Born 130 Years Ago, He Still Makes Us Laugh

He was born into poverty on April 16th in 1889. His father abandoned him when he was a child. His mother began a long, gradual descent into madness. He lived on the streets of London by his wits, along with his half-brother Sydney. He fell in love with the magic of the English music hall when he was eight years old. Audiences loved this funny and talented youngster who made them laugh.

By the time he was 25, he was the most recognized and beloved figure in the world. And remained so for many years.

©Roy Export SAS.

His name was Charles Spencer Chaplin. On screen he was The Little Tramp. Charlie referred to him as The Little Fellow, elevating him somewhat in social standing. Chaplin may have been the most influential film maker in history. He broke away from his early work in Mack Sennett's film factory of slapstick, a kick in the pants, chases and two-dimensional stories, to discover the power of storyline, character development, connection with the audience, performance, nuance, use of pathos and, especially, humor. His films, both the shorts and the features, had immeasurable impact on those who followed. 

©Roy Export SAS. 

This year marks the 130th anniversary of his birth. And, yes, Charlie is still alive in many ways. Activities and events are being held around the world, throughout the year and into 2020. The Chaplin Office in Paris, under the guidance of Kate Guyonvarch, recently posted a calendar of events in their newsletter. It’s impressive. Take a look at www.charliechaplin.com, the official website. 

Before I tell you more about this 130th celebration, a word about why I care. In 1960 I was living in San Francisco, somewhere between beatnik and aspiring writer. On Tuesday nights I’d head across the Golden Gate Bridge to Zack’s, a waterfront bar in Sausalito, where they showed Charlie Chaplin movies. Scratchy, old 16mm prints accompanied by the chatter of the projector. For me, it was magic! Over a scotch and water, and a hamburger, I fell in love with The Little Tramp, the beginning of a life-long obsession. I even wrote a novel about a guy who meets Chaplin today. Yes, time travel. Hollywood yesterday and today. The title is “Shadow and Substance: My Time with Charlie Chaplin.” If you would like to order a copy, send me an email, at spidermandel@charter.net. Reasonably priced, signed at no extra cost. (End of plug.) 

Back to the celebration. Here are some of the cities, countries and venues. For starters, Chaplin’s World in Vevey, Switzerland. That’s where Charlie lived after he left the U.S., and is now a museum (I was there two years ago, an unforgettable experience). Other event locations: London and Bristol, England. Paris. Slovakia. Japan. Italy. Israel. Turkey. United States. Germany. Austria. Switzerland. Spain.  Maybe even St. Louis. I'm working on it. And more on the horizon.

Events and projects include a new documentary, a new album of Chaplin music by violinist Philippe Quint, new plays and adaptations, a revival of “Chaplin: The Musical” in various countries, a BBC Radio series, Chaplin feature films shown with live orchestral accompaniment, limited edition of art prints of photographs from the Chaplin archives. And the party continues into 2020.

In September of 2017, my wife and I visited Paris. We made plans to meet Kate for lunch. As we walked to the restaurant, Kate said, “I’ve invited someone to join us. I hope you don’t mind.” Of course I didn’t mind and said so. Then she told me who it was. Charlie’s grandson. Charles Sistovaris. His mother was Josephine, one of Charlie and Oona’s daughters. It was a lunch I’ll never forget. Charley was incredibly charming and gracious, with that magic Chaplin smile.The meal was delicious, the setting elegant, the company...one for the ages.

I urge you to celebrate Chaplin’s 130th. Go to Paris, London, NYC, DC, or wherever you find a Chaplin event on the website. Or watch a Chaplin movie at home. Maybe start with “The Kid” or “The Gold Rush.” Or his Mutual shorts. Chaplin considered these shorts some of his best work. You can buy them on-line or find them at the library. If possible, get a recent edition of the movie, where the image is sharp and the music track is crisp and clean. You’ll see why Charlie still makes us laugh and perhaps shed a tear. You'll understand why the world remembers his birthday. And rejoices.

Life Magazine, James Agee and Charlie

You never know what you’ll find in an old Life magazine. I was looking for an idea for this Chaplin blog, decided to dig through “my Chaplin stuff” and came across a 1949 issue of Life. The cover story: “Comedy’s Greatest Era.” Ben Turpin’s picture was on the cover. “Got to be something interesting here,” I thought.

The article is written by James Agee, one of America’s literary lights - a poet, journalist, film critic, and author of one of my favorite novels, “A Death in the Family,” published in 1957, which won the Pulitzer. I knew he was my kind of guy because, when they made the movie of the book,(titled "All the Way Home") a memorable scene between father and son takes place in a cinema where a Chaplin movie is on the screen. 

Agee, as film critic for Time and The Nation, picked out “Four Master Clowns” for his tribute. Chaplin, Keaton, Lloyd - as expected - plus Harry Langdon. Langdon surprised me, mainly because I don’t know enough about him. But since my blog is about Charlie, I’ll get to him. In a minute.

Take a look at where film comedy started - with Mack Sennett at Keystone. I’m fascinated by this picture of the original Keystone Cops. From the left, they are Roscoe Arbuckle, Bobby Venon, Ford Sterling, Chester Conklin Clyde Cook, Mack Swain, James Finlayson and Hank Mann. They would all be heard from beyond the Keystone beginning, most of them appearing in Chaplin films. 

Agee began his analysis of "The Four" with Chaplin. He wrote,

 “When Charlie Chaplin started to work for Sennett he had chiefly to reckon with Ford Sterling, the reigning comedian. Their first picture together amounted to a duel before the assembled professionals. Sterling, by no means untalented, was a big man with a florid Teutonic style which, under this special pressure, he turned on full blast. Chaplin defeated him within a few minutes with a wink of the mustache, a hitch of the trousers, a quirk of the little finger.”

Two years before this article was written, “Monsieur Verdoux” premiered, and Chaplin was hit by some vicious attacks on the film. Agee was one of the few members of the press who came to his defense. 

Which may account why Agee is so lavish with his praise of Charlie in this 1949 article. “Of all comedians he worked most deeply and most shrewdly within a realization of what a human being is, and is up against. The Tramp is as centrally representative of humanity, as many-sided and as mysterious, as Hamlet, and it seems unlikely that any dancer or actor can ever have excelled him in eloquence, variety or poignancy of motion.”

Finally, he talked about that incredibly touching final scene in “City Lights.” 

Agee said, “The camera just exchanges a few quiet close-ups of the emotions which shift and intensify in each face. It is enough to shrivel the heart to see, and it is the greatest piece of acting and the highest moment in movies.”

I agree with Agee, on all counts. About Chaplin, and about Comedy’s Greatest Era.

The King Returns to New York

In 1957, Charlie Chaplin released "A King in New York," his first film since leaving the U.S. in 1953, and the last time he would take a starring role. I'm happy to say that Chaplin is back in New York, in more ways than one.

First, and most significantly, is the opening of "Chaplin: The Musical," at the Barrymore Theatre on W. 47th Street. The show begins previews on Tuesday, August 21st (3 days after my birthday). Opening Night is set for Wednesday, Sept. 12th. There's been a lot of enthusiasm generated by this show, and a lot of information and behind-the-scenes videos on the internet. You can start here for info on The Musical

Rob McClure

The director, production crew, and cast have gone to great lengths to faithfully recreate the life and genius of Chaplin, his iconic scenes, all surrounded by a marvelous musical score and production numbers. Among the main players in Chaplin's life who are represented: Alf Reeves, Hedda Hopper, Oona O'Neill, Mack Sennett, Hannah Chaplin (Charlie's mum), Jackie Coogan (The Kid), and Sydney Chaplin. You can check out the Musical website to fully appreciate the credentials of the actors in these roles. The incredibly talented Rob McClure stars as Charlie. Rob is no stranger to Broadway, with an impressive resume.

Here's what I find so appropriate about this New York location. Chaplin was discovered by Mack Sennett in 1912. Chaplin, who was traveling the U.S. with Fred Karno's company, "A Night in an English Music Hall" was playing at the American Theatre on 42nd Street and 8th Avenue. Mack Sennett was there with his girlfriend, Mabel Normand. Mack was so taken by Chaplin's comic ability and potential for his Keystone Film Company, that he wired Alf Reeves, the manager: "Is there a man named Chaffin in your company or something like that. If so will he communicate with....." So Charlie heads for L.A., starts making movies for Mack for $150 a week, and turns out 35 shorts for him in 1914, before moving on to Essanay Films.

That's one version of the "discovery" story. There are others, but I like this one best. It includes Mack, it takes place in New York, and it's a dramatic telling of the beginning of the legend. 

So here we are, one hundred years later and 5 blocks away, for "Chaplin: The Musical." 

But we aren't finished yet. Today (Wednesday 8/15), just 3 days before my birthday (did I already mention this?), The Today Show on NBC presented a beautifully constructed piece on "The Kid" and re-creating a famous scene with Natalie Morales and her son, Luke. The segment shows where Chaplin worked, insight into his character, and includes interviews with daughter Geraldine, author Jeffrey Vance, and even Jackie Coogan's grandson. The Today Show salutes Chaplin & "The Kid"

One final note: "A King in New York" was released on Sept. 12, 1957. The same day that "Chaplin: The Musical" opens. Who says there aren't forces beyond our understanding at work in the universe. Especially when it comes to Charlie Chaplin.

When Charlie Came Back

It was in 1952 that U.S. Attorney General James McGranery waited until the Chaplin's had sailed for England that he pulled their re-entry permit. McCarthyism, HUAC, and the powers in D.C. had declared that the man who had given so much to America was now a danger and no longer welcome. Hollywood remained silent.

Twenty years later, with the Red scare safely tucked away, Charlie was invited back for a special honor at the Oscars.  He had been living in Vevey, Switzerland.  He reluctantly agreed. First he stopped in New York for a screening of two of his films at Lincoln Center's Philharmonic Hall. Even Mayor John Lindsay presented him with a special award. Then he headed West to accept his honorary statuette in front of a cheering Hollywood audience. He looked frail, unsteady, but still tried to entertain the audience with a small bit with his hat. Afterwards he returned to Vevey where he lived out his final years.

Shortly after he left, SHOW magazine published an article about him, written by William Wolf. He talked about the shock of seeing Chaplin in old age. Even Chaplin remarked, "My pins aren't so good any more," referring to his legs. Wolf interviewed Charlie at Manoir de Ban shortly before he left for the U.S. Here are some of Chaplin's remarks which I've pulled from the interview.




"I don't think (today's movies) stack up to mine. I'm very frank in saying that. They have no merit. They are silly and foolish, and if performers strip off their clothes - well, that's all right, but I would say that's what I object to about the modern movie. Any pantry sweetie can come in and take her clothes off, and she's interesting to the average audience. But I worked damned hard on the set to make a film, and everything I did was con amore, with my heart and soul, and with a terrific enthusiasm. I don't consider I'm a genius. Things come hard to me. I think they must come easier to other people.


"The FBI people asked why I followed the party line. I said, 'If you tell me what the party line is, I'll tell you whether I follow it or not.' They couldn't believe I wasn't a Communist. Oh yes, I was sympathetic to anybody who was hard up and needed help. That's all my politics ever got into."

He talked about "A King in New York."

"I didn't do it with any bitterness. It has a very good performance by my son Michael, and there's a lot of good stuff in that picture. If a picture gives the opportunity for invention, I'll take it, and I don't care what the hell the consequences are. We made fun of a lot of things, like progressive education, and the story naturally veered tgoward this young chap whom the FBI was trying to pressure to inform on his parents. But I wouldn't accept any ideas unless there was great comedy in it. I'm not  a pamphleteer. I had great fun, and that's the only thing I'm interested in."

Shortly before the interview was interrupted by the news that his young daughter, Annie, had broken her ankle in a skiing accident, Charlie talked about Mack Sennett.

"Mack Sennett was a great influence. I learned all of my comedy from him. He would laugh at the things I did, and I'd think well, that's not so funny, but he would think it was funny, and he gave me a lot of confidence. I enjoyed the old days in California when Thomas Ince as around, and when Sennett was around."






The author finishes up with these thoughts:
"His reputation stands on his films, of course, and not one's judgement of him as a person. But he did make a likeable impression, because the sense of humor was strongly there, he was gracious and hospitable, and he had a kind of elder statesman of the arts air about him. One quickly observed the strong ego people have long talked about....Within him seems also to be the longing to make yet another film, since he fights against accepting that his work, as great as it is judged to be, should stand completed."