My Autobiography Charles Chaplin (best books to read ever TXT) 📖

at his 42nd Street

theatre, 129

Morrison, Herbert, 459

Mosley, Sir Oswald, 350–51

Mountbatten, Lord, 470

Mumming Birds(Karno sketch), 92; C. in, 103, 116

Munnings, Sir Alfred, 331–2

Murray, Philip, 404 music,

‘I had great ambitions’, 125; as creator of C.’s moods and themes, 209 > C. composes for his films, 325 musicians, C. on, 389–90

Mutual Film Corporation, C. joins, 177–9; his films for, 187, 479

Nast, Condé, 243

National Society for the Prevention of Cruelty to Children, C.’s plight reported to, 39

Nazism, C.’s hatred for, 398–9, 406–7, 411

Negri, Pola, C. and 274, 295–8

Nehru, Pandit Jawaharlal, 470–71

New Janitor, The (C.’s Keystone film), 154

New York, C. in, 119–24; ‘this is where I belong!’ 121; 177, 178, 191, 306, 327; ‘stepping on air in’, 243

Nichols, ‘Pop’ (Keystone film director): ‘had but one gag’, 149

Night at the Club, A (Karno sketch), C. plays the ‘drunk’ in, 139; Ellsworth says ‘very funny’, 147

Night In an English Musk Hall, A (Karno sketch): ‘tremendous success’ in U.S.A., 129

Nijinsky, Vaslav, 191–3

Niles (California), C. at Essanay studios at, 161, 167–70

Noailles, Countess, 352

Normand, Mabel, 138, 141, 143, 145, 146; C. rebels against direction by, 149–51; ‘we remained only good friends’, 155

Norn’s. Kathleen, 200

Odets, Clifford, 428

Old Testament, C. on ‘horrific cruelty’ of the, 134

Olivier, Laurence, Shakespeare in ‘white tie and tails’, 254

Olympic, s.s., C.’s voyages in, 134, 260–61, 329

O’Neill, Eugene, 245

O’Neill, Oona (‘a luminous beauty’), 413–14; C.’s marriage to, 415–16, 425–6, 452; gives up American citizenship, 466

opera’s emotional effect on C, 136–7

Oppenheimer, Dr Robert, 460 orientation, importance of, in acting

technique, 256

Orpen, Sir William, 277

Our America(Waldo Frank), 245 outside location: ‘I loathe working on’, 219

Oxford Music Hall (London), C. plays at the, 114–15

Paderewski, Ignacy, 191

pain as source of humour, 210

Painful Predicament of-Sherlock

Holmes, The(Wm Gillette’s curtain-raiser),

C.’s part hi, 88–90

painters, C. on, 389

palaces: ‘all are preposterous’, 353

panache type of acting, C.’s dislike

of, 253

Pantages Theatre Circuits (U.S.A.),

121

Paris,

C.’s first impressions of, 108; adventures

in, 109–14; C.’s welcome in,

119–120, 272

Parker, Sir Gilbert, 200

Parsons, Louella, 165, 312, 415

paternity suit, Joan Barry’s, 415ff.;

the trials, 419–24

patriotism, C. and, 349–50

Pavlova, Anna, 184, 185, 191, 193–4

Pebble Beach (California), 382–5

personality,

‘nothing transcended’, 143;

indefinable… shines through’,

255

Philadelphia, C.’s spending spree in

135–7

philosophizing: ‘1 often indulged

in’, 199

philosophy, C. and, 244, 287

Picasso, Pablo, 464

Pickfair (home of D. Fairbanks and

Mary Pickford), 288

Pickford, Mary, 156; and Douglas

Fairbanks, 198, 199, 288–90, 372; and Elinor Glyn, 201 ; and Liberty Bond Drives, 213–17 passim; and film companies’ mergers, 221 ; her legal and business acumen, 222; and United Artists, 221–3, 292; at Monsieur Verdoux première, 443

Pierce, Peggy (‘xwe ignited’), 156–7

Pilgrim, The(C’s film), 291

Pinnie (C.’s children’s nurse), 466

Poe, Edgar Allan, C. and works of, 135

poetó end poetry, C. on, 245, 389

’pom-pom’ dance, 113

Post Office, The(Karno sketch), 122

Postance, Mr (Wm Gillette’s stage manager), 89–90

poverty, C. on, 50, 267

‘Poverty Row’ films, 183

Prélude à l’Après-midi d’un Faune (Debussy), 114, 192–3

press, C. and the, 353; antagonism of, 400–401, 415 ff., 440 ff.

Priestley, J. B., 467

Provincetown Players, 244

psychic phenomena, C’s experiment in, 344–6

psychology as ingredient of silent films, 294–5

Purviance, Edna, ‘she was beautiful’, 169; ‘we were inseparable’, 203–5; and Thomas Meighan, 204–5; on

C.’s wedding, 228; C. considers parts for, 293;

in 0A Woman of Paris, 294–5; her last letters,

476; death, 477

Rachmaninov, Sergei, 390

Rain(W. Somerset Maugham), 127;

‘a model play’, 200

récitations, C.’s childhood, 41

‘red-light’ districts of America, 127

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