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Dough and Dynamite Clippings 50/50

Terry Ramsaye, Photoplay, New York, November 1924.

Berenice Abbott (photographer), Lyric Theatre, 3rd Ave

at 12th and 13th Street, New York, April 24, 1936

& Keystone Comedy Revival

Charlie Chaplin in Dough and Dynamite

(...) Film Daily, Jan. 24, 1923

& KEYSTONE COMEDY REVIVAL

France is worried!

England is worried!

The United States is worried!

Everybody is worried!

ALL THEY NEED IS A GOOD HEARTY LAUGH! (...)

TRI-Stone Pictures, Inc.

(...) Moving Picture World, Jan. 20, 1923

& KEYSTONE COMEDY REVIVAL

CHARLIE CHAPLIN in Dough and Dynamite

(...) Moving Picture World, Feb. 3, 1923

& Charles Chaplin in the New Edition

of „Dough and Dynamite“

One of the most absurdly funny of all the masterpieces

of fun, this picture has been made funnier

than ever by the reconstruction just completed by

Syd Chaplin (...)

TRI-Stone Pictures, Inc.

(...) Exhibitors Herald, March 31, 1923

„Nothing but the genuine“

Editorial content. „Old Chaplin Films ,Bootlegged‘

      Meanwhile the old Keystone Chaplin comedies with

which he has made his first invasion of the screen

were working to the limit of the prints still in the stock of the

Mutual Film Corporation.“ (...)

      „As the Mutual‘s prints of such classics as Dough and

Dynamite wore out they could not be replaced.

At the same time the numerous state‘s right and independent

exchange men were getting a bootleg supply

of re-imported Keystone-Chaplins. These were prints

of the same subjects made for Mutual, sold

by Keystone abroad for foreign consumption and shipped

back into the United States.“ (...)

      „Some measure of the amazing Chaplin

circulation may be gained from consideration of one single theater,

the humble little Crystal Hall, operated in Fourteenth street,

New York, in connection with a penny arcade. A Chaplin comedy

went on the screen there with the release of his Keystone

pictures in 1913.“ 1914. „From that day until the establishment

burned in 1923, ten years later,  Chaplin was off that

screen a total of four days. In those four days the management

experimented with Chaplin substitutes in the form of

comedies made by two of his best imitators. The experiment

proved that Fourteenth street would accept nothing but

the genuine. In a single day the receipts of the film show would

drop fifty per cent if the genuine Chaplin was missing.“

Redaktioneller Inhalt

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