One A. M. Clippings 3/56
Arthur E. Curtis, Motography, Chicago, July 22, 1916.
Charlie Chaplin in „One A. M.,“ Mutual
(...) Two Scenes, Motion Picture News, Aug. 12, 1916
& AT a recent gathering of exhibitors some said that the day
of the „little fellow“ was gone. There followed a storm
of dissent in which the writer joined. „The little fellow“ is still
the backbone of the industry and is likely to remain
so for some time to come. The great groups of organized
manufacturers who supply regular programs know
that the „little fellow“ is very much alive. He is the cornerstone
of whatever prosperity they enjoy. While the suburban
house and the neighborhood theater continue to exist the „little
fellow“ will stay with us. We love to think of the gorgeous
motion picture palaces in the heart of our big cities, but we know
there are not enough of them to make one
big constellation in the firmament of motion pictures.
(...) Facts and Comments, Moving Picture
World, July 22, 1916, Editorial
„Before seven a. m. Charlie is in his bath“
Editorial content. „Just What Kind of a Fellow is Charlie?
Some Through-The-Keyhole Close-Ups of the
World‘s Greatest Chuckle-Maker
By Arthur E. Curtis
THE meanderings of Charlie Chaplin‘s shuffling footsteps
in the sands of time are going to spell ,The world‘s greatest comedian.‘“ (...)
„Before seven a. m. Charlie is in his bath. This over with,
he places himself in the hands of his barber, sits down
to his breakfast, spends a half hour with the morning papers
and then a chiropodist shakes hands with Charlie‘s
feet.“ (...)
„He reaches the studio every morning, when he is working,
which is practically every day of the year, at ten o‘clock.
Once in the studio, Chaplin confers with his studio manager,
members of his company and other officials, and then
doffs his street clothes for his make-up.
In the studio Chaplin is a great worker; he directs as well
as acts. Every set, regardless of its size, is placed
under his personal direction. He is an expert in lighting effects.
He sees to it that everything is in proper shape before
starting work.
This completed, he summons his company and rehearses
the scenes about to be staged.
Chaplin works at the studio anywhere from eight to ten hours, depending on the importance of the production. In many
respects, Chaplin is a hard taskmaster. He is a great believer
in details and sees to it that every member of his
company from himself all the way down the line to the ,extras‘
do their parts and do them well. His work over, the
comedian is the personification of kindness. His day at the
studio generally ends about four o‘clock. A half hour
later, in street clothes, Chaplin enters a little private office and
lays out the routine for the following day.
Then he goes for a short spin in his car, generally with his
studio manager or some other intimate, and winds up
at the Los Angeles Athletic Club, where he is domiciled during
his stay in Los Angeles. Until time to dine, Chaplin
lounges about the corridors talking with friends or reading
the afternoon papers. Dinners over, Chaplin goes
immediately to his room, where he dons his ,gym‘ suit and
proceeds to the club‘s gymnasium. Here he spends
an hour each evening, boxing, wrestling, tussling with the weight
machines and bag punching, followed by a plunge
in the pool.
Chaplin devotes almost two hours every night to his
correspondence and personal business affairs
he must care of, aside from those handled by one of his
secretaries. Ten o‘clock finds him ready for bed.
His valet prepares his bath again and after a cold shower,
Chaplin ducks in between the sheets. Within
the space of a very few minutes he is fast asleep.
Chaplin does not smoke nor drink.“ (...)
„His chief hobby, however, is found in his violin.“ (...)
Ten photos.
Redaktioneller Inhalt
