The Great Dictator: Wikis


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The Great Dictator
Directed by Charlie Chaplin
Wheeler Dryden
Produced by Charlie Chaplin
Written by Charlie Chaplin
Starring Charlie Chaplin
Paulette Goddard
Jack Oakie
Music by Charlie Chaplin
Meredith Willson
Distributed by United Artists
Release date(s) October 15, 1940
Running time 124 min.
Country United States
Language English
Budget $2,000,000

The Great Dictator is a comedy film written, directed, produced by, and starring Charlie Chaplin. First released in October 1940, it was Chaplin's first true talking picture as well as his most commercially successful film[1], and more importantly, was the only major film of its period to bitterly satirize Nazism and Adolf Hitler.

The film is unusual for its period, as the United States was still formally at peace with Nazi Germany. Chaplin's film advanced a stirring, controversial condemnation of Hitler, fascism, antisemitism, and the Nazis, the latter of whom he excoriates in the film as "machine men, with machine minds and machine hearts".



The film begins during a battle of World War I. The protagonist is an unnamed Jewish private (Charlie Chaplin), who is a barber by profession and is fighting for the Central Powers in the army of the fictional nation of Tomainia (an allusion to ptomaine poisoning), comically blundering through the trenches in a tract of combat scenes. Upon hearing a fatigued pilot pleading for help, the private valiantly attempts to rescue the exhausted officer, one Commander Schultz (Reginald Gardiner), as the two board Schultz's nearby airplane and fly off, escaping enemy fire in the nick of time. Commander Schultz reveals that he is carrying important dispatches that could win Tomania the war. However, the plane quickly loses fuel and crashes. Both Schultz and the unnamed private survive. The private's landing is cushioned by a huge pit of wet mud. As medics arrive, Commander Schultz gives them the dispatches, but is told that the war has just ended and Tomania has lost.

The scene cuts to victory celebrations, newspaper headlines, the evacuation and hospitalization of the private, and to a speech given twenty years later by Adenoid Hynkel (cf. Adolf Hitler, also played by Chaplin in a double role), now the ruthless dictator of Tomainia, who has undertaken an endeavor to persecute Jews throughout the land, aided by Minister of the Interior Garbitsch (compare Joseph Goebbels, played by Henry Daniell) and Minister of War Herring (compare Hermann Göring, played by Billy Gilbert). The symbol of Hynkel's fascist regime is the "double cross" (compare the Nazi swastika) and Hynkel himself speaks a dramatic, macaronic parody of the German language (reminiscent of Hitler's own fiery speeches), "translated" at humorously obvious parts in the speech by an overly concise English-speaking news voice-over.

The Jewish private and barber, who had been hospitalized for the past twenty years, having suffered memory loss from the prior plane crash, is blissfully unaware of Hynkel's rise to power and now, at last, returns to his barbershop in the Jewish ghetto, shocked when storm troopers paint "Jew" on the windows of his shop. In the ensuing slapstick scuffle with the stormtroopers, Hannah, (Paulette Goddard), a beautiful resident of the ghetto, knocks both Stormtroopers on the head with a frying pan. The barber finds a friend and ultimately a love interest in Hannah. At one point, the barber is almost lynched by Stormtroopers, but is saved when Commander Schultz, now a high official in Hynkel's government, intervenes.

Meanwhile, Schultz, who has come up in the ranks in the intervening twenty years, recognizes the barber (who is reminded of WWI by Schultz and therefore gets his memory back) and, though surprised to find him a Jew, Schultz orders the storm troopers to leave him and Hannah alone. Hynkel, in addition, has relaxed his stance on Tomainian Jewry in an attempt to woo a Jewish financier into giving him a loan to support his regime. Egged on by Garbitsch, Hynkel has become obsessed with the idea of world domination. In one famous scene, Hynkel dances with a large, inflatable globe to the tune of the Prelude to Act I of Richard Wagner's Lohengrin) at the end of which it suddenly pops in his hands, like a balloon.

On Garbitsch's advice, Hynkel has planned to invade the neighboring country of Osterlich (likely a corruption of Österreich, the German name for Austria) and needs the loan to finance the invasion. Eventually, the financier refuses, and Hynkel reinstates his persecution of the Jews, this time to an even greater extent. Schultz voices his objection to the pogrom and shows his empathy towards Jews; Hynkel denounces Schultz as a supporter of democracy and a traitor, and orders Schultz placed in a concentration camp. Schultz flees to the ghetto and begins planning to overthrow the Hynkel regime.

Schultz, along with the unnamed barber, Hannah, and other members of the Jewish ghetto, meet to discuss their subversive plot. Schultz says that in order to decide who will carry out this plot (which involves a suicide mission to blow up Hynkel's palace), a coin will be placed in one of five puddings, and the person who receives the one with the coin in it is to carry out the mission. However, Hannah, trying to make a pacifistic statement, has placed a coin in every dessert, leading to one of Chaplin's most comical scenes; finally, they all decide it is best to heed Hannah's advice not to attempt the suicide mission. Eventually, however, both Schultz and his barber friend are captured and condemned to the concentration camp.

Hynkel is initially opposed by Benzino Napaloni (a portmanteau of Benito Mussolini and Napoleon Bonaparte, played by Jack Oakie), dictator of Bacteria, in his plans to invade Osterlich. Hynkel invites Napaloni to talk the situation over in Tomainia, however, and attempts to impress Napaloni with a display of military might and psychological warfare, and thus invites Napolini to a military show. The military show turned out to be a disaster. Hynkel's "light artillery" did not arrive. Hynkel's bombers fall from the sky after initially being mistaken for Napaloni's planes. The tanks do arrive, but they totally fail to impress Napaloni, who claims to have tanks that can fly and go under the water. (Herring blusters that they are concentrating on "flying dreadnoughts".) After some friction and a comedic food fight between the two leaders, a deal is made. Hynkel immediately breaks the deal, and the invasion proceeds successfully. Hannah, who has since emigrated to Osterlich to escape Hynkel, once again finds herself living under Hynkel's regime.

Schultz and the barber escape from the camp wearing Tomainian uniforms. Border guards mistake the barber for Hynkel, to whom he is nearly identical in appearance. Conversely, Hynkel, on a duck-hunting trip so that people will not expect an invasion, falls overboard and is mistaken for the barber and is arrested by his own soldiers.

The barber, who has assumed Hynkel's identity, is taken to the Tomainian capital to make a victory speech. Garbitsch, in introducing "Hynkel" to the throngs, decries free speech and other supposedly traitorous and outdated ideas. In contrast, the barber then makes a rousing speech, reversing Hynkel's anti-Semitic policies and declaring that Tomainia and Osterlich will now be a free nation and a democracy.[2]

Hannah, who was previously mistreated by Tomanian police agents looking for the barber, hears the barber's speech on the radio, and is amazed when "Hynkel" addresses her directly: "Hannah, can you hear me? Wherever you are, look up, Hannah. The clouds are lifting. The sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world, a kindlier world, where men will rise above their hate, their greed and brutality. Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow—into the light of hope, into the future, the glorious future that belongs to you, to me, and to all of us. Look up, Hannah. Look up" . Hannah looks up with an optimistic smile.[3]

Cast and analysis

Chaplin (as the barber) absent-mindedly attempts to shave Goddard (as Hannah) in this image from the trailer for the film.

The film stars Chaplin as Hynkel and the barber, Paulette Goddard as Hannah, Jack Oakie as Napaloni, Reginald Gardiner as Schultz, Henry Daniell as Garbitsch and Billy Gilbert as Field Marshal Herring, an incompetent adviser to Hynkel. Chaplin stars in a double role as the Jewish barber and the fascist dictator (or "Phooey", parodying "Führer") clearly modeled on Adolf Hitler.

The names of the aides of Adenoid Hynkel are parodies of those of Hitler's. Garbitsch (pronounced "garbage"), the right hand man of Hynkel, is a parody of Joseph Goebbels, and Field Marshal Herring was modeled after the Luftwaffe chief, Hermann Göring. The "Dig-a-ditchy" of Bacteria, Benzino Napaloni, was modeled after Italy's Il Duce, Benito Mussolini. Benzino is played with arrogant buffoonery by Jack Oakie.

Much of the film is taken up by Hynkel and Napaloni arguing over the fate of Osterlich (Austria). Originally, Mussolini was opposed to the German takeover since he saw Austria as a buffer-state between Germany and Italy. The international community (in particular, France and Britain, Mussolini's Stresa front partners) did not share Italy's concern over German annexation of Austria and supported League of Nations sanctions against Italy, after Italy invaded Ethiopia. In 1936, Mussolini submitted to Hitler's will, withdrew Italian troops from the Brenner Pass along the Austrian border, and moved closer to Germany, as Hitler did not apply sanctions against Italy. This conflict is almost forgotten today given Italy's alliance with the German Third Reich during World War II.

The film contains several of Chaplin's most famous sequences. The rally speech by Hynkel, delivered in German-sounding gibberish, is a caricature of Hitler's oratory style, which Chaplin studied carefully in newsreels.[4] The German words schnitzel, sauerkraut and liverwurst can be made out, as well as "Katzenjammer Kids" and English phrases such as "cheese'n'crackers" and frequently "lager beer", in the fake German Hynkel speaks during the rally and at other points in the film when he is angry (though he normally speaks English). Billy Gilbert as Herring is also required to improvise this fake German at times, and at one point (where he is apologizing for having accidentally knocked Hynkel down the stairs) he comes up with the word "banana". Chaplin is clearly taken by surprise and repeats, "Der banana?" before incorporating the word into his own reply. Chaplin, as Hynkel, has a tendency to remove Herring's medals when he gets angry. In the scene where Hynkel receives news that Napaloni mobilized his troops along the Osterlich border, Hynkel not only removed all of Herring's medals, but removed all of his buttons on his shirt, revealing a striped shirt with suspenders and then slaps Herring.

Chaplin, as the barber, shaves a customer in tune with a radio broadcast of Johannes Brahms's Hungarian Dance No. 5, recorded in one continuous shot. The film's most celebrated sequence is the ballet dance between Hynkel and a balloon globe in his palatial office, set to Richard Wagner's Lohengrin Overture, which is also used at the end of the film when the Jewish barber is making the victory speech in Hynkel's place. The globe dance had its origins in the late 1920s, when Chaplin was filmed at a Hollywood party doing an early version of the dance, with a globe and a Prussian military helmet (this footage appears in the documentary Unknown Chaplin).

The film ends with the barber, having been mistaken for the dictator, delivering an address in front of a large audience and over the radio to the nation, following the Tomainian take-over of Osterlich (a reference to the German Anschluss of Austria on March 12, 1938). The address is widely interpreted as an out-of-character personal plea from Chaplin.

The Third Reich's official taste in art and architecture is frequently parodied. The distance between the front door and Hynkel's desk is ridiculously long, and while a painter and a sculptor try to create his official image, the dictator never stays posed for more than a few seconds at a time. In the main thoroughfare of the capital the Venus de Milo has been "repaired" to give a fascist salute, and Rodin's The Thinker still sits, but now also has his arm raised.

Some of the signs in the shop windows of the ghettoized Jewish population in the film are written in Esperanto, a language which Hitler condemned as a Jewish plot to internationalize and destroy German culture.[5]

Garbitsch, who constantly counsels and advises Hynkel, seems to be the one guiding him. This is an allusion to the rumors that Goebbels was the actual ruler and Hitler only a puppet-leader.

Making of the film

The film was directed by Chaplin and his half-brother Wheeler Dryden, and written and produced by Chaplin. The film was shot largely at the Chaplin Studios and other locations around Los Angeles. The elaborate World War I scenes were filmed in Laurel Canyon. Chaplin and Meredith Wilson composed the music. Filming began in September 1939 and finished six months later. Chaplin was motivated by the escalating violence and repression of Jews by the Nazis throughout the late 1930s, the magnitude of which was conveyed to him personally by his European Jewish friends and fellow artists. The Third Reich's repressive nature and militarist tendencies were also well-known at the time. However, Chaplin later stated that he would not have made the film if he had known of the true extent of the Nazis' crimes.[1]

Several similarities between Hitler and Chaplin have been noted and may have been a pivotal factor in Chaplin's decision to make The Great Dictator. Chaplin and Hitler had superficially similar looks, most famously their toothbrush moustaches, and this similarity is often commented upon. (Tommy Handley wrote a song named "Who is This Man Who Looks like Charlie Chaplin?"[6]) Furthermore, the two men were born only four days apart in April 1889, and both grew up in relative poverty.

As Hitler and his Nazi Party rose to prominence, Chaplin's popularity throughout the world became greater than ever; he was mobbed by fans on a 1931 trip to Berlin, which annoyed the Nazis, who published a book in 1934 titled The Jews Are Looking at You, in which the comedian was described as "a disgusting Jewish acrobat." Ivor Montagu, a close friend of Chaplin, relates that he sent Chaplin a copy of the book and always believed this was the genesis of "Dictator."[7]

Chaplin prepared the story throughout 1938 and 1939, and began filming in September 1939, one week after the beginning of World War II. He finished filming almost six months later. The 2001 BBC documentary on the making of the film, The Tramp and the Dictator, presented newly discovered footage of the film production (shot by Chaplin's elder half-brother Sydney) which showed Chaplin's initial attempts at the film's ending, filmed before the fall of France.[1]

The making of the film coincided with rising tensions throughout the world. Speculation grew that this and other anti-fascist films such as The Mortal Storm and Four Sons would remain unreleased, given the United States' neutral relationship with Germany. The project continued largely because Chaplin was financially and artistically independent of other studios; also, failure to release the film would have bankrupted Chaplin, who had invested $1.5 million of his own money in the project. The film eventually opened in New York City in September 1940, to a wider American audience in October, and the United Kingdom in December. The film was released in France in April 1945.

When interviewed about this film being on such a touchy subject, Charlie Chaplin had only this to say: "Half-way through making The Great Dictator I began receiving alarming messages from United Artists ... but I was determined to go ahead, for Hitler must be laughed at." The documentary The Tramp and The Dictator provides audio of a 1983 interview with Chaplin associate Dan James, in which he reports that President Franklin D. Roosevelt sent his adviser Harry Hopkins to personally meet with Chaplin and encourage him to move ahead with the film.

According to The Tramp and the Dictator, the film was not only sent to Hitler, but an eyewitness confirmed he saw it.[1] According to the Internet Movie Database, Chaplin, after being told Hitler saw the movie, replied: "I'd give anything to know what he thought of it."[8] Hitler's response is not recorded but he is said to have viewed the film twice.[9]


The film was well received at the time of its release, and was popular with the American public. The film was also popular in the United Kingdom, drawing 9 million to the theatres.[10] Jewish audiences were deeply moved by the portrayal of Jewish characters and their plight, which was still a taboo subject in Hollywood films of the time; (over half the US population was antisemitic to some degree). Chaplin admitted in his autobiography that he could not have made the film if he had been aware of the true extent of the Nazis' crimes.

When the film was in production, the British government announced that it would prohibit its exhibition in the United Kingdom in keeping with its appeasement policy concerning Nazi Germany. However, by the time the film was released, the UK was at war with Germany and the film was now welcomed in part for its obvious propaganda value. In 1941, London's Prince of Wales Theatre screened its UK premiere. The film had been banned in many parts of Europe, and the theatre's owner, Alfred Esdaile, was apparently fined for showing it.[11] It eventually became Chaplin's highest grossing film.

In his 1964 autobiography, Chaplin stated that he would not have been able to make such jokes about the Nazi regime had the extent of the Nazi horrors been known, particularly the death camps and the Holocaust. While Ernst Lubitsch's 1942 To Be or Not To Be dealt with similar themes (even including another mistaken-identity Hitler figure), after the scope of Nazi atrocities became apparent it took over twenty years before any other films dared to satirize the era.[citation needed] Mel Brooks' The Producers (1968) mocked Nazis (though not their actions; also Brooks would later remake To Be or Not To Be) and the television series Hogan's Heroes represented later comedic takes on the era.

The film was nominated for five Academy Awards, including Academy Award for Best Picture, Academy Award for Best Actor (Chaplin), Best Supporting Actor (Oakie), Academy Award for Best Original Score (Meredith Willson) and an Academy Award for Best Original Screenplay (Chaplin).

In 1997, The Great Dictator was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically or aesthetically significant".

The film was Chaplin's first true talking picture and helped shake off accusations of Luddism following his previous release, the mostly dialogue-free Modern Times, released in 1936 when the silent era had all but ended in the late 1920s. The Great Dictator does, however, feature several silent scenes more in-keeping with Chaplin's previous films.

American Film Institute recognition


The score was written and directed by Meredith Willson, later to become well-known as creator of the 1957 musical comedy The Music Man.[12] Willson wrote:

I've seen [Chaplin] take a sound track and cut it all up and paste it back together and come up with some of the dangdest effects you ever heard—effects a composer would never think of. Don't kid yourself about that one. He would have been great at anything — music, law, ballet dancing, or painting — house, sign, or portrait. I got the screen credit for The Great Dictator music score, but the best parts of it were all Chaplin's ideas, like using the Lohengrin "Prelude" in the famous balloon-dance scene.[13]

According to Willson, the scene in which Chaplin shaves a customer to Brahms' Hungarian Dance No. 5 had been filmed before he arrived, using a phonograph record for timing. Willson was to re-record it with the full studio orchestra, fitting the music to the action. They had planned to do it painstakingly, recording eight measures or less at a time, after running through the whole scene to get the overall idea. Chaplin decided to record the runthrough in case anything was usable, and 'by dumb luck we had managed to catch every movement, and that was the first and only 'take' made of the scene, the one used in the finished picture' .[13]


The film was the subject of a plagiarism lawsuit (Bercovici v. Chaplin) in 1947 against Chaplin. The case was settled, with Chaplin paying Konrad Bercovici $95,000.[14] In his autobiography, Chaplin insisted that he had been the sole writer of the movie's script. He came to a settlement, though, because of his "unpopularity in the States at that moment and being under such court pressure, [he] was terrified, not knowing what to expect next."[15]

See also


  1. ^ a b c d The Tramp and the Dictator, official BBC web site
  2. ^ wikiquote:Charlie Chaplin#The Great Dictator (1940)
  3. ^ American Rhetoric: Movie Speech; "The Great Dictator" (1940)
  4. ^ R. Cole, "Anglo-American Anti-fascist Film Propaganda in a Time of Neutrality: The Great Dictator, 1940" in Historical Journal of Film, Radio and Television, 21 2 (2001): 137 - 152. Chaplin sat "for hours watching newsreels of the German dictator, exclaiming: ‘Oh, you bastard, you!"
  5. ^ Hoffmann, Frank W.; William G. Bailey (1992). Mind & Society Fads. Haworth Press. ISBN 1560241780. , p. 116: "Between world wars, Esperanto fared worse and, sadly, became embroiled in political power moves. Adolf Hitler wrote in Mein Kampf that the spread of Esperanto throughout Europe was a Jewish plot to break down national differences so that Jews could assume positions of authority.... After the Nazis' successful Blitzkrieg of Poland, the Warsaw Gestapo received orders to 'take care' of the Zamenhof family.... Zamenhof's son was shot... his two daughters were put in Treblinka death camp."
  6. ^ "Who Is This Man" lyrics
  7. ^ Review of the movie "The Tramp and the Dictator" by David Stratton, February 21, 2002, Variety
  8. ^ Trivia for The Great Dictator on IMDb
  9. ^ Irving Wallace, David Wallace, Amy Wallace, Sylvia Wallace (February 1980) "The Book of Lists 2", p. 200.
  10. ^ Ryan Gilbey, The Ultimate Film: The UK's 100 most popular films. London: BFI (2005): 240
  11. ^ Prince of Wales Theatre (2007), Theatre Programme, Mama Mia!, London (2007) 
  12. ^ "The Great Dictator". imdb. Retrieved 2007-04-06. 
  13. ^ a b Meredith WIllson (1948). And There I Stood WIth My Piccolo. Garden City, New York: Doubleday and Company, Inc.. 
  14. ^ "Law Library - American Law and Legal Information". Retrieved 2007-06-11. 
  15. ^ Chaplin, My Autobiography, 1964

Additional references

  1. Chaplin and American Culture: The Evolution of a Star Image. Charles J. Maland. Princeton, 1989.
  2. National Film Theatre/British Film Institute notes on The Great Dictator.
  3. The Tramp and the Dictator, directed by Kevin Brownlow, Michael Kloft 2002, 88 mn.

External links

Charlie Chaplin
Born Charles Spencer Chaplin
16 April 1889(1889 -04-16)
Walworth, London, England
Died 25 December 1977 (aged 88)
Vevey, Switzerland
Occupation Actor, film director, film producer, screenwriter, composer, mime
Years active 1895–1976[1]
Spouse Mildred Harris (1918–1921) «Did not recognize date. Try slightly modifying the date in the first parameter.–Did not recognize date. Try slightly modifying the date in the first parameter.»"Marriage: Mildred Harris to Charlie Chaplin" Location: (linkback:
Lita Grey (1924–1927) «Did not recognize date. Try slightly modifying the date in the first parameter.–Did not recognize date. Try slightly modifying the date in the first parameter.»"Marriage: Lita Grey to Charlie Chaplin" Location: (linkback:
Paulette Goddard (1936–1942) «Did not recognize date. Try slightly modifying the date in the first parameter.–Did not recognize date. Try slightly modifying the date in the first parameter.»"Marriage: Paulette Goddard to Charlie Chaplin" Location: (linkback:
Oona O'Neill (1943–1977) «Did not recognize date. Try slightly modifying the date in the first parameter.–Did not recognize date. Try slightly modifying the date in the first parameter.»"Marriage: Oona O'Neill to Charlie Chaplin" Location: (linkback:
Sir Charles Spencer "Charlie" Chaplin, KBE (16 April 1889 – 25 December 1977) was an English comic actor and film director of the silent film era.[2] He became one of the best-known film stars in the world before the end of the First World War. Chaplin used mime, slapstick and other visual comedy routines, and continued well into the era of the talkies, though his films decreased in frequency from the end of the 1920s. His most famous role was that of The Tramp, which he first played in the Keystone comedy Kid Auto Races at Venice in 1914.[3] From the April 1914 one-reeler Twenty Minutes of Love onwards he was writing and directing most of his films, by 1916 he was also producing, and from 1918 composing the music. With Mary Pickford, Douglas Fairbanks and D. W. Griffith, he co-founded United Artists in 1919.[4] Chaplin was one of the most creative and influential personalities of the silent-film era. He was influenced by his predecessor, the French silent movie comedian Max Linder, to whom he dedicated one of his films.[5] His working life in entertainment spanned over 75 years, from the Victorian stage and the Music Hall in the United Kingdom as a child performer, until close to his death at the age of 88. His high-profile public and private life encompassed both adulation and controversy. Chaplin's identification with the left ultimately forced him to resettle in Europe during the McCarthy era in the early 1950s. In 1999, the American Film Institute ranked Chaplin the 10th greatest male screen legend of all time.[6] In 2008, Martin Sieff, in a review of the book Chaplin: A Life, wrote: "Chaplin was not just 'big', he was gigantic. In 1915, he burst onto a war-torn world bringing it the gift of comedy, laughter and relief while it was tearing itself apart through World War I. Over the next 25 years, through the Great Depression and the rise of Adolf Hitler, he stayed on the job. ... It is doubtful any individual has ever given more entertainment, pleasure and relief to so many human beings when they needed it the most".[7] George Bernard Shaw called Chaplin "the only genius to come out of the movie industry".[8]



Early life in London (1889–1909)

Charles Spencer Chaplin was born on 16 April 1889, in East Street, Walworth, London, England.[9] His parents were both entertainers in the music hall tradition; his father, Charles Spencer Chaplin Sr, was a vocalist and an actor and his mother, Hannah Chaplin, a singer and an actress who went by the stage name Lilly Harley.[10] They separated before Charlie was three. He learned singing from his parents. The 1891 census shows that his mother lived with Charlie and his older half-brother Sydney on Barlow Street, Walworth.

As a small child, Chaplin also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street and 39 Methley Street. His paternal grandmother's mother was from the Smith family of Romanichals,[11] a fact of which he was extremely proud,[12] though he described it in his autobiography as "the skeleton in our family cupboard".[13] Chaplin's father, Charles Chaplin Sr., was an alcoholic and had little contact with his son, though Chaplin and his half-brother briefly lived with their father and his mistress, Louise, at 287 Kennington Road.[14][15] The half-brothers lived there while their mentally ill mother lived at Cane Hill Asylum at Coulsdon. Chaplin's father's mistress sent the boy to Archbishop Temples Boys School. His father died of cirrhosis of the liver when Charlie was twelve in 1901.[16] As of the 1901 Census, Chaplin resided at 94 Ferndale Road, Lambeth, as part of a troupe of young male dancers, The Eight Lancashire Lads,[17] managed by a William Jackson.[18]

A larynx condition ended the singing career of Chaplin's mother.[19] After Chaplin's mother was again admitted to the Cane Hill Asylum, her son was left in the workhouse at Lambeth in south London, moving after several weeks to the Central London District School for paupers in Hanwell.

First years in the United States (1910–1913)

File:Charlie Chaplin
Bain News Service photo of Chaplin at his desk c. 1910

Chaplin first toured the United States with the Fred Karno troupe from 1910 to 1912. After five months back in England, he returned to the U.S. for a second tour, arriving with the Karno Troupe on 2 October 1912. In the Karno Company was Arthur Stanley Jefferson, who later became known as Stan Laurel. Chaplin and Laurel shared a room in a boarding house. Stan Laurel returned to England but Chaplin remained in the United States. In late 1913, Chaplin's act with the Karno Troupe was seen by Mack Sennett, Mabel Normand, Minta Durfee, and Fatty Arbuckle. Sennett hired him for his studio, the Keystone Film Company as a replacement for Ford Sterling.[20] Chaplin had considerable initial difficulty adjusting to the demands of film acting and his performance suffered for it. After Chaplin's first film appearance, Making a Living was filmed, Sennett felt he had made a costly mistake.[21] Most historians agree it was Normand who persuaded him to give Chaplin another chance.[22]

Mack Sennett did not warm to Chaplin right away, and Chaplin believed Sennett intended to fire him following a disagreement with Normand.[23] However, Chaplin's pictures were soon a success, and he became one of the biggest stars at Keystone.[23][24]

Chaplin was given over to Normand, who directed and wrote a handful of his earliest films.[23] Chaplin did not enjoy being directed by a woman, and they often disagreed.[23] Eventually, the two worked out their differences and remained friends long after Chaplin left Keystone.

The Tramp (1914–1915)

(1914)]] The Tramp debuted during the silent film era in the Keystone comedy Kid Auto Races at Venice (released on 7 February 1914). Chaplin, with his Little Tramp character, quickly became the most popular star in Keystone director Mack Sennett's company of players. Chaplin continued to play the Tramp through dozens of short films and, later, feature-length productions (in only a handful of other productions did he play characters other than the Tramp). He portrayed a Keystone Kop in A Thief Catcher filmed Jan. 5–26, 1914.[25]

The Tramp was closely identified with the silent era, and was considered an international character; when the sound era began in the late 1920s, Chaplin refused to make a talkie featuring the character. The 1931 production City Lights featured no dialogue. Chaplin officially retired the character in the film Modern Times (released 5 February 1936), which appropriately ended with the Tramp walking down an endless highway toward the horizon. The film was only a partial talkie and is often called the last silent film. The Tramp remains silent until near the end of the film when, for the first time, his voice is finally heard, albeit only as part of a French/Italian-derived gibberish song.

Two films Chaplin made in 1915, The Tramp and The Bank, created the characteristics of his screen persona. While in the end the Tramp manages to shake off his disappointment and resume his carefree ways, “the pathos lies in The Tramp's hope for a more permanent transformation through love, and his failure to achieve this.”[citation needed]

(1914): Chaplin's second film and the debut of his "tramp" costume]] Chaplin's earliest films were made for Mack Sennett's Keystone Studios, where he developed his tramp character and very quickly learned the art and craft of film making. The public first saw the tramp when Chaplin, at age 24, appeared in his second film to be released (7 February 1914), Kid Auto Races at Venice.

However, he had devised the tramp costume for a film produced a few days earlier but released later (9 February 1914), Mabel's Strange Predicament. Mack Sennett had requested that Chaplin "get into a comedy make-up".[26] As Chaplin recalled in his autobiography:

I had no idea what makeup to put on. I did not like my get-up as the press reporter [in Making a Living]. However on the way to the wardrobe I thought I would dress in baggy pants, big shoes, a cane and a derby hat. I wanted everything to be a contradiction: the pants baggy, the coat tight, the hat small and the shoes large. I was undecided whether to look old or young, but remembering Sennett had expected me to be a much older man, I added a small moustache, which I reasoned, would add age without hiding my expression. I had no idea of the character. But the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked on stage he was fully born.[27]

"The Tramp" is a vagrant with the refined manners, clothes, and dignity of a gentleman. "Fatty" Arbuckle contributed his father-in-law's derby and his own pants (of generous proportions). Chester Conklin provided the little cutaway tailcoat, and Ford Sterling the size-14 shoes, which were so big, Chaplin had to wear each on the wrong foot to keep them on. He devised the moustache from a bit of crepe hair belonging to Mack Swain. The only thing Chaplin himself owned was the whangee cane.[26] Chaplin's tramp character would immediately gain enormous popularity among cinema audiences. "The Tramp", Chaplin's principal character, was known as "Charlot" in the French-speaking world, Italy, Spain, Andorra, Portugal, Greece, Romania and Turkey, "Carlitos" in Brazil and Argentina, and "Der Vagabund" in Germany.

[[File:|thumb|upright|Chaplin in character in the 1910s]]

Chaplin's early Keystones use the standard Mack Sennett formula of extreme physical comedy and exaggerated gestures. Chaplin's pantomime was subtler, more suitable to romantic and domestic farces than to the usual Keystone chases and mob scenes. The visual gags were pure Keystone, however; the tramp character would aggressively assault his enemies with kicks and bricks. Moviegoers loved this cheerfully earthy new comedian, even though critics warned that his antics bordered on vulgarity. Chaplin was soon entrusted with directing and editing his own films. He made 34 shorts for Sennett during his first year in pictures, as well as the landmark comedy feature Tillie's Punctured Romance.

The Tramp character was featured in the first movie trailer to be exhibited in a U.S. movie theater, a slide promotion developed by Nils Granlund, advertising manager for the Marcus Loew theater chain, and shown at the Loew's Seventh Avenue Theatre in Harlem in 1914.[28] In 1915, Chaplin signed a much more favorable contract with Essanay Studios, and further developed his cinematic skills, adding new levels of depth and pathos to the Keystone-style slapstick. Most of the Essanay films were more ambitious, running twice as long as the average Keystone comedy. Chaplin also developed his own stock company, including ingénue Edna Purviance and comic villains Leo White and Bud Jamison.

As new immigrant groups arrived in waves to America silent movies were able to cross all the barriers of language, and spoke to every level of the American Tower of Babel, precisely because they were silent. Chaplin was emerging as the supreme exponent of silent movies, an emigrant himself from London. Chaplin's Tramp enacted the difficulties and humiliations of the immigrant underdog, the constant struggle at the bottom of the American heap and yet he triumphed over adversity without ever rising to the top, and thereby stayed in touch with his audience. Chaplin's films were also deliciously subversive. The bumbling officials enabled the immigrants to laugh at those they feared.[29]

Pioneering film artist and global celebrity (1916–1918)

In 1916, the Mutual Film Corporation paid Chaplin US$670,000 to produce a dozen two-reel comedies. He was given near complete artistic control, and produced twelve films over an eighteen-month period that rank among the most influential comedy films in all cinema. Practically every Mutual comedy is a classic: Easy Street, One AM, The Pawnshop, and The Adventurer are perhaps the best known. Edna Purviance remained the leading lady, and Chaplin added Eric Campbell, Henry Bergman, and Albert Austin to his stock company; Campbell, a Gilbert and Sullivan veteran, provided superb villainy, and second bananas Bergman and Austin would remain with Chaplin for decades. Chaplin regarded the Mutual period as the happiest of his career, although he also had concerns that the films during that time were becoming formulaic owing to the stringent production schedule his contract required. Upon the U.S. entering the First World War, Chaplin became a spokesman for Liberty Bonds with his close friend Douglas Fairbanks and Mary Pickford.[24]

Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs serviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-movie market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound movies in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects.

At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed these pictures (1918–23) but otherwise gave him complete creative control over production. Chaplin now had his own studio, and he could work at a more relaxed pace that allowed him to focus on quality. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including Shoulder Arms (1918), The Pilgrim (1923) and the feature-length classic The Kid (1921).

United Artists (1919–1939)

, 1922]]

In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D. W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s.

All Chaplin's United Artists pictures were of feature length, beginning with the atypical drama in which Chaplin had only a brief cameo role, A Woman of Paris (1923). This was followed by the classic comedies The Gold Rush (1925) and The Circus (1928).

After the arrival of sound films, Chaplin continued to focus on silent films; The Circus (1928), City Lights (1931), and Modern Times (1936) were essentially silent films scored with his own music and sound effects. City Lights has been praised for its mixture of comedy and sentimentality. Critic James Agee, for example, wrote in Life magazine in 1949 that the final scene in City Lights was the "greatest single piece of acting ever committed to celluloid".

in The Kid (1921)]]

While Modern Times (1936) is a non-talkie, it does contain talk—usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. Modern Times was the first film where Chaplin's voice is heard (in the nonsense song at the end, which Chaplin both performed and wrote the nonsense lyrics to). However, for most viewers it is still considered a silent film.

Although "talkies" became the dominant mode of movie making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema essentially a pantomimic art. He said: "Action is more generally understood than words. Like Chinese symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object—an African warthog, for example; then look at a picture of the animal and see how surprised you are".[30]

It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film Limelight, and another as a singer for the title music of The Circus (1928). The best known of several songs he composed are "Smile", composed for the film Modern Times (1936) and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, A Countess from Hong Kong, was a number one hit in several different languages in the late 1960s (most notably the version by Petula Clark and discovery of an unreleased version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from Limelight was a hit in the 1950s under the title "Eternally." Chaplin's score to Limelight won an Academy Award in 1972; a delay in the film premiering in Los Angeles made it eligible decades after it was filmed. Chaplin also wrote scores for his earlier silent films when they were re-released in the sound era, notably The Kid for its 1971 re-release.

The Great Dictator (1940)

Chaplin's first talking picture, The Great Dictator (1940), was an act of defiance against Nazism, filmed and released in the United States one year before the U.S. abandoned its policy of neutrality to enter the Second World War. Chaplin played the role of "Adenoid Hynkel",[31] Dictator of Tomania, modeled on German dictator Adolf Hitler. The film also showcased comedian Jack Oakie as "Benzino Napaloni", dictator of Bacteria, a jab at Italian dictator Benito Mussolini.[31]

Paulette Goddard filmed with Chaplin again, depicting a woman in the ghetto. The film was seen as an act of courage in the political environment of the time, both for its ridicule of Nazism and for the portrayal of overt Jewish characters and the depiction of their persecution. In addition to Hynkel, Chaplin also played a look-alike Jewish barber persecuted by his regime, who physically resembled the Tramp character.[31]

At the conclusion, the two characters Chaplin portrayed swapped positions through a complex plot, and he dropped out of his comic character to address the audience directly in a speech.[32]

In the speech, Chaplain says ""I'm sorry, but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone if possible – Jew, Gentile – black man – white. "We all want to help one another. Human beings are like that. We want to live by each other's happiness – not by each other's misery. We don't want to hate and despise one another. In this world there's room for everyone and the good earth is rich and can provide for everyone." [32]

He was nominated for Academy awards for Best Picture (producer), Best Original Screenplay (writer) and Best Actor in The Great Dictator.[33]

McCarthy era

Although Chaplin had his major successes in the United States and was a resident from 1914 to 1953, he always maintained a neutral nationalistic stance. During the era of McCarthyism, Chaplin was accused of "un-American activities" as a suspected communist and J. Edgar Hoover, who had instructed the FBI to keep extensive secret files on him, tried to end his United States residency. FBI pressure on Chaplin grew after his 1942 campaign for a second European front in the war and reached a critical level in the late 1940s, when Congressional figures threatened to call him as a witness in hearings. This was never done, probably from fear of Chaplin's ability to lampoon the investigators.[34]

In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. Hoover learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit, exiling Chaplin so he could not return for his alleged political leanings. Chaplin decided not to re-enter the United States, writing: "Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States."[35]

Chaplin then made his home in Vevey, Switzerland. He briefly and triumphantly returned to the United States in April 1972, with his wife, to receive an Honorary Oscar, and also to discuss how his films would be re-released and marketed.

Final works (1957–1976)

File:Charlie Chaplin (1965) by Erling
Charlie Chaplin in 1965
Photo: Erling Mandelmann / photo©

Chaplin's final two films were made in London: A King in New York (1957) in which he starred, wrote, directed and produced; and A Countess from Hong Kong (1967), which he directed, produced, and wrote. The latter film stars Sophia Loren and Marlon Brando, and Chaplin made his final on-screen appearance in a brief cameo role as a seasick steward. He also composed the music for both films with the theme song from A Countess From Hong Kong, "This is My Song", reaching number one in the UK as sung by Petula Clark. Chaplin also compiled a film The Chaplin Revue from three First National films A Dog's Life (1918), Shoulder Arms (1918) and The Pilgrim (1923) for which he composed the music and recorded an introductory narration. As well as directing these final films, Chaplin also wrote My Autobiography, between 1959 and 1963, which was published in 1964.

In his pictorial autobiography My Life In Pictures, published in 1974, Chaplin indicated that he had written a screenplay for his daughter, Victoria; entitled The Freak, the film would have cast her as an angel. According to Chaplin, a script was completed and pre-production rehearsals had begun on the film (the book includes a photograph of Victoria in costume), but were halted when Victoria married. "I mean to make it some day," Chaplin wrote. However, his health declined steadily in the 1970s which hampered all hopes of the film ever being produced.

From 1969 until 1976, Chaplin wrote original music compositions and scores for his silent pictures and re-released them. He composed the scores of all his First National shorts: The Idle Class in 1971 (paired with The Kid for re-release in 1972), A Day's Pleasure in 1973, Pay Day in 1972, Sunnyside in 1974, and of his feature length films firstly The Circus in 1969 and The Kid in 1971. Chaplin worked with music associate Eric James whilst composing all his scores.

Chaplin's last completed work was the score for his 1923 film A Woman of Paris, which was completed in 1976, by which time Chaplin was extremely frail, even finding communication difficult.

Death (1977)

File:Charles Chaplin Grave in
Chaplin's grave in Switzerland

Chaplin's robust health began to slowly fail in the late 1960s, after the completion of his final film A Countess from Hong Kong, and more rapidly after he received his Academy Award in 1972. By 1977, he had difficulty communicating, and was using a wheelchair. Chaplin died in his sleep in Vevey, Switzerland on Christmas Day 1977.[36]

Chaplin was interred in Corsier-Sur-Vevey Cemetery, Vaud, Switzerland.[37] On 1 March 1978, his corpse was stolen by a small group of Swiss mechanics in an attempt to extort money from his family.[38] The plot failed; the robbers were captured, and the corpse was recovered eleven weeks later near Lake Geneva. His body was reburied under 6 feet (1.8 m) of concrete to prevent further attempts.

Filmmaking techniques

Chaplin never spoke more than cursorily about his filmmaking methods, claiming such a thing would be tantamount to a magician spoiling his own illusion. In fact, until he began making spoken dialogue films with The Great Dictator in 1940, Chaplin never shot from a completed script. The method he developed, once his Essanay contract gave him the freedom to write for and direct himself, was to start from a vague premise—for example "Charlie enters a health spa" or "Charlie works in a pawn shop." Chaplin then had sets constructed and worked with his stock company to improvise gags and "business" around them, almost always working the ideas out on film. As ideas were accepted and discarded, a narrative structure would emerge, frequently requiring Chaplin to reshoot an already-completed scene that might have otherwise contradicted the story.[39] Chaplin's unique filmmaking techniques became known only after his death, when his rare surviving outtakes and cut sequences were carefully examined in the 1983 British documentary Unknown Chaplin.

This is one reason why Chaplin took so much longer to complete his films than those of his rivals. In addition, Chaplin was an incredibly exacting director, showing his actors exactly how he wanted them to perform and shooting scores of takes until he had the shot he wanted. (Animator Chuck Jones, who lived near Charlie Chaplin's Lone Star studio as a boy, remembered his father saying he watched Chaplin shoot a scene more than a hundred times until he was satisfied with it.[40] This combination of story improvisation and relentless perfectionism—which resulted in days of effort and thousands of feet of film being wasted, all at enormous expense—often proved very taxing for Chaplin, who in frustration would often lash out at his actors and crew, keep them waiting idly for hours or, in extreme cases, shutting down production altogether.[39]

Comparison with other silent comics

Since the 1960s, Chaplin's films have been compared to those of Buster Keaton and Harold Lloyd (the other two great silent film comedians of the time), especially among the loyal fans of each comic.

The three had different styles: Chaplin had a strong affinity for sentimentality and pathos (which was popular in the 1920s), Lloyd was renowned for his everyman persona and 1920s optimism, and Keaton adhered to onscreen stoicism with a cynical tone more suited to modern audiences.

Commercially, Chaplin made some of the highest-grossing films in the silent era; The Gold Rush is the fifth with US$4.25 million and The Circus is the seventh with US$3.8 million. However, Chaplin's films combined made about US$10.5 million while Harold Lloyd's grossed US$15.7 million. Lloyd was far more prolific, releasing twelve feature films in the 1920s while Chaplin released just three. Buster Keaton's films were not nearly as commercially successful as Chaplin's or Lloyd's even at the height of his popularity, and only received belated critical acclaim in the late 1950s and 1960s.

There is evidence that Chaplin and Keaton, who both got their start in vaudeville, thought highly of one another: Keaton stated in his autobiography that Chaplin was the greatest comedian that ever lived, and the greatest comedy director, whereas Chaplin welcomed Keaton to United Artists in 1925, advised him against his disastrous move to MGM in 1928, and for his last American film, Limelight, wrote a part specifically for Keaton as his first on-screen comedy partner since 1915.

Composer and songwriter

Chaplin wrote or co-wrote the scores and songs for many of his films. Smile, which he composed for his film Modern Times, hit number 2 on the UK charts when sung by Nat King Cole in the 1950s.[41] It was also Michael Jackson's favorite song.[42] This Is My Song, written and composed by Chaplin for his film A Countess from Hong Kong, hit number 1 on the UK charts when sung by Petula Clark in the 1960s.[43] In 1973, Chaplin won the Oscar for Best Film Score for his film Limelight.[44] Chaplin was not the only member of his family with musical talent; his nephew, Spencer Dryden was the drummer for the Rock and Roll Hall of Fame inducted band, Jefferson Airplane.[45]


in Hollywood 1919]]

Chaplin's political sympathies always lay with the left. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. Modern Times depicts workers and poor people in dismal conditions. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in the Second World War were controversial.

File:Chaplin and
Chaplin with Mahatma Gandhi in Canning Town, London, 1931.

Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of the Second World War he was fighting serious criminal and civil charges related to his involvement with actress Joan Barry (see below). After the war, his 1947 black comedy, Monsieur Verdoux showed a critical view of capitalism. Chaplin's final American film, Limelight, was less political and more autobiographical in nature. His following European-made film, A King in New York (1957), satirised the political persecution and paranoia that had forced him to leave the U.S. five years earlier.

Other controversies

During the First World War, Chaplin was criticised in the British press for not joining the Army. He had in fact presented himself for service, but was denied for being too small at 5'5" and underweight. Chaplin raised substantial funds for the war effort during war bond drives not only with public speaking at rallies but also by making, at his own expense, The Bond, a comedic propaganda film used in 1918. The lingering controversy may have prevented Chaplin from receiving a knighthood in the 1930s. A 1916 propaganda short film Zepped with Chaplin was discovered in 2009.[46]

For Chaplin's entire career, some level of controversy existed over claims of Jewish ancestry. Nazi propaganda in the 1930s and 40s prominently portrayed him as Jewish (named Karl Tonstein) relying on articles published in the U.S. press before,[47][dead link] and FBI investigations of Chaplin in the late 1940s also focused on Chaplin's ethnic origins. There is no documentary evidence of Jewish ancestry for Chaplin himself. For his entire public life, he fiercely refused to challenge or refute claims that he was Jewish, saying that to do so would always "play directly into the hands of anti-Semites."[citation needed] Although baptised in the Church of England, Chaplin was thought to be an agnostic for most of his life.[48]

Chaplin's lifelong attraction to younger women remains another enduring source of interest to some. His biographers have attributed this to a teenage infatuation with Hetty Kelly, whom he met in Britain while performing in the music hall, and which possibly defined his feminine ideal. Chaplin clearly relished the role of discovering and closely guiding young female stars; with the exception of Mildred Harris, all of his marriages and most of his major relationships began in this manner.

Personal life and family

Chaplin's mother died in 1928 in Glendale, California,[49] seven years after having been brought to the U.S. by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden (1892–1957), was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio.[50]


  • Hetty Kelly was Chaplin's first love, a dancer with whom he fell in love when she was fifteen and almost married when he was nineteen, in 1908.[51] It is said Chaplin fell madly in love with her and asked her to marry him. When she refused, Chaplin suggested it would be best if they did not see each other again; he was reportedly crushed when she agreed. Years later, her memory would remain an obsession with Chaplin. He was devastated in 1921 when he learned that she had died of influenza during the 1918 flu pandemic.[52]
  • in The Immigrant (1917).]]Edna Purviance was Chaplin's first major leading lady after Mabel Normand. Purviance and Chaplin were involved in a close romantic relationship during the production of his Essanay and Mutual films in 1916–1917. The romance seems to have ended by 1918, and Chaplin's marriage to Mildred Harris in late 1918 ended any possibility of reconciliation. Purviance would continue as leading lady in Chaplin's films until 1923, and would remain on Chaplin's payroll until her death in 1958. She and Chaplin spoke warmly of one another for the rest of their lives.
  • [[File:|right|thumb|upright|Mildred Harris, c. 1918–1920]]Mildred Harris: On 23 October 1918, Chaplin, age 29, married the popular child actress, Harris, who was 16 at the time. They had one son, Norman Spencer "The Little Mouse" Chaplin, born on 7 July 1919, who died three days later and is interred under the name The Little Mouse at Inglewood Park Cemetery, Inglewood California. Chaplin separated from Harris by late 1919, moving back into the Los Angeles Athletic Club.[53] The couple divorced in November 1920, with Harris getting some of their community property and a US$100,000 settlement.[53] Chaplin admitted that he "was not in love, now that [he] was married [he] wanted to be and wanted the marriage to be a success." During the divorce, Chaplin claimed Harris had an affair with noted actress of the time Alla Nazimova, rumored to be fond of seducing young actresses.[54]
  • Pola Negri: Chaplin was involved in a very public relationship and engagement with the Polish actress, Negri, in 1922–23, after she arrived in Hollywood to star in films. The stormy on-off engagement was halted after about nine months, but in many ways it foreshadowed the modern stereotypes of Hollywood star relationships. Chaplin's public involvement with Negri was unique in his public life. By comparison he strove to keep his other romances during this period very discreet and private (usually without success). Many biographers have concluded the affair with Negri was largely for publicity purposes.
  • Marion Davies: In 1924, during the time he was involved with the underage Lita Grey, Chaplin was rumored to have had a fling with actress Davies, companion of William Randolph Hearst. Davies and Chaplin were both present on Hearst's yacht the weekend preceding the mysterious death of Thomas Harper Ince. Charlie allegedly tried to persuade her to leave Hearst and remain with him, but she refused and stayed by Hearst's side until his death in 1951. Chaplin made a rare cameo appearance in Davies' 1928 film Show People, and by some accounts supposedly continued an affair with her until 1931.
  • Lita Grey: Chaplin first met Grey during the filming of The Kid. Three years later, at age 35, he became involved with the then 16-year-old Grey during preparations for The Gold Rush in which she was to star as the female lead. They married on 26 November 1924, after she became pregnant (a development that resulted in her being removed from the cast of the film). They had two sons, the actors Charles Chaplin, Jr. (1925–1968) and Sydney Chaplin (1926–2009). The marriage was a disaster, with the couple hopelessly mismatched. The couple divorced on 22 August 1927.[55] Their extraordinarily bitter divorce had Chaplin paying Grey a then-record-breaking US$825,000 settlement, on top of almost one million dollars in legal costs. The stress of the sensational divorce, compounded by a federal tax dispute, allegedly turned his hair white. The Chaplin biographer Joyce Milton asserted in Tramp: The Life of Charlie Chaplin that the Grey-Chaplin marriage was the inspiration for Vladimir Nabokov's 1950s novel Lolita.
  • Merna Kennedy: Lita Grey's friend, Kennedy was a dancer who Chaplin hired as the lead actress in The Circus (1928). It is rumored that the two had an affair during shooting. Grey used the rumored infidelity in her divorce proceedings.
  • Georgia Hale was Lita Grey's replacement on The Gold Rush. In the documentary series, Unknown Chaplin, (directed and written by film historians Kevin Brownlow and David Gill), Hale, in a 1980s interview states that she had idolised Chaplin since childhood and that the then-19-year-old actress and Chaplin began an affair that continued for several years, which she details in her memoir, Charlie Chaplin: Intimate Close-Ups. During production of Chaplin's film City Lights in 1929–30, Hale, who by then was Chaplin's closest companion, was called in to replace Virginia Cherrill as the flower girl. Seven minutes of test footage survives from this recasting, and is included on the 2003 DVD release of the film, but economics forced Chaplin to rehire Cherrill. In discussing the situation in Unknown Chaplin, Hale states that her relationship with Chaplin was as strong as ever during filming. Their romance apparently ended sometime after Chaplin's return from his world tour in 1933.
  • Louise Brooks was a chorine in the Ziegfeld Follies when she met Chaplin. He had gone to New York for the opening there of The Gold Rush. For two months in the summer of 1925, the two cavorted together at the Ritz, and with film financier A.C. Blumenthal and Brooks' fellow Ziegfeld girl Peggy Fears in Blumenthal's penthouse suite at the Ambassador Hotel. Brooks was with Chaplin when he spent four hours watching a musician torture a violin in a Lower East Side restaurant, an act he would recreate in Limelight.
  • May Reeves was originally hired to be Chaplin's secretary on his 1931–1932 extended trip to Europe, dealing mostly with reading his personal correspondence. She worked only one morning, and then was introduced to Chaplin, who was instantly infatuated with her. May became his constant companion and lover on the trip, much to the disgust of Chaplin's brother, Syd. After Reeves also became involved with Syd, Chaplin ended the relationship and she left his entourage. Reeves chronicled her short time with Chaplin in her book, "The Intimate Charlie Chaplin".
  • in The Great Dictator (1940)]]Paulette Goddard: Chaplin and actress Goddard were involved in a romantic and professional relationship between 1932 and 1940, with Goddard living with Chaplin in his Beverly Hills home for most of this time. Chaplin gave her starring roles in Modern Times and The Great Dictator. Refusal to clarify their marital status is often claimed to have eliminated Goddard from final consideration for the role of Scarlett O'Hara in Gone with the Wind. After the relationship ended in 1940, Chaplin and Goddard made public statements that they had been secretly married in 1936; but these claims were likely a mutual effort to prevent any lasting damage to Goddard's career. In any case, their relationship ended amicably in 1942, with Goddard being granted a settlement. Goddard went on to a major career in films at Paramount in the 1940s, working several times with Cecil B. DeMille. Like Chaplin, she lived her later life in Switzerland, dying in 1990.
  • Joan Barry (1920–1996): In 1942, Chaplin had a brief affair with Barry, whom he was considering for a starring role in a proposed film, but the relationship ended when she began harassing him and displaying signs of severe mental illness (not unlike his mother). Chaplin's brief involvement with Barry proved to be a nightmare for him. After having a child, she filed a paternity suit against him in 1943. Although blood tests proved Chaplin was not the father of Barry's child, Barry's attorney, Joseph Scott, convinced the court that the tests were inadmissible as evidence, and Chaplin was ordered to support the child. The injustice of the ruling later led to a change in California law to allow blood tests as evidence. Federal prosecutors also brought Mann Act charges against Chaplin related to Barry in 1944, of which he was acquitted.[56] Chaplin's public image in America was gravely damaged by these sensational trials.[34] Barry was institutionalised in 1953 after she was found walking the streets barefoot, carrying a pair of baby sandals and a child's ring, and murmuring: "This is magic".[57]
  • Oona O'Neill: During Chaplin's legal trouble over the Barry affair, he met O'Neill, daughter of Eugene O'Neill, and married her on 16 June 1943. He was fifty-four; she had just turned eighteen. The marriage produced eight children; their last child, Christopher, was born when Chaplin was 73 years old. Oona survived Chaplin by fourteen years, and died from pancreatic cancer in 1991.[58]


Child Birth Death Chaplin's Age
at Time of Birth
Mother Grandchildren
Norman Spencer Chaplin 7 July 1919 10 July 1919
Mildred Harris
Charles Spencer Chaplin, Jr.[59] 5 May 1925 20 March 1968
Lita Grey Susan Maree Chaplin (b 1959)
Sydney Earle Chaplin 31 March 1926 3 March 2009
Stephan Chaplin (b 19xx)
Geraldine Leigh Chaplin 31 July 1944
Oona O'Neill Shane Saura Chaplin (b 1974)
Oona Castilla Chaplin (b 1986)
Michael John Chaplin 7 March 1946
Kathleen Chaplin (b. 1975)
Dolores Chaplin (b. 1979)
Carmen Chaplin (b 19xx)
George Chaplin (b 19xx)
Josephine Hannah Chaplin 28 March 1949
Julien Ronet (b. 1980)
Victoria Chaplin 19 May 1951
Aurélia Thiérrée (b. 1971)
James Thiérrée (b. 1974)
Eugene Anthony Chaplin 23 August 1953
Kiera Chaplin (b. 1982)
Jane Cecil Chaplin 23 May 1957
Annette Emily Chaplin 3 December 1959
Orson Salkind (b. 1986)
Osceola Salkind (b. 1994)
Christopher James Chaplin 6 July 1962

Awards and recognition

Chaplin was knighted in 1975 at the age of 85 as a Knight Commander of the British Empire (KBE) by Queen Elizabeth II.[60][61] The honour had been first proposed in 1931. Knighthood was suggested again in 1956, but was vetoed after a Foreign Office report raised concerns over Chaplin's communist views and his moral behaviour in marrying two 16 year girls; it was felt that honouring him would damage both the reputation of the British honours system and relations with the United States.[62]

Among other recognitions, Chaplin was given a star on the Hollywood Walk of Fame in 1970; that he had not been among those originally honoured in 1961 caused some controversy.[63] Chaplin's Swiss mansion is to be opened as a museum tracing his life from the music halls in London to Hollywood fame.[64][65]

Academy Awards

Chaplin received three Academy Awards in his lifetime: one for Best Original Score, and two Honorary Awards. However, during his active years as a filmmaker, Chaplin expressed disdain for the Academy Awards; his son Charles Jr wrote that Chaplin invoked the ire of the Academy in the 1930s by jokingly using his 1929 Oscar as a doorstop.[66] This may help explain why City Lights and Modern Times, considered by several polls to be two of the greatest of all motion pictures,[67][68] were not nominated for a single Academy Award.

  • The 1st Academy Awards ceremony: When the first Oscars were awarded on 16 May 1929, the voting audit procedures that now exists had not yet been put into place, and the categories were still very fluid. Chaplin's The Circus was set to be heavily recognised, as Chaplin had originally been nominated for Best Production, Best Director in a Comedy Picture, Best Actor and Best Writing (Original Story). However, the Academy decided to withdraw his name from all the competitive categories and instead give him a Special Award "for versatility and genius in acting, writing, directing and producing The Circus". The only other film to receive a Special Award that year was The Jazz Singer.[69]
  • The 13th Academy Awards ceremony: In 1941, The Great Dictator was nominated for five awards, including two for Chaplin: Best Writing and Best Actor. Chaplin lost out on both counts. For writing, he lost to Preston Sturges for The Great McGinty, and for acting to James Stewart for The Philadelphia Story.
  • The 20th Academy Awards ceremony: In 1948, Chaplin's screenplay for Monsieur Verdoux was nominated, but the award went instead to Sidney Sheldon for The Bachelor and the Bobby-Soxer.
  • The 44th Academy Awards ceremony: Chaplin's second Oscar was awarded forty-three years after his first, in 1972. Chaplin came out of exile to accept the Honorary Award for "the incalculable effect he has had in making motion pictures the art form of this century". Stepping onto the stage of the Dorothy Chandler Pavilion, Chaplin received the longest standing ovation in Academy Award history, lasting a full twelve minutes.[70]
  • The 45th Academy Awards ceremony: In 1973, Chaplin's film Limelight was honored with an Oscar for Best Original Score. Though the film had originally been released in 1952, due to Chaplin's political difficulties at the time, the film did not play for one week in Los Angeles, and thus did not meet the criterion for nomination until it was re-released in 1972.


]] Chaplin's "tramp" character is possibly the most imitated on all levels of entertainment. It is said[who?] that Chaplin once entered a "Chaplin look-alike" competition and came in third.

Filmography and current rights issues

Chaplin wrote, directed, and starred in dozens of feature films and short subjects. Highlights include The Immigrant (1917), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940), all of which have been selected for inclusion in the National Film Registry. Three of these films made the AFI's 100 Years…100 Movies and AFI's 100 Years…100 Movies (10th Anniversary Edition) lists: The Gold Rush", City Lights, and Modern Times.

A listing of the dozens of Chaplin films and alternate versions can be found in the Ted Okuda-David Maska book Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp. Efforts to produce definitive versions of Chaplin's pre-1918 short films have been underway in recent years; all twelve Mutual films were restored in 1975 by archivist David Shepard and Blackhawk Films, and new restorations with even more footage were released on DVD in 2006.

Today, nearly all of Chaplin's output is controlled by his estate via dummy company/outlet Roy Export Company Establishment, which enforces the library's copyrights and decides how and when this material can be released. French company MK2 acts as worldwide distribution agent for the Export company. In the U.S. as of 2010, distribution is handled under license by Janus Films, with home video releases from Criterion Collection, affiliated with Janus.

See also


  1. ^ "Trivia for A Woman of Paris: A Drama of Fate (1923)". Internet Movie Database. Retrieved 22 June 2007. 
  2. ^ Obituary Variety, December 28, 1977.
  3. ^ Blanke, David (2002). The 1910s. American popular culture through history (illustrated ed.). Westport, CT: Greenwood Publishing Group. p. 226. ISBN 0313312516. 
  4. ^ Haupert, Michael (2006). The Entertainment Industry. Westport, CT: Greenwood Publishing Group. p. 242. ISBN 0313321736. 
  5. ^ Kelly, Shawna (2008). Aviators in Early Hollywood (illustrated ed.). Mount Pleasant, SC: Arcadia Publishing. p. 16. ISBN 0738559024. 
  6. ^ "AFI's 100 YEARS...100 STARS". American Film Institute. Wed, June 16, 1999. Archived from the original on 2008-08-22. Retrieved 4 June 2010. 
  7. ^ Sieff, Martin.Washington Times -Books 21 December 2008
  8. ^ Walsh, John (25 November 2009). "The Big Question: Does Charlie Chaplin merit a museum in his honour, and what is his legacy? – News, People". London: The Independent. Retrieved 2010-04-21. 
  9. ^ Lynn, Kenneth (1997). Charlie Chaplin and His Times (illustrated ed.). Simon and Schuster. p. 39. ISBN 068480851X. 
  10. ^ Robinson, David (1983). Chaplin, the mirror of opinion (illustrated ed.). Indiana University Press. p. 6. ISBN 0253211603. 
  11. ^ Hancock, F., Ian (2002). We are the Romani People. Hatfield: University of Hertfordshire Press. pp. 129–130. ISBN 1902806190. 
  12. ^ Charles Chaplin, Jr., with N. and M. Rau, My Father, Charlie Chaplin, Random House: New York,(1960), pages 7–8. Quoted in "The Religious Affiliation of Charlie Chaplin". 2005. 
  13. ^ Charlie Chaplin, My Autobiography, page 19. Quoted in "The Religious Affiliation of Charlie Chaplin". 2005. 
  14. ^ Vance, Jeffrey (October 2, 2003). Chaplin: genius of the cinema (illustrated ed.). New York: Harry N. Abrams. p. 23. ISBN 0810945320. 
  15. ^ Robinson, David (August 21, 1994). Chaplin: his life and art (revised ed.). New York: Da Capo Press. p. 26. ISBN 0306806002. 
  16. ^ Robinson, David (August 21, 1994). Chaplin: his life and art (revised ed.). New York: Da Capo Press. p. 36. ISBN 0306806002. 
  17. ^ "PHOTO PAGES from CHAPLIN STAGE BY STAGE". Retrieved 2010-02-15. 
  18. ^ Eric L. Flom, Chaplin in the sound era: an analysis of the seven talkies, page 6. McFarland, 1997. ISBN 078640325X. Retrieved 2010-02-15. 
  19. ^ Goncalves, Regina (2008). Einstein, Picasso, Agatha and Chaplin. Raleigh, NC: p. 226. ISBN 1409215660. 
  20. ^ Chaplin, Charles (1964). My Autobiography. Penguin. pp. 137–139. ISBN 0-141-01147-5. 
  21. ^ Chaplin, Charles (1964). My Autobiography. Penguin. p. 149. ISBN 0-141-01147-5. 
  22. ^ Fussell, Betty (1982). Mabel: Hollywood's First I Don't Care Girl. Limelight Edition. pp. 70–71. ISBN 0-879-10158-X. 
  23. ^ a b c d Chaplin, Charles (1964). My Autobiography. Penguin. pp. 149–150. ISBN 0-141-01147-5. 
  24. ^ a b "American Experience | Mary Pickford | People & Events". PBS. 1977-12-25. Retrieved 2010-04-21. 
  25. ^ Trescott, Jaqueline (June 13, 2010). "The 'Thief' in festival's lineup is famous face, indeed: Chaplin's". Washington Post. p. E7. 
  26. ^ a b Sutton, Caroline (1985). How Did They Do That? Wonders of the Far and Recent Past Explained. New York: Hilltown, Quill. p. 174. ISBN 0-688-05935-X. 
  27. ^ Chaplin, Charles (1964). My Autobiography. p. 154. 
  28. ^ Granlund, Nils (1957). Blondes, Brunettes and Bullets. New York: Van Rees Press, p. 53
  29. ^ Robert Hughes American Visions BBCTV
  30. ^ Monday, Feb. 09, 1931 (1931-02-09). "Time Magazine, 9 February 1931".,9171,741027-1,00.html. Retrieved 2010-04-21. 
  31. ^ a b c The Great Dictator at the Internet Movie Database
  32. ^ a b "The speech of the Great Dictator". Retrieved 2010-08-29. 
  33. ^ "The Great Dictator (1940)". Retrieved 2010-08-29. 
  34. ^ a b Whitfield, Stephen J., The Culture of the Cold War, page 187-192
  35. ^ "Names make news. Last week these names made this news". Time. 1953-04-27.,9171,818302-2,00.html. 
  36. ^ "Charlie Chaplin Dead at 88; Made the Film an Art Form.". New York Times. 26 December 1977, Monday. Retrieved 2007-08-21. "Charlie Chaplin, the poignant little tramp with the cane and comic walk who almost single-handedly elevated the novelty entertainment medium of motion pictures into art, died peacefully yesterday at his home in Switzerland. He was 88 years old." 
  37. ^ "Henri Langlois (1914–1977) – Find A Grave Memorial". Retrieved 2010-07-22. 
  38. ^ "Chaplin Body Stolen From Swiss Grave. Vehicle Apparently Used. British Envoy 'Appalled'.". New York Times. 3 March 1978, Friday. "The body of Charlie Chaplin was stolen last night or early today from the grave where it was buried two months ago in a small cemetery in the Swiss village of Corsier-surVevey, overlooking the eastern end of Lake Geneva." 
  39. ^ a b Charlie Chaplin at the Internet Movie Database
  40. ^ Jones, Chuck. Chuck Amuck: The Life and Times of an Animated Cartoonist. Avon Books, ISBN 0-380-71214-8)
  41. ^ search results
  42. ^ "Brooke Shields – Just Smile". 2009-07-07. Retrieved 2010-04-21. 
  43. ^ "British Record Charts". Petula Retrieved 2010-04-21. 
  44. ^ Limelight (1952) – Awards
  45. ^ "Rolling Stone Music | Top Artists, News, Reviews, Photos and Videos". Retrieved 2010-08-29. 
  46. ^ Higgins, Charlotte (5 November 2009). "Collector finds unseen Charlie Chaplin film in tin sold for £3.20 on eBay". The Guardian (London). Retrieved 28 April 2010. 
  47. ^
  48. ^ "The Religious Affiliation of Charlie Chaplin". 2005. 
  49. ^ Chaplin, Lita Grey; Vance, Jeffrey (1998). Wife of the life of the party. The Scarecrow Filmmakers Series. 61 (illustrated ed.). Scarecrow Press. p. 90. ISBN 0810834324. 
  50. ^ Mehran, Hooman. "Chaplin's writing and directing collaborators". British Film Institute. Retrieved 6 June 2010. 
  51. ^ Kohn, Ingeborg (2005). Charlie Chaplin, Brightest star of silent films (First ed.). Rome, Italy: Portaparole. p. 21. ISBN 8889421142. 
  52. ^ Vance, Jeffrey (October 2, 2003). Chaplin: genius of the cinema (illustrated ed.). New York: Harry N. Abrams. p. 122. ISBN 0810945320. 
  53. ^ a b Maland, Charles J. (1991). Chaplin and American Culture. Princeton University Press. pp. 43–44. ISBN 0691028605. 
  54. ^ Zimmerman, Bonnie (1999). Lesbian Histories and Cultures. Routledge. p. 374. ISBN 0815319207. 
  55. ^ "International Herald Tribune. 23 August 2002. ''1927:Chaplin Divorce Settled: In our pages: 100, 75 and 50 years ago''". International Herald Tribune. 2002-08-23. Retrieved 2010-04-21. 
  56. ^ "Mann & Woman". Time (magazine). 3 April 1944.,9171,850389,00.html. Retrieved 2007-08-21. "Auburn-haired Joan Barry, 24, who wandered from her native Detroit to New York to Hollywood in pursuit of a theatrical career, became a Chaplin protegee in the summer of 1941. She fitted into a familiar pattern. Chaplin signed her to a $75-a-week contract, began training her for a part in a projected picture. Two weeks after the contract was signed she became his mistress. Throughout the summer and autumn, Miss Barry testified last week, she visited the ardent actor five or six times a week. By midwinter her visits were down to "maybe three times a week". By late summer of 1942, Chaplin had decided that she was unsuited for his movie. Her contract ended." 
  57. ^ "Just Like the Movies". Time (magazine). 17 August 1953.,9171,858217,00.html. Retrieved 2007-08-21. "Another Chaplin ex-protegee, 33-year-old Joan Barry, who won a 1946 paternity suit against the comedian, was admitted to Patton State Hospital (for the mentally ill) after she was found walking the streets barefoot, carrying a pair of baby sandals and a child's ring, and murmuring: "This is magic, my god"." 
  58. ^ "Charlie Chaplin marries Oona O’Neill". New York: A&E Television Networks. Retrieved 7 June 2010. 
  59. ^ Or Charles Spencer Chaplin III because his grandfather was called Charles Spencer Chaplin, Sr., and his father could have been called Charles Spencer Chaplin, Jr.
  60. ^ London Gazette: (Supplement) no. 46444, p. 8, 1974-12-31. Retrieved 2008-07-21.
  61. ^ "Comic genius Chaplin is knighted". BBC. 4 March 1975. Retrieved 2010-02-15. 
  62. ^ "Chaplin knighthood blocked". BBC News. 21 July 2002. Retrieved 2010-02-15. 
  63. ^ Gregory Paul Williams, The Story of Hollywood: An Illustrated History, page 311., 2006, ISBN 0977629902. Retrieved 2010-02-15. 
  64. ^ "Charlie Chaplin museum to open in Swiss mansion". London: 23 November 2009. Retrieved 2010-02-15. 
  65. ^ "Chaplin". Retrieved 2010-02-15. 
  66. ^ Chaplin, Charles (1960). My father, Charlie Chaplin. Random House. 
  67. ^ Rosenbaum, Jonathan (1998). "List-o-Mania: Or, How I Stopped Worrying and Learned to Love American Movies". Chicago Reader. 
  68. ^ "The Complete List – ALL-TIME 100 Movies – TIME Magazine". 2005. 
  69. ^ "History of the Academy Awards". Academy of Motion Picture Arts and Sciences. Retrieved 7 June 2010. 
  70. ^ "Charlie Chaplin prepares for return to United States after two decades". A&E Television Networks. Retrieved 7 June 2010. 
  71. ^ Louvish, Simon (2005). Stan and Ollie, the Roots of Comedy. St. Martin's Griffin. p. 109. ISBN 0312325983. 
  72. ^ "Timeless Classic Punnagai Mannan: Movie Review – Sri Lanka". Retrieved 2009-12-09. 
  73. ^ Schmadel, Lutz D. (2003). Dictionary of Minor Planet Names (5th ed.). New York: Springer Verlag. p. 305. ISBN 3540002383. 

Further reading

  • Charles Chaplin: My Autobiography. Simon & Schuster, 1964.
  • Charles Chaplin: Die Geschichte meines Lebens. Fischer-Verlag, 1964. (germ.)
  • Charlie Chaplin Die Wurzeln meiner Komik in: Jüdische Allgemeine Wochenzeitung, 3.3.67, gekürzt: wieder ebd. 12.4. 2006, S. 54 (germ.)
  • Chaplin: A Life by Stephen Weissman Arcade Publishing 2008.
  • Charles Chaplin: My Life in Pictures. Bodley Head, 1974.
  • Alistair Cooke: Six Men. Harmondsworth, 1978.
  • S. Frind: Die Sprache als Propagandainstrument des Nationalsozialismus, in: Muttersprache, 76. Jg., 1966, S. 129–135. (germ.)
  • Georgia Hale, Charlie Chaplin: Intimate Close-Ups, edited by Heather Kiernan. Lanham: Scarecrow Press, 1995 and 1999. ISBN 1-57886-004-0 (1999 edition).
  • Victor Klemperer: LTI – Notizbuch eines Philologen. Leipzig: Reclam, 1990. ISBN 3-379-00125-2; Frankfurt am Main (19. A.) 2004 (germ.)
  • Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp, Ted Okuda & David Maska. iUniverse, New York, 2005.
  • Chaplin: His Life and Art, David Robinson. McGraw-Hill, second edition 2001.
  • Chaplin: Genius of the Cinema, Jeffrey Vance. Abrams, New York, 2003. ISBN 0-8109-4532-0
  • Charlie Chaplin: A Photo Diary, Michel Comte & Sam Stourdze. Steidl, first edition, hardcover, 359pp, ISBN 3-88243-792-8, 2002.
  • Chaplin in Pictures, Sam Stourdze (ed.), texts by Patrice Blouin, Christian Delage and Sam Stourdze, NBC Editions, ISBN 2-913986-03-X, 2005.
  • Double Exposure: Charlie Chaplin as Author and Celebrity, Jonathan Goldman. M/C Journal 7.5.

External links

krc:Чарли Чаплин


Up to date as of January 14, 2010
(Redirected to Charlie Chaplin article)

From Wikiquote

I remain just one thing, and one thing only — and that is a clown. It places me on a far higher plane than any politician.

Sir Charles Spencer Chaplin, KBE (1889-04-161977-12-25) was a comedic actor and director, usually known by his stage name of Charlie Chaplin.



My prodigious sin was, and still is, being a non-conformist.
I am what I am: an individual, unique and different.
I am an individual and a believer in liberty. That is all the politics I have.
  • Wars, conflict, it's all business. "One murder makes a villain. Millions a hero". Numbers sanctify.
    • Monsieur Verdoux (1947); but Chaplin in this line is quoting a far older statement of Bishop Beilby Porteus: "One murder makes a villain. Millions a hero."
  • I am for people. I can't help it.
    • As quoted in The Observer [London] (28 September, 1952)
  • I remain just one thing, and one thing only — and that is a clown. It places me on a far higher plane than any politician.
    • As quoted in The Observer (17 June 1960)
  • I had no idea of the character. But the moment I was dressed, the clothes and the make-up made me feel the person he was. I began to know him, and by the time I walked onto the stage he was fully born.
    • My Autobiography (1964)
  • All I need to make a comedy is a park, a policeman and a pretty girl.
    • My Autobiography (1964)
  • Friends have asked how I came to engender this American antagonism. My prodigious sin was, and still is, being a non-conformist. Although I am not a Communist I refused to fall in line by hating them.
    Secondly, I was opposed to the Committee on Un-American Activities — a dishonest phrase to begin with, elastic enough to wrap around the throat and strangle the voice of any American citizen whose honest opinion is a minority of one.
    • My Autobiography (1964)
  • I am what I am: an individual, unique and different, with a lineal history of an ancestral promptings and urgings, a history of dreams, desires, and of special experiences, of all of which I am the sum total.
    • My Autobiography (p. 271 Simon and Schuster 1964 edition)
  • Life is a beautiful, magnificent thing, even to a jellyfish. ... The trouble is you won't fight. You've given up. But there's something just as inevitable as death. And that's life. Think of the power of the universe — turning the Earth, growing the trees. That's the same power within you — if you'll only have the courage and the will to use it.
    • Calvero's answer to Terry's question: "What is there to fight for?" in Limelight (1952)
  • You'll never find rainbows if you’re looking down.
    • Swing High Little Girl (opening song sung by Charlie Chaplin for The Circus.)
  • I hope we shall abolish war and settle all differences at the conference table... I hope we shall abolish all hydrogen and atom bombs before they abolish us first.
    • In response to journalist for his views on the future of mankind at his 70th birthday, 1959-04-16
  • I am not a political man and I have no political convictions. I am an individual and a believer in liberty. That is all the politics I have. On the other hand I am not a super-patriot. Super-patriotism leads to Hitlerism — and we've had our lesson there. I don't want to create a revolution — I just want to create a few more films.
    • In response to journalist for comments on United States Attorney-General's announcement to revoke his re-entry visa, 1952-09-23, Cherbourg, England (quoted from "Mr. Chaplin's Defense", Guardian)
  • By simple common sense I don't believe in God, in none.
    • As quoted in Manual of a Perfect Atheist (1989) by Eduardo Del Rio Garcia

The Great Dictator (1940)

This is a story of a period between two World Wars — an interim in which insanity cut loose. Liberty took a nose dive, and humanity was kicked around somewhat.
Hynkel, the dictator, ruled the nation with an iron fist. Under the new emblem of the double cross, liberty was banished, free speech was suppressed and only the voice of Hynkel was heard.
I don't want to rule or conquer anyone. I should like to help everyone, if possible, Jew, gentile, black man, white. We all want to help one another. Human beings are like that. We want to live by each other's happiness — not by each other's misery.
Hannah, can you hear me?Wherever you are, look up, Hannah. The clouds are lifting. The sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world, a kindlier world, where men will rise above their hate, their greed and brutality. Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow...
In which Chaplin plays the dual roles of "Adenoid Hynkel", the dictator of Tomania, and "A Jewish Barber"
  • This is a story of a period between two World Wars — an interim in which insanity cut loose. Liberty took a nose dive, and humanity was kicked around somewhat.
    • Opening placard
  • Hynkel, the dictator, ruled the nation with an iron fist. Under the new emblem of the double cross, liberty was banished, free speech was suppressed and only the voice of Hynkel was heard.
    • Narrator
  • [Hynkel addressing the crowds, referring to his colleagues: clearly modelled upon Göring and Goebbels]
    Hynkel: Herring shouldn smelten fine from Garbitsch, und Garbitsch shouldn smelten fine from Herring. Herring und Garbitsch...
    [He clasps his hands together]
    Translator: His excellency has just referred to the struggles of his early days shared by his two loyal comrades.
  • Schultz: You must speak.
    Jewish barber: I can't.
    Schultz: It's our only hope.

The Barber's speech

  • I'm sorry, but I don't want to be an emperor. That's not my business. I don't want to rule or conquer anyone. I should like to help everyone, if possible, Jew, gentile, black man, white. We all want to help one another. Human beings are like that. We want to live by each other's happiness — not by each other's misery. We don't want to hate and despise one another.
    In this world there is room for everyone. And the good earth is rich and can provide for everyone. The way of life can be free and beautiful, but we have lost the way. Greed has poisoned men's souls, has barricaded the world with hate, has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in. Machinery that gives abundance has left us in want. Our knowledge has made us cynical. Our cleverness, hard and unkind. We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost.
    Let us fight for a new world, a decent world that will give men a chance to work, that will give youth a future and old age a security.
    The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men (cries out for universal brotherhood) for the unity of us all. Even now my voice is reaching millions throughout the world — millions of despairing men, women and little children — victims of a system that makes men torture and imprison innocent people. To those who can hear me, I say — do not despair. The misery that is now upon us is but the passing of greed — the bitterness of men who fear the way of human progress. The hate of men will pass, and dictators die, and the power they took from the people will return to the people.
    Soldiers! Don't give yourselves to brutes — men who despise you — enslave you — who regiment your lives — tell you what to do — what to think and what to feel! Who drill you — diet you — treat you like cattle, use you as cannon fodder. Don't give yourselves to these unnatural men — machine men with machine minds and machine hearts! You are not machines! You are not cattle! You are men! You have the love of humanity in your heart. You don't hate! Only the unloved hate — the unloved and the unnatural!
    Soldiers! Don't fight for slavery! Fight for liberty! In the 17th Chapter of St. Luke it is written: "the Kingdom of God is within man" — not one man nor a group of men, but in all men! In you! You, the people have the power — the power to create machines. The power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure.
    Then, in the name of democracy, let us use that power! Let us all unite! Let us fight for a new world, a decent world that will give men a chance to work, that will give youth a future and old age security. By the promise of these things, brutes have risen to power, but they lie! They do not fulfill their promise; they never will. Dictators free themselves, but they enslave the people! Now, let us fight to fulfill that promise! Let us fight to free the world, to do away with national barriers, to do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness.
    Soldiers! In the name of democracy, let us all unite!
    Hannah, can you hear me? Wherever you are, look up, Hannah. The clouds are lifting. The sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world, a kindlier world, where men will rise above their hate, their greed and brutality. Look up, Hannah. The soul of man has been given wings, and at last he is beginning to fly. He is flying into the rainbow — into the light of hope, into the future, the glorious future that belongs to you, to me and to all of us. Look up, Hannah. Look up.


  • The inmates have taken over the asylum!
    • Reported by many sites to have been said by Chaplin upon signing the papers to create the United Artists studio (1919), this is believed to actually be derived from a remark about the same event attributed to Richard Rowland, the head of Metro Pictures: "The lunatics have taken charge of the asylum"; variant derivations or reports of this statement also include "The lunatics have taken over the asylum", and the attribution to Rowland is reported to have occurred at least as early as 1926, in the work A Million and One Nights by Terry Ramsaye, and as recently as in Variety (2005-10-16).
    • In Charlie Chaplin: Comic Genius, David Robinson also confirms that a disgruntled film distributor said "The lunatics are taking over the asylum." (p. 57–58)

Quotes about Charlie Chaplin

  • We felt that the public, and especially the children, like animals that are cute and little. I think we are rather indebted to Charlie Chaplin for the idea. We wanted something appealing, and we thought of a tiny bit of a mouse that would have something of the wistfulness of Chaplin — a little fellow trying to do the best he could.
    • Walt Disney, who said that Mickey Mouse was inspired by Chaplin.

External links

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