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The Gold Rush Clippings 56/363

Gladys Hall/Adele W. Fletcher, Motion Picture, N. Y., Feb. 1924.

Gladys Hall, undated, Margaret Herrick Library, Academy

of Motion Picture Arts and Sciences

& On board the „Zacca“ for first postwar expedition: Errol

and Nora Flynn, artist John Decker and Errol‘s

father, scientist Thomas Flynn. (...) Modern Screen, April 1947

„No, No, NO!“

Editorial content. Cartoon by John Decker.

„Above is a caricature made by John Decker over which

Charlie was enthusiastic. And, after all, whatever

Chaplin may do, he will never be forgotten as the wistful little

man who has erased the tears of the world. And,

on the right, is one of the new portraits taken of him on his

recent visit in New York.“

      Photograph by G. Maillard Kesslere. Charles Chaplin.

      ,No, No, NO!‘ said Charlie Chapin. ,I‘m going back

to California and make another comedy. I don‘t want to play

Hamlet at all. Shakespeare would bore me to death

on the screen. It‘s the beauty of Shakespeare‘s lines which

have made him an immortal. I‘m going back to the

old shoes... the old cane and derby. Once in awhile... about

once a year or so... I should like to make something

really rare and beautiful... as it comes to me: like A Woman

of Paris. I had to make that when I did. It grew and

grew in my mind until I couldn‘t do anything else but just that.“

      We interview Charlie Chaplin

      A Playful Playlet in One Act and Five Scenes

      The Cast

      Charlie Chaplin – Whom all the world knows

      We – Gladys Hall and Adele Whitely Fletcher

      Such supernumeries as: Hotel clerks, audience at the

Lyric Theater, page boys, telephone operators,

publicity men, elevator experts, Charlie‘s Japanese valet,

who should be in the diplomatic service, et cetera.

      SCENE I IS THE LYRIC THEATER. – It is the New

York premiere of A Woman of Paris.“

      „Gladys Hall (coaxingly): Aren‘t we going to interview him?

Huh? Huh?“

      Adele Whitely Fletcher (with deliberation... perhaps she

was planning a single interview, who knows?)

      Maybe...“ (...)

      „Gladys Hall: I have a new dress and everything...“ (...)

      „SCENE II. – The lobby of the Ritz-Carlton. Two days

later. It is eleven o‘clock and Gladys Hall and Adele Whitely

Fletcher enter, yawning. Of course they are working

girls and all that. Still... Adele Whitely Fletcher requests

the number of Mr. Chaplin‘s suite with something of

an air de luxe.“ (...)

      „Adele Whitely Fletcher (optimistically, as it develops):

Room 423, please...“

      „Adele Whitely Fletcher: Miss Hall and Miss

Fletcher to see Mr. Chaplin by appointment. (Pause)

      „Adele Whitely Fletcher (aggrieved): But we had an

appointment. He hasn‘t risen yet?“ (...)

      SCENE III. Same as Scene II. Two o‘clock

in the afternoon.“ (...)

      „Adele Whitely Fletcher (and there is marked doubt in

her tone): Room 423, please... (Pause.)

      „Adele Whitely Fletcher: He hasn‘t risen yet?

Well, but... (Pause.)

      Adele Whitely Fletcher: Very well, then, we‘ll be up in half

an hour...“

      „SCENE IV.“ (...)

      „Gladys Hall (with seeming irrelevance): In your

picture, A Woman of Paris, was your heroine in love with

both men?

      Charlie Chaplin (as impersonally as tho he were

discussing the Einstein theory as applied to the planet of

Mars): No, I don‘t think so. I don‘t think a woman

could love that boy from the country after she had known

intimately a man of the other sort. A man of his

sophistication, polish, charm. For the boy I thought she

felt a sentimental interest. She felt that she should

be in love with him; that it was the thing to do. But a woman

loves first the man who makes her comfortable.

After that she can afford to indulge in sentiment...

      Adele Whitely Fletcher: Don‘t you think that women are

more sentimental than men?

      Charlie Chaplin: No. You know they‘re not. Men are

the great sentimentalists. Women are more direct,

too. A woman sees something she wants and goes straight

after it. She generally gets it, too.“ (...)

      „Adele Whitely Fletcher: You didn‘t have a bit of trouble

with the censors, did you?

      Charlie Chaplin: No you see, in the first place, the

ending of the picture salved anything like that.

And then, too, there is really nothing in the entire picture

that could offend a child when you come to think

of it. Only the sophisticated person, the person thoroughly

in the knowledge of a certain type of life and what

it means, would be sure of what he or she was seeing.

I feel, that is, I tried, to give the lives of those few

people as I saw them, as they would be lived, and with

offense to none.

      (Adele Whitely Fletcher and Gladys Hall now

reluctantly arise to go. Especially in view of the fact that

the valet has been answering the ‘phone at intervals

for hours and now, rather hoarse, informs Mr. Chaplin that

someone is awaiting him in the anteroom.)

      Charlie Chaplin (gallantly): Don‘t hurry. I‘ve lots

more to say to you. And I‘m really sorry there was any

misunderstanding about our appointment.

Really.“ (...)

      „SCENE V. – Fifth Avenue. It is now five-thirty. The

interviewers are discovered threading their aimless ways thru

the crowds.“ (...)

      Six photos, two drawings.

      See also Hall/Fletcher, We Interview Pola Negri,

      Motion Picture, Jan. 1923.

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