The Count Clippings 37/50
Motography, Chicago, Illinois, May 5, 1917.
Throughout The World These Mutual-Chaplin
Specials Are Making Millions
Laugh. Have YOU Booked Them? (...)
„The Count“
Charlie takes a little flyer into high society, disguised
as a member of the nobility.
(...) Motion Picture News, April 7, 1917
& Of course you saw The Count,
and screamed at the scene which immediately followed the caption, „Spaghetti.“ When Chaplin‘s foil let the spaghetti dangle
from his mouth and drew it in as Charlie tried to catch the ends,
you probably laughed until the tears ran down your cheeks.
I did. The very same week that I saw The Count I witnessed another
comedy in which the same single-word caption, „Spaghetti,“
was followed by some of the most asinine efforts at fun-making
imaginable. The director and the actors evidently knew
that there was fun somewhere concealed in the famous Italian
by-product, but, being unable to extract it, they contented
themselves with throwing the spaghetti all over the set. After
viewing the above spectacle, the thought struck me that
if those dubs were paid a living wage for such work, then Charlie Chaplin ought to draw down a million per annum.
(...) Is He Worth It, and Does He Get It? By John Tillman Melvin,
Motion Picture, Feb. 1917
„Until he reaches a sticking point“
Editorial content. „How Charlie Chaplin Works
Where does Charlie Chaplin get all his ideas? How does
he work them out? These two questions are asked time
and time again. And Charlie has a method all his own in working
out his super-comedies which is characteristic
of everything else connected with the Mutual comedian.
Charlie starts out with a certain idea – often
the merest germ – and works through haltingly until he reaches
a sticking point. Then a better idea suggests itself
and he starts from his original point and reconstructs the whole
picture.
The same thing applied to Behind the Screen and The Count, neither of which was started in its ultimate form.“
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