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The Circus Clippings 344/376

Journal of the Society of Motion Picture Engineers, Sept. 1928.

The Circus Still, University of California, Los Angeles,

Performing Arts Special Collections

& THE CASE OF CHAPLIN‘S „THE CIRCUS“

      When you buy a picture you naturally expect to receive

it and to play it during the year that you buy it in. You

know how business is that year, and you are in a position to tell

what that particular picture would do approximately

at your box office. A year later business conditions may be such

that you cannot afford to play the same picture at the

price you agreed to pay.

      When you contracted for Chaplin‘s „The Circus,“ business

conditions were good; and if Mr. Chaplin had produced

and delivered the picture at that time, there is no question in my

mind that every one of you would have made money.

      But Mr. Chaplin did not make the picture when he promised

to make it, or at least when the United Artists salesmen

told you he would make it.

      Of course, the contract specifies that when a producer fails,

for causes enumerated in the contract, to produce

a picture, or is delayed in the production of it, for causes

beyond his control, he is blameless. And United

Artists were entitled to be held blameless if the delay had been

caused by causes beyond Mr. Chaplin‘s control.

      But such was not the case: domestic troubles were

the cause. And such a cause is not, and should

not be, excused by the contract. Under the circumstances,

the exhibitor-arbitrators should render a favorable

award for the exhibitor that wants his „The Circus“ contract

canceled.

(...) Harrison‘s Reports, A Reviewing Service Free from the

Influence of Film Advertising, New York, Sept. 22, 1928

& Mordaunt Hall

(...) Photo, Exhibitors Trade Review, Aug. 8, 1925, detail

„The eyes can tell you of love far more effectively“

Editorial content. (...) „THE REACTION OF THE PUBLIC

      TO MOTION PICTURES  WITH SOUND

      Mordaunt Hall Motion Picture Editor, New York Times“ (...)

      „Chaplin‘s work needs no sound to attract

an audience. He is one of the few men in this picture-making

business whose productions have been favored even

by those who seldom attended the cinemas. Chaplin is a great

artist, for, besides being a remarkable actor who

is able to lend realism and depth, as well as humor and pathos

to his queer little character, he knows how to picture

certain details that help to make his films different from any other

producer‘s. He is also as expert and imaginative

a director as there is in the business. To him the idea

of the voice with shadows is tantamount

to an abomination. He believes that the eyes can tell you

of love far more effectively than hearing ,I love you.‘“

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