My Autobiography
Page 57
Reeve, Ada, 257
Reeves, Alf (C.’s manager), 117, 138, 259, 327–8, 372
Reeves, Mrs Alf, 282–3
Reeves, Billie (comedian), 92
Reinhardt, Max (publisher), 467 Reinhardt, Max (theatrical impresario), 180; his school of acting, 409
Relativity, Einstein’s reactions to the emergence of his theory of, 317 religion, C’s first introduction to, 19, 21–2; his views on, 134, 287, 449
Reshevsky, Samuel (boy champion chess-player), 234–5
Reynolds, Dr Cecil, 247–9, 297–8
Rhetoric (Kellogg), C. and, 123
Ringling Brothers’ Circus, 46
Ritz Hotel (London), 264; treacle pudding at the, 268
Roach, Hal, 171
Robbins, Jess (of Essanay Co.), 160
Robin Hood (Fairbanks’ film), 198
Robinson, Carlisle (‘Carl’), 231, 259
Rock, Charles (Eng. actor), 81
Rockefeller, John D., 306
Rocksavage, Lady, 273, 276
Rocksavage, Lord, 276
Roget’s Thesaurus, Negro truck-driver introduces C. to, 244
‘Roman Senator’, the: see Elliott, Maxine
romance and adventure, C.’s longing for, 93, 102
Roosevelt, Franklin D., 214, 373,
399
Rossier, Emile, 472
Rossier, Michel, 472
Royal Aquarium (London), 14
Royal Command Performance, C. declines request to appear at, 349
Russell, Jimmy, 279
Russia, C. and, 271, 314, speeches in support of ‘second front’, 401 ff.
Sage, Russell, 304
Saintsbury, H. A. C.’s stage engagement with, 77–9; ‘the best Sherlock Holmes’, 81–2
Salt Lake City, C. in, 130, 237
San Francisco, C. in, 128–9, 161, 169
San Simeon, W. R. Hearst’s ranch
at, 307–9
Sanders, George and Benita, 473
Santa Barbara, C. and Oona at, 416
Santa Monica, 156; C.’s house at, 174; Marion Davies’ beach-house at, 306, 311
Sartre, Jean-Paul, 464
Sassoon, Sir Philip, 268, 273–4, 315, 330, 346–7; his hospitality
‘something out of the Arabian Nights’, 276–7
Schenck, Joe, 291–2, 322–3, 326, 350, 375
Schoenberg, Arnold, 391–2, 428
schools and schooldays, 27–33, 40–42
Schopenhauer, Arthur, C. and writings of, 134–5
Schwartz, Charles, C.’s lawyer, 452
scientists, C. on389
Scottie, Death Valley, 185–6 ‘scratch crowd’ (vaudeville term), 116
sea, C.’s first sight of the, 24
sea-voyages, C.’s views on, 379
Second World War, C. and the, 386 ff
Seers, Grad, 445
self-analysis, C.’s, 267
Sennett, Mack, 129, 138; engages C. for Keystone Co., 139, 141–5; ‘enthusiasm his secret of success’, 146; working with C, 147, 148–53, 154, 155, 157–9
sex,
‘I do not believe it is the most
important element’, 206; C.’s sex-life, 206–8; ‘I can add
nothing new’, 354; H. G.
Wells on, 354; see also love
affairs
Shadow and Substance, C.considers as film project, 408–9; abandoned, 426
Shakespeare, William, 253; ‘I hardly think’ he wrote the works, 358–9
Shamus O’Brien (Irish melodrama),
C.’s parents in, 17
Shaw, George Bernard, 93, 269, 331–2, 337
Shaw, Mrs G. B., 332
Sheridan, Clare, 285–6; Sheridan, Mark, (comedian), 46
Sherlock Holmes (Wm Gillette’s
play), C.’s part in, 77
ff., 90–92 Shoulder Arms, 218–19
Shubert, Lee, 121
shyness, C.’s, 91, 196, 303, 399, 452
silent films, C.’s determination to
continue making, 322
Silverman, Sime (of Variety), 124, 304–5
Simenon, Georges, 384
sin, C.’s views on, 437
Sinclair, Upton, 343
Singapore, C.’s recollections of, 362–3
Sing-Sing prison, C. visits, 280–81
Skating
as Karno sketch, 117, 122; C.’s
film, 152
slapstick comedy, C. on, 208;
its transition to sentiment, 233–4
Smith, Gerald K. (America Firster), 411
Smith, Kate (C.’s aunt), 16
Smith, W. H. and Son (stationers),
C.’s job at, 61
Social Credit, C.’s interest in, 324, 350
socialism, C. and, 342, 343
Sorel, Cécile, 275
South London Music Hall, C. sees
Karno sketch at, 73, 74
Southend-on-Sea, C.’s childhood
memories of, and return to, 24
Spender, Stephen, 428
Spies, Walter, 364–5
spiritualism in Hollywood, 318
Spoor, George K. (Essanay Co.), 160–73
stage décor, C. on, 253–4
stage fright, C. and, 44, 99, 122
Stage Hand, The, C. directs for
Keystone, 157
Stanislavski, Constantin, and ‘inner
truth’, 157
Stein, Gertrude, 302–3
Steinbeck, John, 383–4
Steinbeck, Mrs John, 384
Sterling, Ford (Keystone comedian).
C. replaces, 142; ‘his style did not
suit me’, 143, 146; his decline
after leaving Keystone, 159;
and Sam Bernard, 257
Stevens, Emily (Amer. actress), 257
Stewart, Donald Ogden, 467–544
‘stewed eels and treacle pudding’, 268
Straker (W.), Ltd (stationers and
printers), C.’s job at, 61–2
Stratford-on-Avon, C. visits 358–9
Strauss, Carl (cowboy film-actor), 169
Stravinsky, Igor, 390–91
Submarine Pilot, The (Sydney Chaplin’s
film), 159
subtlety and restraint (in acting), C.
and, 256
suicide, comedians and, 46–7
Sullivan and Considine (Amer.
theatre owners), 121; C. on
circuit: ‘we passed muster’, 124
Sulzberger, Arthur, 395–8
Sunday dinner as respectability
symbol, 50
Sunnyside: (‘like pulling teeth’), 230
Sutter’s CoW(Eisenstein’s ‘very fine film’), 320
Swaffer, Hannen, 384
Swanson, Gloria, 165; in Elinor
Glyn film, 202; and Pola Negri, 295
Sweet, Blanche, 155
Swope, Bayard, 285, 444
Tagg’s Island (river Thames),
Karno’s houseboat at, 133
talking films, C.’s attitude to, 321–3, 360, 374, 382
Talleyrand-Périgord, Marquis de, 276
Talmadge, Norma, 291
Tankard, the (public house,
Kennington Road), 9, 265
Tannhâuser (Wagner), C. and, 136
Tate’s Café (San Francisco), 169
Taylor, Frank, and Dylan Thomas 428 ‘tears as well as laughter’ (in C.’s films), 155
Teddy boys, C.’s defence of, 93
Tellegen, Lou, 155
Terry, Dame Ellen, 257
Thalberg, Irving, 294 theatre, the,
C’s early interest in, 21, 41, 48, 93; his views on, 250 ff
theatricialism, C. on, 252
thinking, C. on, 247
Thomas, Dylan, C. and 428–9
Thomas, Olive, 226, 243
Thorndike, Dame Sybil, 257
Three Stags, the (public house,
Kennington Road), 58
time-saving: ‘the basic virtue’ in film making, 250
> Tinney, Frank, 257
Tivoli Music Hall (London), C. appears at, 103
touring companies, C.’s loneliness in, 83–4
toy-making, C.’s job in, 65
tragedy and comedy, combination of, 40
‘tramp character’, the, 44, 145; origin of the costume, 145; ‘growing more complex’, 208; dilemma of talking films and, 360, 382
Tree, Sir Herbert Beerbohm, 194–7, 258
Tree, Iris, 196–7
tricky effects: ‘I loathe them’, 250
truth, C. on, 255, 286
Turpin, Ben, 165, 169
Twain, Mark, C. and works of, 142
Twelve Just Men (C. writes sketch), 97
Twenty Minutes of Love
‘I made it in an afternoon’, 157; music sets mood for, 209
Un-American Activities, Committee on, 439, 458
United Artists,
formation of, 221; and mergers, 292; alarm over The Great Dictator,387; sale of, 446; list of C’s films for, 480
Universal Company, 160
Valentino, Rudolph, 186–7, 312
Vanbrugh, Dame Irene, 89, 257
Vanderbilt, Cornelius, and German
concentration camps, 316
Variety (Amer, stage periodical), 124, 304
vaudeville, English and American
compared, 135
Venice, C. on, 352
Vienna, romance in, 352
Vierte, Salka, 428
violence in the theatre, C. on, 429
Wagner, Rob, 214–16 passim
Wainewright, J. G., 254
Wallace, Mina, 413–14
Waller, Lewis, 91
war-wounded, C. and the, 277, 386
Ward, Fanny, 204
Warfield, David, 256
Warner Brothers, and Hearst Productions, 314; first talking picture, 321
Watson’s Beef Trust (Amer, burlesque show), 126
Weber, Lois, 226
Weiller, Commandant Paul-Louis, 276, 473
Weldon, Harry, 92; and C, in The Football Match, 98-101, 114
Welles, Orson, 410; and idea for
Monsieur Verdoux, 412–13
Wells, H. G., 259, 268; C and, 270–71, 277–8, 341–4 passim; on sex, 354; work output, 384
West, Rebecca, 271
Wharton, Edith, 200
Whimsical Walker, 121 Whispering Chorus, The (De Mille film), 173
Whitman, Walt: ’Leaves of Grass annoyed me’, 135
Williams, Bransby, 47
Williams, J. D. (of First National), 219; ‘buttered me up’, 243
Williams, Percy (Amer, theatre- owner, 121
Willkie, Wendell, 404
Wilson, Lady Sarah, 276
Wilson, Woodrow, 214
Winchell, Walter, in juvenile music-hall troupe, 123
Winter, Ella, 567
Woman of Paris, A, 252–3
wood-chopper, C.’s job as, 71–3, 265
Woollcott, Alexander, 384
Wow-wows, The (Karno sketch),
C. on U.S.A. tour in, 117–18, 121; ‘silly, dull sketch’, 122; but ‘one funny Englishman, 124
Wright, Lloyd (C.’s lawyer), 415, 417–418
writers, C. on, 389
York, Duke and Duchess of (later King and Queen), 346
York, Harry (Theatre Royal, Blackburn) 88
Young, Clara Kimball, 156
Zarmo (comedy juggler), 47
Ziegfeld Follies, in ‘ Chaplin numbers ‘, 172 ; Frank Crowninshied and, 234
Zukor, Adolph, 222–3
* A large hall which stood on the corner of Victoria Street opposite Westminster Abbey, where there were spectacular entertainments and sideshows.
* In the Karno troupe it took at least six months working together before we could perfect a tempo. Until then it was called a ‘scratch crowd’.
* Pantages circuit, which gave three shows a day.
* Hetty Green, one of the richest women in the world, was reputed to have made over $100,000,000 through her business acumen.
* This accredited remark is not true. We happened to be in the Mexican quarter, and my remark was: ‘There is more vitality here than in Beverly Hills.’