The Gold Rush 1924 1925 1926 next previous
The Gold Rush Clippings 46/363
Tamar Lane, Motion Picture, New York, November 1923.
Three A Woman of Paris Scenes
& NO doubt while you are waiting. I can have a little heart
to heart talk with you. I‘ve been thinking that
the public wants a little more realism in pictures whereby
a story is pursued to the logical ending. I would
like to get your ideas on this subject, for I am sure that those
of us who are producing pictures do not know – we only
guess. In my first serious drama, A Woman of Paris, I‘ve striven
for realism, true to life. What you will see is life as
I personally see it – the beauty – the sadness – the touches
– the gayety, all of which are necessary to make life
interesting. However, it is not for me to say that I am right.
My first thoughts have been to entertain you. The story
is intimate, simple and human, presenting a problem as old as
the ages – showing it with as much truth as I am
allowed to put into it – giving it a treatment as near realism
as I have been able to devise. I do not wish that
A Woman of Paris should appear as a preachment, or am
I expounding a sort of philosophy, unless it be
an appeal for a better understanding of human frailties.
After all you are the judge, and your taste must
be served. To some it may look as though I have not taken
full advantage of dramatic possibilities, while
others may see good taste in the strength of repression,
and by your reception will I guide myself in
the future. I was over seven months making A Woman of Paris,
and I enjoyed every moment of the time. However,
if I have failed in my effort to entertain you i feel it will be
my loss. Nevertheless I enjoyed making
it and sincerely hope you will enjoy seeing it.
Sincerely,
CHARLES CHAPLIN
N.B.: A letter addressed to Mr. Chaplin, care Lyric Theater,
will be given his personal attention.
(...) A Woman of Paris Program, Lyric Theatre,
New York, 1923, CineFiles, University of California Berkeley
Art Museum & Pacific Film Archive
& Chaplin‘s Apologia
„I‘ve been thinking,“ says Charlie Chaplin in the program
of A Woman of Paris, his film at the Lyric Theater
in Manhattan, „that the public wants a little more realism
in pictures whereby a story is pursued to the logical
ending. I would like to get your ideas on this subject, for I am
sure that those of us who are producing pictures
do not know – we only guess. In my first serious drama,
A Woman of Paris, I‘ve striven for realism,
true to life. What you will see is life as I personally see it –
the beauty, the sadness, the touches, the
gayety, all of which are necessary to make life interesting.
However, it is not for me to say that I am right.
My first thoughts have been to entertain you. The story
is intimate, simple and human, presenting a problem
as old as the ages, showing it with as much truth as I am
allowed to put into it, giving it a treatment as near
realism as I have been able to devise. I do not wish that
A Woman of Paris should appear as a preachment,
nor am I expounding a sort of philosophy, unless it be an
appeal for a better understanding of human frailties.
After all, you are the judge, and your taste must be served.
To some it may look as though I have not taken full
advantage of dramatic possibilities, while others may see
good taste in the strength of repression, and by your
reception will I guide myself in the future. I was over seven
months making A Woman of Paris, and I enjoyed
every moment of the time. However, if I have failed in my effort
to entertain you i feel it will be my loss. Nevertheless
I enjoyed making it and sincerely hope you will enjoy seeing it.“
A letter addressed to Mr. Chaplin, care Lyric Theater,
will be given his personal attention.
(...) Brooklyn Daily Eagle, Oct. 14, 1923
„Drop some ice-cream down a society matron‘s back“
Editorial content. „That‘s Out According to Tamar Lane“ (...)
„It is rumored that Charlie Chaplin intends to forego
comedy in the near future to try his hand at serious drama.
It is possible he is making a big mistake. In comedy
he stands head and shoulders above the rest of the buffoons.
He cannot hope to do the same in the dramatic field.
CHAPLIN AS A TRAGEDIAN
According to announcements, Charlie Chaplin intends
to forego comedy in the near future to try his hand at
serous drama. This is sad news and a blow to the screen.
Also it is quite possible Charlie is making a big mistake.
In comedy Chaplin stands head and shoulders above the rest
of the buffoons. He cannot hope to do the same in the
dramatic field. The photoplay has plenty of fine actors, Richard
Barthelmess, Charles Ray, John Barrymore, etc. Genius
that he is, Chaplin cannot expect to surpass them. Of good film
comedians there is too great a shortage even today.
We need Charlie and his comic capers more than we need
Chaplin the superb dramatic actor. If Chaplin does
persist in going in for the higher forms of drama, he will learn
that the public is going to find it a difficult matter to take
his screen performances seriously. As the film unwinds, they will
momentarily expect him to reach out his cane and grab
the villain by the neck or drop some ice-cream down a society
matron‘s back.“
Cartoon by TASKEY.
Redaktioneller Inhalt
The Gold Rush 1924 1925 1926 next previous
