965 Quality reasonably good, although “a bit (1919) ragged” during the scene in which Charlie rides the bull Twenty Minutes March 17, No info. of Love (1914) 1964***** The Rink March 17, No info. (1916) 1964***** March 17, No info. (1921) 1964***** A Day’s April 4, 1967; June South American print, a bit dirty; Belgian print, Pleasure (1919) 6, 1967; March 5, cleaner, “less dirt and rain”; no info. 1976

*Chaplin and His Imitators program; **Comedy Program #2; ***Charlie Chaplin program; **** Show; *****Four Phases of Chaplin program APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 251

Museum of Modern Art Film Screenings (1939–1977)

Festival Name Chaplin Screened Dates

40 Years of Part I—13. Five Keystone , 1914: Part I—13. Sept. American Film , , Getting 12, 27, Oct. 12, 27, Comedy: Part I & Acquainted, The Knockout, The Rounders 1940 II 3 14. Four Essanay Comedies, 1915: The 14. Sept. 13, 28, Tramp, A Woman, The Bank, Police Oct. 13, 28, 1940 15. Four Mutual Comedies, 1916 (RKO): 15. Sept. 14, 29, The Fireman, One A.M., The Vagabond, The Oct. 14, 29, 1940 Rink Part II—Mar. 10, Part II—9. Four Essanay Comedies, 1915: A 21, Apr. 1, 12, 23, Night at the Show, Work, A Night Out, May 4, 15, 1941 Carmen (reels 4 & 5 only) 10. Mar. 11, 22, 10. Five Keystone Comedies, 1914 (same as , 13, 24, #13 above) 4 May 5, 16, 1941 11. Four Essanay Comedies, 1915 (same as 11. Mar. 12, 23, #14 above) April 3, 14, 25, May 6, 17, 1941 Cycle of 300 12. The Comedy Tradition: (II) Charlie 12. July 22, 23, Films 5 : Part I only Chaplin Five Keystone Comedies (same as 1941 Part I, #13 above) 13. July 24, 25, 13. The Comedy Tradition (III) Four 1941 Essanay Comedies (same as Part I, #14 above) Holiday Film 3. Five Keystone Comedies (same as Part I, 3. Dec. 23 (57 Matinees 6 #13 above) attendees), Dec. 30, 4. Four Essanay Comedies (same as Part I, 1941 (192 #14 above) attendees), Jan. 31, 1942 4. Dec. 24 (41 attendees), Dec. 31, 1941 (107 attendees), Feb. 7, 1942 Repeat Cycle of 13. (Same as Part I, #13 above) 13. March 11 & 300 Films 7 14. (Same as Part I, #14 above) 12, 1942 14. March 13 & 14, 1942 45 Years of the 6. Five Keystone Comedies (same as Part I, 6. Sept. 29 & 30, Movies 8 #13 above) 1942 8. Four Essanays (same as Part I, #14 above) 8. Oct. 3 & 4, 1942

(Continued) 252 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

(continued)

Festival Name Chaplin Films Screened Dates

Film Programs for 4. Five Keystone Comedies (same as Part I, No specifi c dates, Young People 9 #13 above) but on Saturdays in 7. Four Essanays (same as Part I, #14 above) 1944

Art of the Motion 8. The Comedy Tradition in Charlie Chaplin January 26, 27, 28, Picture 10 (same as Part I, #14 above) 1945 History of the 3. American Film Comedy (I) Chaplin 3. Sept. 23, 24, 25, Motion Picture 11 Keystones (same as Part I, #13 above) 26, 1947 4. American Film Comedy (II) Chaplin 4. Sept. 27, 28, 29, Essanays (same as Part I, #14 above) 1947 6. American Film Comedy (III) Chaplin 6. Oct. 4, 5, 6, Mutuals: The Adventurer, The Immigrant, The 1947 Cure, Easy Street 12 The Film Till Now “Screen Personalties” 12. One A.M., The 12. Sept. 20–26, Part I 13 Kid 14 1948 “Comedy” 67. Linder & Chaplin: Making a 67. Oct. 10–16, Living, A Night at the Show, Work, The 1948 Pawnshop 68. Oct. 17–23, 68. Chaplin: (same as Part I, #14 above) 1948 The Film Till Now “Beginnings” 12. Four Mutual Chaplins: The 12. Mar. 13–19, Part II 15 , 16 Adventurer, The Immigrant, The Cure, Easy 1950 Street 26. June 19–25, “Screen Personalities” 26. Chaplin: One 1950 A.M., The Kid Sunday Night Film A Dog’s Life 18 April 24, 1949 Shows 17 (The Idle Class was defi nitely shown during this series, but no date is specifi ed) The Art of the “Screen Personalities” Charlie Chaplin: One October 1–7, 1951 Film 19 A.M. , The Kid 10 Request Film “Silent American Film Comedies” The Tramp Jan. 17–23, 1955 Programs 20 Children’s Holiday Pay Day listed, but no date specifi ed Dec. 20, 1954–Jan. Films 21 2, 1955 (entire festival) Early Films of Making a Living, , The Oct. 3–23, 1957 Charlie Chaplin 22 Knockout, The Rounders, , The (fi lm music Tramp, Work, A Woman, The Bank, A Night arranged and played at the Show, Carmen (excerpt), Police, The by Arthur Floorwalker, The Fireman, The Vagabond, One Kleinman) A.M., The Count, , , The Rink, Easy Street, The Cure, The Immigrant, The Adventurer APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 253

(continued)

Festival Name Chaplin Films Screened Dates

Saturday Morning on Carmen Sept. 22, 1957 Film Series 23 24 Tango Tangles Jan. 18, 1958 The First Sixty Part IV: American Film Comedy Dec. 20–26, 1959 Years 25 A Night Out, The Kid Jan. 10–16, 1960 By the Sea

Film Programs One A.M., The Kid June 16, 1960 Summer 1960 26 , 27 Easy Street July 7, 1960 Series of Films Part II: Easy Street, The Kid Oct. 3–6, 1960 Selected by Iris Barry, First Curator of the Film Library 28 Charlie Chaplin The Tramp, The Floorwalker, The Pawnshop, April 7, 1972 Day 29 , 30 Easy Street Charlie Chaplin The Kid, The Idle Class April 4, 1972 Gala 31 , 32 American Film Part I: Tillie’s Punctured Romance ?? Comedy The Gold Rush ?? Bicentennial Part II: City Lights July 4, 1976 Festival 33 , 34 Modern Times July 10, 1976 Woman of Paris, 35 Sunnyside Dec. 23, 1976 The Bond Dec. 28, 1976 & Monsieur Verdoux Jan. 2, 1977 Jan. 3, 1977

Berkeley Cinema Guild, Berkeley, CA 1952–1969

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

The Rink (1917) July 18–19, 1952 (LC); With Prevert’s Voyage Surprise ; with June 2–8, 1958 (SO); Steamboat Bill (1928); with Lords of the Sept. 21–27, 1961 Forest (1959) and L & H’s Leave ‘Em (GD); Dec. 21–27, Laughing and ; with 1961 (GD); Oct. Genevieve (1953); with 11–17, 1962 (CA & and L & H’s and SO); Nov. 21–27, 1963 Their Purple Moment ; with Lloyd’s Professor (SO); April 29–May 5, Beware (1938); with The Mikado (1939); 1965 (SO); Dec. with The 39 Steps (1935) 23–29, 1965 (SO); Aug. 4–10, 1966 (GD); Aug. 11–17, 1966 (RU)

(Continued) 254 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

(continued)

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

The Vagabond July 18–19, 1952 (LC); Chaplin-Keaton Festival; with Prevert’s (1916) May 5–8, 1955 (GD or Voyage Surprise ; with SO); June 2–8, 1958 (1922); with The Lavender Hill Mob (SO); July 17–23, 1961 (1951); with Always a Bride (1954); with (SO); July 12–18, 1962 Always a Bride (1954); with Law & (SO & CA); Dec. 3–9, Disorder (1958) and L & H’s Laughing 1962 (GD); Dec. 3–9, Gravy , Men o’ War and A Day at the Studio ; 1962 (GD); July 9–15, with A Thousand Clowns (1965) 1964 (GD); Jan. 19–25, 1967 (CA) The Fireman July 11 & 12, 1952 With (1958) and L & H’s Them (1916) (LC); April 23–29, Thar Hills and Tit for Tat ; with L & H 1962 (GD & SO); May Pack up Your Troubles , Benchley’s Mental 20–26, 1963 (SO); Jan. Poise , How to Sublet and The Courtship of 30–Feb. 5, 1964 (SO); the Newt ; With Operation Snatch (1962); Aug. 4–10, 1966 (GD); with The 39 Steps (1935); with That Man Aug. 11–17, 1966 from Rio (1964) (RU); Dec. 23–24, 1968 (CA) The Pawnshop July 11–12, 1952 (LC); With Lovers and Lollipops (1956); with Our (1917) Nov. 15–21, 1958 Man in Havana ( 1960), L & H’s Double (SO); April 10–16, Whoopie & Big Business ; with Steamboat Bill 1961 (SO); Sept. (1928); with Woman of the Year (1942); 21–27, 1961 (GD); with Genevieve (1953); with L & H Pack May 31–June 6, 1962 up Your Troubles , Benchley’s Mental Poise , (GD); Oct. 11–17, How to Sublet and The Courtship of the 1962 (CA & SO); May Newt ; with A Slight Case of Murde r (1938) 20–26, 1963 (SO); and L & H’s and Tit for Nov. 7–13, 1963 (GD); Tat ; with Boccaccio ’70 (1962); with The Aug. 20–26, 1964 Importance of Being Earnest (1952); with (SO); Aug. 10–16, That Man from Rio (1964) 1967 (SO); Dec. 23–24, 1968 (CA) APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 255

(continued)

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

The Cure (1916) July 11–12, 1952 (LC); With Oh, Amelia! (1949); with Lovers and Aug. 23–29, 1956 Lollipops (1956); with The Man Who Came (GD); Nov. 15–21, to Dinner ( 1941); with Nanook of the North 1958 (SO); Feb. (1922); with Woman of the Year (1942); 27–March 5, 1961 With Operation Snatch (1962); with The (SO); July 17–23, 1961 Matrimaniac (1917) and W. C. Fields’s The (SO); May 31–June 6, Dentist , The Barbershop , The Golf Specialist 1962 (GD); Jan. 30– and The Fatal Glass of Beer ; with The Feb. 5, 1964 (SO); Mikado (1939); with That Man from Rio June 4–10, 1964 (SO); (1964) Dec. 23–29, 1965 (SO); Dec. 23–24, 1967 (GY) The Floorwalker July 11–12, 1952 (LC); With Lovers and Lollipops (1956) with The (1916) Nov. 15–21, 1958; Man Who Came to Dinner (1941); with Feb. 27–March 5, 1961 Steamboat Bill (1928); with The Lavender (SO); Sept. 21–27, Hill Mob (1951); with Always a Bride 1961 (GD); July (1954); with Always a Bride (1954); with L 12–18, 1962 (SO & & H Pack up Your Troubles , Benchley’s CA); Dec. 3–9, 1962 Mental Poise , How to Sublet and The (GD); Dec. 3–9, 1962 Courtship of the Newt ; with L & H Our (GD); May 20–26, Relations ; with premiere revival of Mae 1963 (SO); Dec. West’s Belle of the Nineties ; with Bea Lillie’s 19–25, 1963 (CA); On Approval (1944); with That Man from June 3–9, 1965 (SO); Rio (1964) June 30–July 6, 1966 (GD); Dec. 23–24, 1968 (CA) The Adventurer July 18–19, 1952 (LC); With Oh, Amelia! (1949); with Prevert’s (1917) Aug. 23–29, 1956 Voyage Surprise ; with The Man Who Came (GD); June 2–8, 1958 to Dinner (1941); with Mon Oncle (1958) (SO); Feb. 27–March and L &H’s Them Thar Hills and Tit for 5, 1961 (SO); April Tat ; with Genevieve (1953); with L & H 23–29, 1962 (GD & Pack up Your Troubles , Benchley’s Mental SO); Oct. 11–17, 1962 Poise , How to Sublet and The Courtship of (CA & SO); May the Newt ; with Lucky Jim (1957) and L & 20–26, 1963 (SO); H’s and ; Dec. 12–18, 1963 with premiere revival of Mae West’s Belle of (SO); June 3–9, 1965 the Nineties ; with Adventures of Tom Sawyer (SO); Aug. 2–8, 1965 (1938); with Bea Lillie’s On Approval (SO); June 30–July 6, (1944); with That Man from Rio (1964) 1966 (GD); Dec. 23–24, 1967 (GY)

(Continued) 256 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

(continued)

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

Easy Street (1917) July 18–19, 1952 (LC); Chaplin-L & H Festival; with Prevert’s June 2–5, 1955 (GD or Voyage Surprise ; with The Man Who Came SO); June 2–8, 1958 to Dinner (1941); with Steamboat Bill (SO); Feb. 27–March (1928); with The Lavender Hill Mob 5, 1961 (SO); Sept. (1951); with L & H ; with 21–27, 1961 (GD); Lloyd’s Professor Beware (1938); with The July 12–18, 1962 (SO Mikado (1939); with That Man from Rio & CA); Dec. 19–25, (1964) 1963 (CA); April 29–May 5, 1965 (SO); Dec. 23–29, 1965 (SO); Dec. 23–24, 1967 (GY) Tillie’s Punctured Aug. 8–9, 1952 (LC); With Adventures of Tom Sawyer (1938) Romance (1914) Aug. 2–8, 1965 (SO) A Burlesque on July 25–26, 1952 (LC); With My Little Chickadee and Fazenda’s Carmen (1915) April 4–6, 1955 (GD Faro Nell or SO); May 27–June 1, 1963 (SO) A Night at the May 5–8, 1955 (GD or Chaplin-Keaton Festival; With Monsieur Show (1915) SO); May 8–14, 1961 Ripois (1954); with Always a Bride (1954); (SO); Dec. 3–9, 1962 with Always a Bride (1954); With (GD); Dec. 3–9, 1962 Operation Snatch (1962); with The 39 Steps (GD); Jan. 30–Feb. 5, (1935) 1964 (SO); Aug. 4–10, 1966 (GD); Aug. 11–17, 1966 (RU) Work (1915) May 5–8, 1955 (GD or Chaplin-Keaton Festival; with The SO); Aug. 10–16, 1967 Importance of Being Earnest (1952) (SO) June 2–5, 1955 (GD or With Adventures of Tom Sawyer (1938) (1914) SO); Aug. 2–8, 1965 (SO) The Champion June 2–5, 1955 (GD or With Dr. Seuss’s The 5000 Fingers of Dr. T , (1915) SO); Sept. 4–11, 1963 L & H’s Sailor Beware and ; (SO); Dec. 19–25, with L & H Our Relations 1963 (CA) The Masquerader June 2–5, 1955 (GD or Billed as Putting One Over . Chaplin-L & H (1914) SO); Nov. 14–20, 1963 Festival; with Diary of a Chambermaid (SO) (1946) and W. C. Fields’s The Dentist and The Pharmacist APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 257

(continued)

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

The Count (1916) Aug. 23–29, 1956 With Oh, Amelia! (1949); with Fools for (GD); Aug. 13–19, Scandal (1938); with Lloyd’s Professor 1964 (GD); April 29– Beware (1938); with A Thousand Clown s May 5, 1965 (SO); Jan. (1965) 19–25, 1967 (CA) The Gold Rush Nov. 26–Dec. 2, 1959 1942 version, shown with La Grande (1925) (GD); April 7–13, Illusion (1937);1942 version, shown with 1960 (GD); May 29– The Lavender Hill Mob (1951) and City of June 4, 1961 (SO); Gold (1957), a 23-minute fi lm on the April 19–25, 1962 Chilkoot Pass; 1942 version, shown with (CA); Jan. 16–22, 1964 W. C. Fields’s The Pharmacist & The Fatal (SO); Sept. 29–Oct. 5, Glass of Beer ; with Lords of the Forest 1966 (CA); Feb. 23– (1959); 1942 version with Violin and March 1, 1967 (GD); Roller (1961); original silent version with L July 13–19, 1967 (SO) & H’s The Hoosegow , Men O’War , and The ; silent version with The Loneliness of the Long Distance Runner (1963); silent version with The 39 Steps (1935) Sept. 6–19, 1956 (GD) With Marx Bros. Room Service (1918) Making a Living May 5–8, 1955 (GD or Chaplin-Keaton Festival (1914) SO) The Golden Age of Sept. 18–24, 1958 Comedy by (GD); Dec. 24–30, Robert Youngson 1959 (GD); Feb. 11–17, 1963 (SO) The Police (1915) April 10–16, 1961 With Our Man in Havana (1960), L & (SO) H’s Double Whoopie & Big Business ; with Marx Bros’ Room Service The Immigrant May 8–14, 1961 (SO); With Monsieur Ripois (1954); with Nanook (1917) July 17–23, 1961 (SO); of the North (1922); with Lords of the Forest Dec. 21–27, 1961 (1959) and L & H’s Leave ‘Em Laughing (GD); July 12–18, and The Finishing Touch ; with The Lavender 1962 (SO & CA); Dec. Hill Mob (1951); with Lucky Jim (1957) 12–18, 1963 (SO); and L & H’s Their First Mistake and The Aug. 20–26, 1964 Live Ghost ; with Boccaccio ’70 (1962); with (SO); Dec. 23–24, That Man from Rio (1964) 1968 (CA)

(Continued) 258 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

(continued)

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

One A. M (1916) Nov. 15–21, 1958 With Lovers and Lollipops (1953); with (SO); May 8–14, 1961 Monsieur Ripois (1954); with Woman of the (SO); May 31–June 6, Year ( 1942); with Genevieve (1953); with 1962 (GD); Oct. A Slight Case of Murder (1938) and L & 11–17, 1962 (CA & H’s Them Thar Hills and Tit for Tat ; with SO); Nov. 7–13, 1963 premiere revival of Mae West’s Belle of the (GD); m June 3–9, Nineties ; with The 39 Steps (1935) 1965 (SO); Aug. 4–10, 1966 (GD); Aug. 11–17, 1966 (RU) Behind the Screen Aug. 23–29, 1956 With Oh, Amelia! (1949); with Monsieur (1916) (GD); May 8–14, 1961 Ripois (1954); with Nanook of the North (SO); July 17–23, 1961 (1922); with Woman of the Year (1942); (SO); May 31–June 6, with Always a Bride (1954); with Always a 1962 (GD); Dec. 3–9, Bride (1954); with L & H Our Relations ; 1962 (GD); Dec. 3–9, with premiere revival of Mae West’s Belle of 1962 (GD); Dec. the Nineties ; with Bea Lillie’s On Approval 19–25, 1963 (CA); (1944); with That Man from Rio (1964) June 3–9, 1965 (SO); June 30–July 6, 1966 (GD); Dec. 23–24, 1967 (GY) The Bond (1918) Oct. 10–16, 1963 “Silent Comedies: 2nd Series, including (GD); Aug. 10–16, Cowboy Ambrose , Wandering Willies (1926), 1967 (SO) With Love and Hisses (1927) and The Volga Boatmen ; with The Importance of Being Earnest (1952) His Night Out Sept. 4–11, 1963 (SO); With Dr. Seuss’s The 5000 Fingers of Dr. T , (1915) Aug. 13–19, 1964 L & H’s Sailor Beware and Double Whoopee ; (GD) with Fools for Scandal (1938) A Film Johnny Oct. 3–9, 1963 (SO) With Kind Hearts and Coronets (1949) and (1914) L & H’s Below Zero and Dirty Work A Jitney Oct. 3–9, 1963 (SO) With Kind Hearts and Coronets (1949) and Elopement (1915) L & H’s Below Zero and Dirty Work Caught in the Nov. 14–20, 1963 (SO) With Diary of a Chambermaid (1946) and Rain (1914) W. C. Fields’s The Dentist and The Pharmacist Dough and Nov. 21–27, 1963 (SO) with Destry Rides Again and L & H’s Dynamite (1914) Chickens Come Home and Their Purple Moment APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 259

(continued)

Film Screened Dates & Venues of Film Condition or Other Notes Screening*

The Bank (1915) Jan. 30–Feb. 5, 1964 With Operation Snatch (1962); with The (SO); June 4–10, 1964 Matrimaniac (1917) and W. C. Fields’s The (SO); April 29–May 5, Dentist , The Barbershop , The Golf Specialist 1965 (SO); Dec. and The Fatal Glass of Beer ; with Lloyd’s 23–29, 1965 (SO); Professor Beware (1938); with The Mikado June 30–July 6, 1966 (1939); with Bea Lillie’s On Approval (GD) (1944) The Tramp July 9–15, 1964 (GD); With Law & Disorder (1958) and L & H’s (1915) Jan. 19–25, 1967 (CA); , Men o’ War and A Day at the Studio ; with A Thousand Clowns (1965) A Woman (1915) Aug. 13–19, 1964 With Fools for Scandal (1938) (GD) Aug. 13–19, 1964 With Fools for Scandal (1938) (1915) (GD) The Rounders Jan. 19–25, 1967 (CA) With A Thousand Clowns (1965) (1914) Shanghaied Aug. 10–16, 1967 With The Importance of Being Earnest (1915) (SO) (1952)

Names of particular screening venues: LC LeConte School Auditorium, CA Cinema, GD Guild, SO Studio, GY Gateway, RU Richelieu Missing programs: Dec. 1953–March 1955 (except for the Summer ad); July–Dec., 1955; July–Aug., 1958; July–Aug., 1960; July–Aug. 1965; May–June 1966; Jan.–March 1968; July–Sept. 1968; April 1969 and after. All other programs, author’s collection, Zanesville, Ohio

The New Yorker Theater, New York City, NY 36

Film Screened Dates of Screening Rental Company & Daily Gross

The Golden Age of Comedy May 15, 1960 $570.95 (1957) The Immigrant (1917) Aug. 13, 1962 With Rocco & His Brothers , $604.97 The Bond (1918) Aug. 5, 1963 With Lilac Time , F of Y, $500.94 The Chaplin Revue (1959) March 24–April 6, Roy Export, $10,657.96 1964 Limelight (1952) Nov. 5–18, 1964 Roy Export, $10,508.68 Monsieur Verdoux (1947) Nov. 27–Dec. 5, 1964 Modern Times (1936) Nov. 27–Dec. 5, 1964 The Gold Rush (1925) June 6, 1971 Killiam, $877.25 The Dentist (1914) June 6, 1971 With The Gold Rush

(Continued) 260 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

(continued)

Film Screened Dates of Screening Rental Company & Daily Gross

The Countess from Hong Kong June 7, 1971 Universal, $501.75 (1967) The Great Dictator (1940) March 27–30, 1973 City Lights (1931) March 27–April 2, 1973 Modern Times (1936) March 31–April 7, 1973 Monsieur Verdoux (1947) April 3–13, 1973 Limelight (1952) April 11–16, 1973 The Great Dictator April 14–16, 1973

TELEVISION BROADCASTS Silents Please (ABC-Television)

Date Film(s) Featured Notes

August 4, Son of the Sheik (1926) Rudolph Episode 1 1960 Valentino August 11 The General (1926) Buster Part of 1976 compilation? Then Keaton Episode 28 August 18 Dr. Jekyll and Mr. Hyde (1920) Episode 37 John Barrymore August 25 Yankee Clipper (1927) William Episode 13 Boyd, Elinor Fair September 1 William S. Hart: Clips from Episode 14; also, Hart’s intro to 1939 Hell’s Hinges (1916), re-release of Tumbleweeds Tumbleweeds (1925) September 8 Mack Sennett: Clips 1909–29, Episode 27; includes clips from Tillie’s excerpt from The Lonely Villa Punctured Romance (1914) and His ( 1909) AKA Fun Factory Trysting Place (1914), both Chaplin fi lms September 15 Tempest (1928) John Barrymore Episode 12 September 22 Serials: Clips from The Perils of Episode 36; AKA Story of the Serials Pauline September 29 Orphans of the Storm (Part One) Episode 2 (1921) October 6 Orphans of the Storm (Part Two) Episode 3 March 23, The Black Pirate (1926) Douglas Episode 33 1961 Fairbanks APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 261

(continued)

Date Film(s) Featured Notes

March 30 The Eagle (1925) Rudolph Episode 5 Valentino April 6 The Hunchback of Notre Dame Episode 7; hosted by (1923) Lon Chaney April 13 Will Rogers: Clips from fi lms Episode 8; hosted by Ernie Kovacs and newsreels April 20 Pre-empted by Ernie Kovacs special April 27 Pre-empted by Algerian War special May 4 America (1924) Episode 9 May 11 The Thief of Baghdad (1924) Episode 32 Douglas Fairbanks May 18 Pre-empted by Ernie Kovacs special May 25 Chaplin, Keaton, Langdon: AKA Clown Princes Clips from Easy Street (1917), Cops (1922) and Saturday Afternoon (1926) June 1 Variety (1926) Episode 10 June 8 Heroes rescuing heroines from Episode 26; Compilation fi lm perils, AKA Girls in Danger (1959) June 15 Pre-empted by Ernie Kovacs special June 22 Pre-empted by US Diplomats Special June 29 Orphans of the Storm (Part One) Episode 2; Begins two months of (1921) repeats July 6 Orphans of the Storm (Part Two) Episode 3 July 13 The Son of the Sheik (1926) Episode 1 July 20 The Tempest (1927) Episode 12 July 27 Yankee Clipper (1928) Episode 13 August 3 Mack Sennett compilation (Fun Episode 27 Factory ) August 10 William S. Hart compilation Episode 14 August 17 Dr. Jekyll and Mr. Hyde (1920) Episode 37 August 24 Serials, AKA Story of the Serials Episode 36 August 31 The Black Pirate (1926) Episode 33; Ends two months of repeats September 7 The Garden of Eden (1928) Episode 16 September 14 The Road to Yesterday (1925) Episode 17 , Jetta Goudal

(Continued) 262 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

(continued)

Date Film(s) Featured Notes

September 21 Pre-empted by Ernie Kovacs special September 28 Dracula ( 1922) Episode 31; AKA Nosferatu October 5 Babylonian segment of Episode 29; AKA The Fall of Babylon Intolerance

Information collected from the Carolina/Tennesee edition of TV Guide (Snitz de Brulier, post, nitratev- ille.com (July 14, 2013). Other fi lms possibly shown during the series run include Lilac Time (1928) (Episode 6), The Patent Leather Kid (1927) (Episode 15), : Tracked by the Police ( compilation) (Episode 11), (1927) (Episode 18), The Three Musketeers (1921) (Parts One & Two) (Episodes 19 & 20), (1926) (Parts One and Two) (Episodes 21 & 22), Hoodoo Ann (1916) (Episode 23), The Headless Horseman (1922) (Episode 24), The Americano (1923) (Episode 4), The Sea Beast (1926) (Episode 25), The Buster Keaton Story (1976 compilation) (Episode 28) (Classic TV Archive), Film Firsts (Episode 30), Blood and Sand (1922) (Episode 34), Till the Clouds Roll By (1919) (Episode 35) (“ Silents Please: Episodes,” available at http://www.tv.com/shows/silents-please/ episodes/ )

NOTES 1. Information in these tables amplify Chap. 4 . 2. William K. Everson, Theodore Huff Memorial Film Society Programs (June 10, July 22, Dec. 22, 1953, May 11, 1954, Dec. 20, 1955, August 1956, Jan., Feb., April 24, 1957, May 16, Oct. 29, 1958, June 23, 1959, March 26, May 28, 1963, March 17, 1964, June 6, 1967, Mar. 5, 1976, April 4, 1967), William K Everson Archive, New York University, Dept. of Cinema Studies, Tisch School of the Arts, New York. 3 . Department of Film Exhibition Files, 15. The Archives, New York. 4. Originally scheduled for program 10: Four Mutual Comedies, 1916 (RKO): The Count, The Floorwalker, Behind the Screen and The Pawnshop. Originally schedule for program 11: Four Mutual Comedies, 1917 (RKO): The Cure, The Immigrant, The Adventurer, Easy Street. This change was necessary due to objections by the sup- posed copyright holder of these fi lms at the time, Goldstein and Sackett (Commonwealth). 5. Film, 18. MoMA Archives, NY. 6. Film, 20. MoMA Archives, NY. 7. Film, 22. MoMA Archives, NY. 8. Film, 27. MoMA Archives, NY. APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES 263

9. Film, 30. MoMA Archives, NY. 10. Film, 32. MoMA Archives, NY. 11. Film, 35. MoMA Archives, NY. 12. Note that the copyright issue with the Chaplin Mutuals had been worked out by this festival. 13. Film, 39. MoMA Archives, NY. 14. A note in the program read: “Reservations can be made for children under 16 for this screening.” 15. Film, 40. MoMA Archives, NY. 16. Iris Barry’s note in the Film Till Now II program summarizes her frustration with acquiring permission to screen Chaplin fi lms: “Alas, permission has not yet been granted by Charlie Chaplin to show his superb A Dog’s Life and The Idle Class , the latter a permanent loan to the Museum from the Dansk Filmarchiv of Copenhagen, and the for- mer yet another gift from Rochester [George Eastman House]” (11). 17. Film, 41. MoMA Archives, NY. 18. Special piano music was arranged for the screening, performed by Arthur Kleinman. 202 persons were in attendance. Also, for this series, something new was attempted. MOMA sold memberships to a newly formed “Film Society” for these and subsequent screenings. 19. Film, 42. MoMA Archives, NY. 20. Film, 53. MoMA Archives, NY. 21. Film, 54. MoMA Archives, NY. 22. Film, 71. MoMA Archives, NY. 23. Film, 77–78. MoMA Archives, NY. 24. This represents information gleaned from only two of six folders of programs for this series. Four folders of programs were not perused due to time constraints. 25. Film, 94. MoMA Archives, NY. 26. Film, 99. MoMA Archives, NY. 27. Films screened Thursday nights at 8:00 PM. 28. Film, 172. MoMA Archives, NY. 29. Film, 379. MoMA Archives, NY. 30. Screenings at 2:00 PM and 5:30 PM. 31. Film, 380. MoMA Archives, NY. 32. The MoMA Film Library were sponsors of this Lincoln Center event. 33. Film, 499–505. MoMA Archives, NY. 264 APPENDIX A: FILM SCREENING AND TELEVISION BROADCAST TABLES

34. Leonard Maltin was the director and organizer of this festival. 35. Woman of Paris was added in last minute, requiring a press release. 36. Ledger Book entries of screenings, March 7, 1960-December 20, 1973. Information gleaned from the Ledger Books, Daniel Talbot papers, Columbia University Archives and Rare Books, New York or the Ernest Cunningham Clipping File, author’s collection, Zanesville, Ohio. APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP)

Blackhawk Films (June 1975 only)

Formats & Prices Film Notes

Standard 8 mm $8.98 150’ Super 8 $8.98 200’ 16 mm $32.98 200’ Standard 8 mm $15.98 Caught in a Cabaret 325’ Super 8 $15.98 350’ 16 mm $54.98 650’ Standard 8 mm $18.98 Dough and Dynamite 425’ Super 8 $18.98 475’ 16 mm $54.98 850’ Standard 8 mm $8.98 Getting Acquainted 175’ Super 8 $8.98 200’ 16 mm $34.98 350’ Standard 8 mm $8.98 200’ Super 8 $8.98 225’ 16 mm $34.98 425’ Standard 8 mm $15.98 His Trysting Places 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $8.98 Kid Auto Races & 190’ Super 8 $8.98 250’ Super 8 magnetic sound 205’ $16.98 16 mm optical sounds 375’ $34.98

(Continued) © The Author(s) 2016 265 L.S. Haven, Charlie Chaplin’s Little Tramp in America, 1947–77, DOI 10.1007/978-3-319-40478-3 266 APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP)

(continued)

Formats & Prices Film Notes

Standard 8 mm $18.98 The Knockout 400’ Super 8 $18.98 450’ 16 mm $54.98 800’ Standard 8 mm $9.98 Mabel’s Married Life 225’ Super 8 $9.98 250’ 16 mm $34.98 450’ Standard 8 mm $8.98 Making a Living 200’ Super 8 $8.98 225’ 16 mm $34.98 400’ Standard 8 mm $8.98 The Masquerader 175’ Super 8 $8.98 200’ 16 mm $34.98 350’ Standard 8 mm $8.98 The New Janitor 175’ Super 8 $8.98 200’ 16 mm $34.98 300’ Standard 8 mm $15.98 300’ Super 8 $15.98 350’ 16 mm $54.98 600’ Standard 8 mm $8.98 The Rounders 175’ Super 8 $8.98 200’ 16 mm $34.98 350’ Standard 8 mm $8.98 The Star Boarder 200’ Super 8 $8.98 225’ 16 mm $34.98 400’ Standard 8 mm $8.98 Tango Tangles 175’ Super 8 $8.98 200’ 16 mm $34.98 300’ Standard 8 mm $15.98 The Bank 400’ Super 8 $15.98 450’ 16 mm $54.98 800’ Standard 8 mm $15.98 The Champion 325’ Super 8 $15.98 400’ 16 mm $54.98 650’ Standard 8 mm $15.98 His New Job 375’ Super 8 $15.98 400’ 16 mm $54.98 750’ Standard 8 mm $8.98 In the Park 200’ Super 8 $8.98 225’ 16 mm $34.98 400’ Standard 8 mm $15.98 375’ Super 8 $15.98 425’ 16 mm $54.98 700’ APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP) 267

(continued)

Formats & Prices Film Notes

Standard 8 mm $15.98 A Night at the Show 325’ Super 8 $15.98 350’ 16 mm $54.98 650’ Standard 8 mm $15.98 A Night Out 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 Police 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 Shanghaied 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 The Tramp * 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 Triple Trouble 325’ Super 8 $15.98 350’ 16 mm $54.98 650’ Standard 8 mm $15.98 A Woman 325’ Super 8 $15.98 350’ 16 mm $54.98 650’ Standard 8 mm $15.98 Work 375’ Super 8 $15.98 400’ 16 mm $54.98 750’ Standard 8 mm $15.98 The Adventurer 375’ Super 8 $15.98 425’ 16 mm $54.98 750’ Standard 8 mm $15.98 Behind the Screen 350’ Super 8 $15.98 375’ 16 mm $54.98 700’ Standard 8 mm $15.98 The Count 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 The Cure 325’ Super 8 $15.98 350’ 16 mm $54.98 700’ Standard 8 mm $15.98 Easy Street 350’ Super 8 $15.98 425’ 16 mm $54.98 700’ Standard 8 mm $15.98 The Fireman 400’ 16 mm $54.98 800’ Standard 8 mm $15.98 The Floorwalker 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ (Continued) 268 APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP)

(continued)

Formats & Prices Film Notes

Standard 8 mm $15.98 The Immigrant 350’ Super 8 $15.98 400’ 16 mm $54.98 725’ Standard 8 mm $15.98 One A. M. 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 The Pawnshop 400’ Super 8 $15.98 450’ 16 mm $54.98 750’ Standard 8 mm $15.98 The Rink 350’ Super 8 $15.98 400’ 16 mm $54.98 700’ Standard 8 mm $15.98 The Vagabond 425’ Super 8 $15.98 450’ 16 mm $54.98 850’ Standard 8 mm $66.98 The Gold Rush 1525’ Super 8 $66.98 1550’ (available only in the U.S.) Standard 8 mm $31.98 Tillie’s Punctured Romance 800’ Super 8 $31.98 875’ 16 mm $119.98 1600’

*On sale in this issue for $7.99 in both Standard 8 mm and Super 8 formats

Budget Films (Rental only) (1971 only)

Rental Cost Film Notes

$3.00 Between Showers With sound track; 10 minutes “ By the Sea “ “ Caught in a Cabaret “ “ The Champion “ “ Face on the Barroom Floor “ “ His Favorite Pastime “ “ His New Profession “ “ His Prehistoric Past “ “ In the Park “ “ Laughing Gas “ “ Making a Living “ “ “ “ Twenty Minutes of Love “ $6.00 The Floorwalker Silent; 20 minutes “ The Immigrant “ “ Night at the Show “ APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP) 269

(continued)

Rental Cost Film Notes

“ Police “ “ Shanghaied “ “ Triple Trouble “ “ The Tramp “ $8.50 Burlesque on Carmen Silent; 30 minutes $3.00 Caught in a Cabaret Silent; 10 minutes “ Dough & Dynamite “ “ Female Impersonator [The Busy Day] “ “ His Trysting Places “ “ His Prehistoric Past “ “ Hits of the Past [compilation fi lm] “ “ Masquerader “ $6.00 The Adventurer With sound track; 20 minutes “ Behind the Screen “ “ Caught in a Cabaret “ “ The Count “ “ The Cure “ “ Easy Street “ “ Hot Finish [Mabel at the Wheel] “ “ The Fireman “ “ The Floorwalker “ “ Night at the Show “ “ One A. M. “ “ The Pawnshop “ “ The Rink “ “ The Tramp “ “ The Vagabond “

Contemporary Films, Inc. (Chaplin fi lms for rental only; others for sale) (1961 only)

Rental Cost Film Notes

$5.00 The Adventurer With soundtrack added in 1932 (i.e., Van Beurens); 20 minutes long “ Behind the Screen “ “ The Count “ “ The Cure “ “ Easy Street “ “ The Fireman “ “ The Floorwalker “ “ The Immigrant “ (Continued) 270 APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP)

(continued)

Rental Cost Film Notes

“ In the Bank [The “ Bank] “ One A. M. “ “ The Rink “ “ The Vagabond “ $3.00 In the Park Silent; 10 minutes $20.00 The Golden Age of With live score; 85 minutes; Youngson’s compilation Comedy fi lm $20.00 A Night with Silent; 40 minutes; compilation fi lm that includes Charlie Chaplin Dough & Dynamite , Caught in a Cabaret , His Trysting Places and His Prehistoric Past

Film Images, Inc. (1972 only)

Rental or Sale Cost Film Notes

Rental Only: $40.00 Chaplin Mutual Comedy Program A: Silent; 77 minutes The Floorwalker , The Fireman , The Vagabond , One A. M. “ Chaplin Mutual Comedy Program B: Silent; 76 minutes The Count, The Pawnshop, Behind the Screen, The Rink “ Chaplin Mutual Comedy Program C: Silent; 74 minutes Easy Street, The Cure, The Immigrant, The Adventurer Rental $30.00*; Sale Tillie’s Punctured Romance Silent; 44 minutes $250.00 *Rental where admission or subscription fee is charged is 50% of gross receipts with the above rental as a minimum

Films, Inc. (1971 only)

Duration Film Notes

93 minutes Days of Thrills and Laughter Compilation fi lm; Fox 97 minutes Four Clowns “ 85 minutes 30 Years of Fun “ 43 minutes Tillie’s Punctured Romance 81 minutes When Comedy was King Compilation fi lm APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP) 271

Ivy Film (rental only) (No. 874 only)

Duration Film Notes

7–9 minutes In the Park “ Tango Tangles “ The Masquerader “ Between Showers “ Oh What a Night [The Rounders] “ Making a Living “ Twenty Minutes of Love “ New Social Smash [?] “ Laughing Gas “ Face on the Barroom Floor “ Love Pangs [Those Love Pangs] “ His New Profession “ “ The New Janitor “ By the Sea “ His Wife’s Mistake [His Trysting Places?] 23 minutes Burlesque on Carmen 14–18 minutes Knockout “ Caught in a Cabaret “ A Night at the Show “ Triple Trouble “ The Jitney Elopement “ The Paperhanger [Work] “ His Prehistoric Past “ His New Job “ His Trysting Places “ The Vagabond “ Behind the Screen “ One A. M. “ Police “ The Bank “ The Adventurer “ His Night Out “ The Cure “ The Fireman “ The Immigrant “ Easy Street “ The Floorwalker “ The Pawnshop “ The Woman (Continued) 272 APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP)

(continued)

Duration Film Notes

“ Dough and Dynamite “ The Champion “ The Rink “ The Tramp “ Shanghaied “ Mabel at the Wheel “ The Count “ The Property Man

Ivy rented according to audience size, with Chaplin fi lms priced at letter “D” rates, i.e., Under 100=$20.00; 101–250=$25.00; 251–500=$35.00; Over 500=$50.00

Swank Motion Pictures, Inc. (1969–1970 only)

Rental Cost Film Notes

$5.00 Prehistoric Past [His Prehistoric Past Silent; 10 minutes “ Love Pangs [Those Love Pangs] “ “ Face on the Barroom Floor “ “ In the Park “ “ Sparring Partner [City Lights “ excerpt] “ The Champion “ “ Hits of the Past Compilation fi lm; 10 minutes $10.00 Easy Street 20 minutes “ The Pawnshop “ “ The Vagabond “ $12.50 The Gold Rush 27 minutes $5.00 Laughing Gas 10 minutes

Trans-World Films, Inc. (1969 only)

Rental Cost Film Notes

$25.00 Chaplin Arrives: Compilation program of four Silent; 100 minutes Mutuals, The Immigrant, The Pawnshop, The Vagabond, One A. M. $30.00 Chaplin Entertains: Compilation program of Chaplin Silent; 160 minutes fi lms, including (but not limited to) The Adventurer, The Count, The Masquerader, The Fireman APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP) 273

Universal 16 (1972 only)

Rental Cost Film Notes

$45.00 Presenting Charlie Chaplin: Compilation fi lm including 55 minutes Making a Living, Tango Tangles, The Star Boarder, A Busy Day, His New Profession, Those Love Pangs $45.00 Discovering the Tramp: Compilation fi lm including Kid 65 minutes Auto Races, Between Showers, A Film Johnnie, His Favorite Pastime, A Chase in the Park, Mabel’s Busy Day, The Masquerader

Walton Film (UK) (1958 only)

Cost Film Notes

(see below) The Adventurer* 8 mm only “ The Cure* “ “ Easy Street* “ “ The Count* “ “ Charlie’s Elopement [Jitney Elopement]* “ “ Charlie Shanghaied [Shanghaied]* “ “ Charlie’s Drunken Daze [His Night “ Out]* “ Charlie the Champion [The “ Champion]* “ Charlie the Tramp [The Tramp]* “ “ The Immigrant* “ “ The Vagabond* “ £3 15¢ Charlie the Burglar 200 feet “ Charlie the Decorator “ Silent: £7 Charlie at the Studio 1-reel Sound (music & effects0: £7 “ Charlie at the Races “ 8 mm @ 22/6 each; Charlie at the Theatre 8 mm/50 feet 16 mm @ 37/6 “ Pies and Hose Pipes “ “ Charlie at the Races “ “ Charlie at the Studio “ 8 mm @ 22/6 Musical Bars “ “ The Tin Lizzy [excerpt Jitney “ Elopement] “ The Knockout [excerpt The Champion] “ “ Gymnastics [excerpt The Champion] “ (Continued) 274 APPENDIX B: HOME MOVIE CATALOG OFFERINGS (A SELECT GROUP)

(continued)

Cost Film Notes

“ Charlie in the Ring [excerpt The “ Champion] “ Charlie Goes to Sea [excerpt “ Shanghaied] “ Charlie the Sailor [excerpt Shanghaied] “ “ Charlie the Cook [excerpt Shanghaied] “ “ Charlie at the Restaurant [excerpt His “ Night Out] “ The Escaped Convict [excerpt The “ Adventurer] “ Charlie to the Rescue [excerpt The “ Adventurer] “ Charlie at the Party [excerpt The “ Adventurer] “ Charlie the Fiddler [excerpt The “ Vagabond] “ Charlie on the Farm [excerpt The “ Tramp] “ Charlie Dines Out [excerpt The Count] “ “ Charlie Misbehaves [excerpt The Count] “ “ Charlie at the Ball [excerpt The Count] “ “ Charlie in a Spin [excerpt The Cure ] “ “ Charlie at the Clinic [excerpt The Cure] “ “ Charlie Joins the Police [excerpt Easy “ Street] “ Constable Charlie [excerpt Easy Street] “ “ Charlie the Tailor [excerpt The Count] “

*These fi lms available in the following lengths: 2-reel versions of 400 feet/30 minutes @ £7 or 1-reel ver- sion of 200 feet/15 minutes @ £3 15¢ BIBLIOGRAPHY

About Billy Scudder. 2016. billyscudder.com . Accessed March 5. Agee, James. 1945. The Bomb. Time , August 20: 19. ———. 1957. A Death in the Family . New York, NY: Vintage International. ———. 2000a. “April 6, 1942” fi lm column. In Agee on Film ed. , 322–323. New York, NY: Modern Library. ———. 2000b. Comedy’s Greatest Era. In Agee on Film , ed. Martin Scorsese, 393–412. New York, NY: Modern Library. ———. 2000c. December 26, 1942 fi lm column. In Agee on Film , ed. Martin Scorsese, 3–5. New York, NY: Modern Library. ———. 2000d. June 14, 1947 fi lm column. In Agee on Film , ed. Martin Scorsese. Neywork, NY: Modern Library. ———. 2000e. June 21, 1947 fi lm column. In Agee on Film , ed. Martin Scorsese, 254–257. Neywork, NY: Modern Library. ———. 2000f. May 5, 1947 fi lm column. In Agee on Film , ed. Martin Scorsese, 357–360. Neywork, NY: Modern Library. ———. 2000g. May 31, 1947 fi lm column. In Agee on Film , ed. Martin Scorsese, 247–250. New York, NY: Modern Library. Ainsworth, Earle. 1964. 16mm Collector. 8mm Collector 10: 31. Allen Ginsberg Collection. 1944–1979. Harry Ransom Center, the University of Texas at Austin. Allen Ginsberg Papers M0733. Dept. of Special Collections, Stanford University Libraries, Stanford, California. Asplund, Uno. 1973. Chaplin’s Films: A Filmography. Trans. Paul Britten Austin. NewYork, NY: A. S. Barnes and Co., 1971. Barron, Charles. Program, “Picking Pictures.” City Lights , Trans-Lux 72nd Street Theater. New York, NY: United Artists.

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A Asplund Uno, 162, 175n105, Academy of Motion Picture Arts and 176n106 Sciences, 14 Chaplin’s Films, 162, 174n81, Ackroyd, Dan, 200, 239 175n105, 176n106 Adams, Don, 199, 227n67 Association Films, Inc., 190 Adventurer, The, 86, 87, 125n9, 160, Atlas Films, 190 186, 189, 248n55, 250, 253, Attenborough, Richard, 208, 239–41 263, 265–74 Agee, James, 7, 17, 23, 27–34, 50n3–9, 50n11–15, B 50n17–30, 67 Ball, Lucille, 199, 270 The Tramp in the New World, Bank, The , 26, 86, 89, 160, 249, 250, 23n18, 30, 67 257, 267 Allen, John E. jr., 181–2 Barr, Alfred H., 98 Alpert, Herb, 200–1 Barry, Iris, 98, 100, 146 American Cinematheque, The, 237, Barry, Joan, 6, 10, 44, 59 247n32 Beatitude, 44, 78n17 American Legion, 7, 24n29, 32, 36, Becker, Vernon P., 121, 138n199, 72, 83, 110, 113 157–8 Apple Computers, 234, 247n21 Behind the Screen, 125n10, 189, Archives de Montreux, 248n55, 250, 256, 243, 248n45 263, 265–71 Artistic Co., 220, 221 Belushi, John, 200

Note: Page number followed by n denote footnotes

© The Author(s) 2016 291 L.S. Haven, Charlie Chaplin’s Little Tramp in America, 1947–77, DOI 10.1007/978-3-319-40478-3 292 INDEX

Ben Cooper’s Halloween Costumes, C 217, 218 Capp, Al, 91, 127n42, 127n43 Bergen, Candice, 15, 25n47 Card, James, 103, 104, 131n110–15, Berkeley Cinema Guild, 35, 51n32, 181, 182, 223n15 107, 109, 112, 251–61 Carnival Films, 190 Between Showers , 261, 264, 267, 269 Cassandra (Fashions), 203 Birchard, Bob, 107, 196, 237, 238 Catholic War Veterans, 7, 8, 24n35, Blackhawk Films, 184, 186, 188, 189, 36, 72, 83, 118 194, 224n27, 225n30, 225n34, Caught in a Cabaret , 5, 158, 184, 225n35, 261–8 261, 264–71 Bleecker Street Theater, 158 , 197, 256 Bliss House, Inc., 223n8 Celebrated Films Corporation, 90 Bloom, Claire, 10, 238 Cenciarelli, Cecilia, 243 Bogdanovich, Peter, 112, 113, Champion, The, 89, 126n27, 254, 133n133, 136n166, 165 262, 264, 268, 269 Bond, The , 110, 111, 196, 248, 251, Chaplin, Annie, 11–12, 180 256, 257 Chaplin, Charles Book-of-the-Month Club, 152 body theft, 200, 227n69 Bowser, Eileen, 137n191 as cause célèbre, 10, 56 Brando, Marlon, 13, 161, 198 A Comedian Sees the World , 3, 86 Brandon Films, Inc., 190 House on Un-American Activities Brejtfus, Ron, 216, 217 Committee (HUAC) Brock, Timothy, 242 (see House on Un-American Brownlow, Kevin, 21, 161, 175n101, Activities) 175n102, 182, 183, 193, 222n3, Little Tramp, creation of, 21, 224n20, 234–6, 242, 247n24, 248n46 247n28 Mann Act, 6, 22n14 The Parade’s Gone By, 162, My Autobiography, 19, 23n19, 119, 175n102, 234 150, 152, 157, 173n69, Unknown Chaplin, 21, 161, 183, 173n70 193, 224n20, 234, 235, 242 My Life in Pictures , 164 Brown & Williamson, 202, 203 Obituaries of, 231 Brulc, Dennis, 215, 216 Politics, 2, 3, 5, 19, 110, 112 Bubbles, Inc., 20, 179–80, 202, 233 Re-entry permit revocation, 10, Budget Films, 190, 264–9 24n35, 71, 99, 104 Burgess, Jackson, 134n144 Residence in Switzerland, 11 Burlesque on Carmen, 89, 90, 1972 return to U.S., 12 132n117, 134n146, 189, 191, Chaplin, Charles, Jr., 150, 172n51 193, 251, 254, 265, 267 My Father, Charlie Chaplin , 150 Buxton, Jessica, 25n36, 179, 241, Chaplin, Christopher, 11, 12 248n42, 248n43 Chaplin, Eugene, 11, 12 By the Sea, 89, 134n146, 189, 251, Chaplin, Geraldine, 9, 12, 168, 264, 267 239–40 INDEX 293

Chaplin, Jane, 11, 12 81n40, 90–2, 94, 95, 97, 98, Chaplin, Josephine, 9, 12, 180, 101, 108, 110, 114, 116, 117, 227n77, 242 127n41, 128n57, 131n117, 163, Chaplin, Lita Grey, 150, 153, 156, 164, 168, 186, 196, 207, 231, 174n85–7 233, 235, 248, 251, 258, 268 My Life with Chaplin: An Intimate City Lights Journal , 41, 42 Memoir, 156, 174n86 City Lights magazine, 34, 35, 37, Chaplin, Michael, 9, 11, 12, 14, 26, 39, 108 76, 195 City Lights Pocket Bookshop (later I Couldn’t Smoke the Grass on My City Lights Bookstore), 17, 38, Father’s Lawn, 156, 174n82 39, 49, 52n42, 52n43, 52n47, Chaplin, Oona O’Neill, 6, 156, 240 81n40 Chaplin Revue, The, 94, 128n57, 192, Clark-Cornelius Corporation, 196, 215, 257 84, 125n2 Chaplin’s Art of Comedy, 88, 89, Classic Entertainment, Inc., 96 126n30 Clay, Henry, 141, 169n1 Chaplin’s World, 21, 196, 245 Coast Films, 190 Chaplin, Sydney, 107, 133n131, 159, Commonwealth Film 179, 198 and Television, 118 Chaplin, Victoria, 9, 12, 236 Commonwealth Pictures Charlie Chaplin Advertising Service Corporation, 85 Company, 179, 181 Contemporary Films, Inc., 190, Charlie Chaplin Carnival, The , 85, 265–70 188 Continental Distributing, Inc., 89 Charlie Chaplin Cavalcade, The , 85, Continental Studios, 221 188 Conway, Michael, 174n81, 195 Charlie Chaplin Comedy Theater, 121, Cooper’s Classic Film Rental 138n201, 158 Service, 190 Charlie Chaplin Festival, 85, 86, Coronet Theater, 183 125n9, 188 Corso, Gregory, 38, 39, 56, 77 Charlie Chaplin Parade, The , 86 The Happy Birthday of Death , 56 Chase Me Charlie, 88, 126n28, 170n8 Cotes, Peter, 155, 173n77 Chessman, Caryl, 60, 61 Cotes, Peter and Thelma Niklaus Cinecon, 223n10 The Little Fellow: The Life and Work Cinefamily L. L. C., 132n119 of Charles Spencer Chaplin, 155, Cinevent, 223n10 173n77 Circus, The, 39, 95, 96, 101, 103, Countess from Hong Kong, The , 146, 110, 128n61, 128n62, 136n175, 184, 258 184, 191, 196, 235, 248 Count, The, 125n9, 135n117, City Lights, 3, 11, 14, 17, 34, 35, 158, 168, 186, 189, 248n55, 37–9, 41, 42, 44, 49, 52n42, 250, 255, 263, 265, 52n43, 52n47, 73, 76, 77, 266, 268–4 294 INDEX

Cromie, Bob, 163, 176n110, Everson, William K., 102, 103, 112, 176n111 120, 130n99, 130n100, Cruel, Cruel Love, 223n10 131n104, 131n106, 135n157, Cure, The, 85–7, 113, 125n9, 160, 175n100, 183, 223n16–18, 131n117, 135n163, 216, 248n53 248n55, 250, 253, 263, 265–71, 269, 270 F Face on the Barroom Floor, The , 264, D 267, 268 Davis, Carl, 236, 242 Fairbanks, Jr., Douglas, 101, 122, Days of Thrills and Laughter , 134n135, 134n137, 157, 158, 87, 88, 266 224, 239, 258, 259 de Vigny, Alfred, 213, 229n103 Family Dog Productions, 214 Dough and Dynamite , 158, 256, Farinelli, Gian Luca, 242 261, 268 Favorite Films Corporation, 90 Downey, Robert, Jr., 113, 208, Feldon, Barbara, 199 239–41, 247n38 Ferlinghetti, Lawrence, 10, 15, 17, 18, Dryden Theatre Film Society, 104 27, 37–41, 43–9, 52n43, 52n48, Dryden, Wheeler, 10 53n50, 53n55–62, 77 Dylan, Bob, 10, 25n36, 48 “Adieu à Charlot: Second Populist Dynamic Publishing Company, Inc., Manifesto”, 15, 41, 44, 46, 49, The, 210 53n55, 53n56, 67 “Constantly Risking Absurdity”, 39, 40, 48, 52n50, 58 E “Director of Alienation”, 41, 43, Eastin, Kent, 186, 188 44, 48 Easy Street, 85, 87, 100, 113, 121, “The Love Nut”, 48, 53n59, 53n60 125n9, 131n117, 135n163, “Modern Poetry Is Prose (But It Is 158, 160, 184, 186, 248n55, Saying Plenty)”, 47 250, 251, 254, 259, 263, “Rebels, The”, 48 265–74 In Search of Eros, 49 Edu-cards, 219 “In a Time of Revolution for 8mm Collector , 189–91, 193 Instance”, 41, 43, 53n53 Emerson, Ralph Waldo, 142, 167, FFM . See Film Fan Monthly (FFM) 169n4 Fifth Avenue Films, Inc., 85, 125n13 Entertainment Films Co., 190 50 Years before Your Eyes , 88 Epstein, Jerry, 24n35, 107, Film Classic Exchange, 190 133n131, 236 Film Fan Monthly (FFM), 20, 95, 123, Esco Products, Inc., 202, 220, 221 136n172, 160, 189, 196–8 Eternal Tramp, The, 157, 159, Film Images, Inc., 266 175n98 Films, Inc., 190, 266 INDEX 295

Fireman, The, 125n10, 189, 249, 250, Goddard, Paulette, 5, 97, 239 252, 263, 265–72 Golden Age of Comedy, The , 87, 88, Floorwalker, The, 5, 85, 125n10, 255, 257, 266 131n117, 159, 189, 248n55, Gold Rush, The, 28, 43, 89, 90, 92, 250, 251, 253, 263–71 93, 95, 101, 110, 111, 115, Ford, Rachel, 96, 114, 136n171, 179, 122–4, 131n117, 139n213, 161, 222n3, 235, 239, 242, 247n22 163, 189, 191, 194, 196, 200, Fractured Flickers, 106, 138n207 207, 208, 238, 248, 251, 255, Francis, David, 177n133 257, 264, 268 Franklin, Benjamin, 141–2 Great Dictator, The, 1, 4, 5, 14, Franklin Simon Company, 205 23n20, 37, 56, 60, 92, 112–14, Freak, The , 14 116, 117, 128n57, 131n117, Funniest Man in the World, The , 19, 135n163, 172n50, 196, 200, 121, 157, 158 213, 215, 241, 258, 272n39 Gregstan Enterprises, Inc., 120 Griggs, John, 181, 226n50 G Guaranteed Film Corporation, 195 Gatsby USA by Robert Bruce, 207 Guaranteed Pictures Company, Gentleman Tramp, The, 19, 133n133, Inc., 85 165, 166, 168, 176n120, Guyonvarch, Kate, 179, 180, 222n4, 177n126 222n6, 226n7, 242, 243, 248n44 George Eastman House (now Museum), 103, 119, 182, 249n67 H Getting Acquainted , 249, 250, 261 Hallmark Cards, 180, 202, 217 Gierucki, Paul, 175n103 Hampton, John, 18, 19, 105–7, Gifford, Dennis, 176n107 132n125, 133n132, 134n137, Gill, David, 21, 182 181, 233n11 Gill, Sam, 106, 107, 132n121, Hansen (Fashions), 205 133n132, 189, 234, 235 Havelock, Catherine Elaine, 208–9 Ginsberg, Allen, 7, 10, 15, 18, 23n18, Hecht, Daniel, 228n83 31, 38, 39, 56, 58, 62–75, 77, Henry Street Playhouse Film Series, 78n9, 79n21, 79n24, 79n25, The, 99 80n26–8, 80n32–8 His Musical Career , 261 “Collaboration: Letter to Charlie His New Job , 89, 200, 250, 262, 267 Chaplin”, 23n18, 31, 66, His New Profession , 248, 249, 264, 81n39 267, 269 Fall of America, The , 69–71, 80 His Night Out , 86, 89, 256, 267, Indian Journals , 73 269, 270 Kaddish and Other Poems , His Prehistoric Past , 264–72 1958–1960, 71 His Trysting Places , 261, 265–71 Glen Photo Supply, 190 Hoffberg Productions, Inc., 87 296 INDEX

Hollywood Films, 190 K Hoover, J. Edgar, 10, 24n30 Kael, Pauline, 36, 37, 52n38–40, House on Un-American Activities 107–12, 134n138–42, 135n157 (Committee) (HUAC), 1, 2, Kafka, Franz, 143 7, 8, 11 Kaufman, Bob, 10, 18, 44, 58–61, Huff, Theodore, 19, 98, 99, 102, 78n10–12, 78n17 131n106, 143, 146–8, 155, “Enormous Gas Bill at the Dwarf 169n8, 171n28–32, 192, Factory, The”, 60 248n53, 247 “Patriotic Ode on the Fourteenth Charlie Chaplin, 148, 171n28, Anniversary of the Persecution 171n29 of Charlie Chaplin”, 59 Index Series: The Early Work of “Sullen Bakeries of Total Charles Chaplin , 143 Recall”, 60 Huntington Hartford Gallery of Keaton, Buster, 33, 35, 74, 75, 87, Modern Art, 183 113, 115, 122, 124, 153, 163, Hurwitz, Harry, 157, 159, 160, 183, 198, 224, 232 175n98 Kerouac, Jack, 7, 38, 56, 58, 61–5, 68, 70–2, 78n18, 79n21–4, 80n32, 201 I Mexico City Blues , 63 IBM, 202, 233, 234, 246n13, 247n21 On the Road, 61, 62, 72, 79n21 Ideal Pictures, 190 Visions of Cody , 56, 61–3, 201 Idle Class, The, 15, 196, 249n67, 248, Kerr, Walter, 162–4, 176n109–14, 250, 251 238 Immigrant, The, 86, 98, 100, 113, The Silent Clowns , 162, 163 115, 125n9, 131n117, 144, 158, Keystone Mfg., 190 160, 169n6, 186, 248n55, 250, , 238 255, 257, 264–73 Kid, The, 15, 60, 101, 114, 131n117, Independent International Pictures 135n163, 144, 154, 191, 196, Corporation, 126n30 207, 223n10, 233, 238, 247, International Art Production 250, 251 Management, 92 Killiam, Paul, 119–23, In the Park, 89, 175n103, 257, 262, 137n191, 257 264, 266–3 King of Comedy Film Company, 86 Irwin, Bill, 238, 247n35 Kleinman, Arthur, 249n69 Ivy Film, 190, 267 Knits by Magda, 204 Knockout, The , 247, 249, 250, 262, 269 J Knox Cinema Club, The, 98 Janus, The, 117 Kouper, Léo, 129n68, 192, 214, Jitney Elopement , 89, 158, 258, 262, 215, 217 267, 269 Kuriyama, Connie, 241 INDEX 297

L Max, Peter, 208, 229n93 Lahue, Kalton C., 175n103 McCabe, John, 177n133 Landberg, Edward, 108–12 McCaffrey, Donald W., 162 Laughing Gas, 98, 264, 267, 268 Focus on Chaplin , 162 Lee, Bob, 181 McClure, Rob, 243, 245 Library of Congress, 105, 182 McDonald, Gerald D., 155, Limelight, 9, 10, 24n29, 30, 35–7, 68, 174n81, 195 108, 111, 114, 128n157, The Picture History of Charlie 129n69, 131n117, 135n163, Chaplin , 155 144–6, 196, 200, 205, 236–8, McDonough, Kate, 59, 77 243, 257, 258 McKay, Dru, 219 Lincoln Art Theatre, 14 Milton Bradley, 202, 219 Lincoln Center Film Society, 14 Cadeaux, 202, 219 Lloyd, Harold, 33, 87, 101, 232 Minot Films, 190 Lopert Films, Inc., 92 Modern Times, 1, 3, 5, 30, 43, 92, 95, Loren, Sophia, 13, 198 97, 98, 110, 114–17, 128n57, Lustman, Charlie, 132n119 129n68, 131n117, 135n163, 167, 196, 197, 215, 223n19, 233–5, 237, 242, 247n21, 251, M 261, 262 Mabel at the Wheel , 265, 268 Monogram Pictures, 90 Mabel’s Married Life, 115, 262 Monsieur Verdoux, 6, 8, 17, 22n11, Madden, David, 176n116 23n18, 28, 30, 64, 65, 90, 91, Magliozzi, Ron, 137n191 94, 113, 114, 116, 117, 128n57, Making a Living, 186, 249, 250, 255, 131n117, 135n163, 145, 149, 262, 264, 267, 269 195, 196, 237, 255, 257, 258 Maland, Charles J., 21n3, 83, 151, Moss, Robert F., 176n116 238, 243, 247n37 Movie Classics, 120, 190, 191 Malkames, Don, 181–2 Movie Museum , 119, 120 Maltin, Leonard, 20, 87, 95, 101, Murray, Bill, 200 126n20, 126n24, 128n63, Musée de l’Elysée, 243 136n172, 136n174, 147, 156, Museum of Modern Art, 93, 98, 157, 162, 171n41, 174n83, 100, 119, 139n208, 146, 183, 174n89, 175n104, 197, 198, 237, 249 227n62–4, 232, 247n23, 249n85 Manvell, Roger, 176n107 Manzano, Sonia, 201 N Martin, Dean, 199 New Janitor, The , 159, 254, 262, 267 Martin, Peter D., 10, 17, 27, 34, 39, New Yorker Theater, 114, 257 52n34, 108 Niklaus, Thelma, 155, 173n77 Masquerader, The , 254, 262, 267–3 Niles Film Products, Inc., 190 Matthau, Walter, 165 Nowinsky, Ira, 47 298 INDEX

O R Offi cial Films, 190 Radnor, Gilda, 200 Olesky, Walter, 177n133 rbc fi lms, 107, 133n133, 186, 196 One A.M., 125n10, 135n163, 160, recreation, 98, 223n10, 248 223n10, 249–5, 256, 264–72 Reinhardt, Max, 151, 172n53 Orlovsky, Peter, 15, 23n18, 31, 38, Republic Pictures, 84 65–7, 68, 69, 72, 77, 78n9, Ricci, Mark, 174n81, 195 79n25, 80n29, 80n33, 81n39 Rink, The, 5, 85, 99, 125n10, 131n117, 158, 168, 189, 231, 248–5, 264–70, 268 P RKO Radio Pictures, 85 Palace of the Silents: The Silent Movie Robinson, David, 20, 25n42, 29, Theater in Los Angeles, 134n136 134n148, 146, 151, 154, 222n1, Patterson, Richard, 133n133, 146, 234, 236, 243, 247n26, 247n29 165, 167, 168, 171n27, Chaplin: His Life and Art, 20, 29, 176n119, 177n121–4, 177n126, 146, 151, 222n1, 236 177n128 Rohauer, Raymond, 21, 164, 182, Paumier, Pam, 242 183, 223n19, 224n21, 235 Pawnshop, The, 85, 87, 160, 186, 189, Rothman, Moses, 84, 96, 123, 248n55, 250–6, 264–72 129n66, 139n213, 165, 168, Pay Day , 196, 247, 250 179, 180 Payne, Robert, 149 Rounders, The, 132n117, 249, 250, The Great God Pan: A Biography of 257, 262, 267 the Tramp Played by Charlie Royal Screen Craft, 208, 209 Chaplin , 149 Roy Export Co., Est., 4, 12, 16, 57, Perry, William, 122, 123, 139n208 127n34 Phelan, Martin, 186, 188 Rubin, Samuel K., 138n207, 159, Pilgrim, The, 131n117, 135n163, 175n96, 175n97, 190–3, 196–8, 192, 215, 217, 248 224n27, 225n39, 225n41 Plaza Theater, 92, 93, 114, 1285n57 police, 41, 60, 74, 89, 102, 134n146, 229n99, 249, 250, 255, 263, S 265, 267, 270 St. Paul Film Society, The, 98 Polo, Franco, 221 San Andreas Fault, 214 Pro-Arts, 210 Scherrer, Jean Louis, 207 Pronto Moda, 204, 206 Schneider, Bert, 133n133, 165, 168, Property Man, The , 262, 268 176n117 Proust, Marcel, 38, 61, 143, 170n10, Scudder, Billy, 233, 246n14 170n12 Select Pictures, 84 Sesame Street , 201, 202 Shadow and Substance , 5 Q Shanghaied , 86, 87, 89, 257, 263, Quality Amusement Corporation, 90 265, 268–4 INDEX 299

Shepard, David, 90, 138n196, 188, Tillie’s Punctured Romance, 35, 72, 189, 194, 224n21, 225n29, 89, 121, 158, 191, 223n10, 251, 225n33, 237, 243 254, 258, 264, 266 Sherman, Samuel M., 88, 89 TINC Productions Corporation, Shibla, Vernon, 129n72 177n130 Shoulder Arms, 94, 103, 110, 111, Titillations, Ltd. Needlepoints, 221 131n117, 133n133, 135n163, Tramps Cigarettes, 202, 228n80 191, 192, 211, 215, 226n41, tramp, the, 22n9, 23n18, 24n29, 248, 255 24n31, 28–33, 40, 43, 44, 49, Silent Movie Theater, The 67, 85, 89, 97, 100, 119, 121, (“The Movie”), 106, 132n119, 144, 145, 147, 149, 155, 132n126, 134n136 158–60, 164, 192, 197, 210, Silent Society, the, 237 231, 245, 249–5, 257, 263, 265, Silents Please , 120, 121, 258 268–4 Silent Years, The , 122, 124 Trans-Lux 72nd Street Playhouse, Sitting Bull, 59–61, 78n17 127n44 Sobel, Raoul, 177n133 Trans-World Films, Inc., 190, 268 Solbert, Oscar, 104 Trikillis, Michael and Ted, 210 Star Boarder, The , 262, 269 Triple Trouble , 87, 158, 263, Starline Movies, 190 265, 267 Sullivan, Ed, 174n81 Twenty Minutes of Love , 160, 248, Sunnyside, 63, 135n163, 196, 213, 264, 267 248, 251 Tyler, Parker, 19, 143, 145, 146, 155, Swank Motion Pictures, Inc., 169n6, 170n11, 170n12–15, 190, 268 170n23, 171n24, 171n25 Swanson, Gloria, 119, 157, 159–61 Chaplin: Last of the Clowns , 19, 143 “Chaplin: The Myth of the T Immigrant”, 169n6 Talbot, Dan, 111, 135n164, 250n87 Magic and Myth of the Movies , 143 Tango Tangles , 160, 251, 262, 267, Three Faces of the Film, The: The Art, 269 the Dream, the Cult , 143 Tanner of North Carolina (Men’s Fashions), 205 Thalia Theater, 136n172 U Theater Owners of Ohio, 7 United Artists, 87, 90–3, 95, 96, 101, Theodore Huff Memorial Film 111, 232 Society, The, 98, 102, United Nations (UN)-Great Neck 248n53, 247 Film Society, 98 Thomas J. Valentino, Inc., 121 universal, 36, 107, 143, 190, 198, Those Love Pangs , 264, 267–3 231, 258, 269 Thunderbird Films, 190, 194 Universal Film, 190 300 INDEX

University of North Dakota Writers Woman of Paris, 96, 101, 114, Conference, 76 136n174, 161, 196, 223n10, University of Southern California 232, 236, 251 (fi lm offerings), 190 Work, 12, 18–20, 30, 33, 49, 51n31, 55, 56, 58, 61–3, 67, 79n21, 80n33, 87, 89, 93, 99–101, 104, V 110–16, 118, 124, 133n133, Vagabond, The, 85, 125n9, 159, 249, 142–6, 149–51, 155, 158, 162, 250, 252, 264–74 163, 167, 169n8, 170n9, Van Beuren, Amedee J., 84, 85, 119, 175n103, 181–4, 186, 189, 194, 188, 265 195, 197, 202, 215, 216, 220, Vance, Jeffrey, 133n130, 174n85 232–4, 237, 238, 249, 250, 254, V. B. K. Film Corporation, 84 256, 263, 267 Vogel, Amos, 99, 130n82, 143, 169n7

Y W Yesterday and Today , 87 Walton Films, 190, 269 Youngson, Robert, 87, 88, 121, Watsofi lms, 190 126n20, 126n23, 184, Weege, William, 211–13, 216, 255, 266 229n97–100, 229n104, 229n105 Welk, Lawrence, 199 Welles, Orson, 122–4 Z When Comedy Was King , 87, 266 Zack’s by the Bay Wholesome Film Center, Inc., 160 (Sausalito, CA), 117