My Autobiography, Charles Chaplin [books to read in your 20s .TXT] 📗

K. (Essanay Co.), 160–73

stage décor, C. on, 253–4

stage fright, C. and, 44, 99, 122

Stage Hand, The, C. directs for

Keystone, 157

Stanislavski, Constantin, and ‘inner

truth’, 157

Stein, Gertrude, 302–3

Steinbeck, John, 383–4

Steinbeck, Mrs John, 384

Sterling, Ford (Keystone comedian).

C. replaces, 142; ‘his style did not

suit me’, 143, 146; his decline

after leaving Keystone, 159;

and Sam Bernard, 257

Stevens, Emily (Amer. actress), 257

Stewart, Donald Ogden, 467–544

‘stewed eels and treacle pudding’, 268

Straker (W.), Ltd (stationers and

printers), C.’s job at, 61–2

Stratford-on-Avon, C. visits 358–9

Strauss, Carl (cowboy film-actor), 169

Stravinsky, Igor, 390–91

Submarine Pilot, The (Sydney Chaplin’s

film), 159

subtlety and restraint (in acting), C.

and, 256

suicide, comedians and, 46–7

Sullivan and Considine (Amer.

theatre owners), 121; C. on

circuit: ‘we passed muster’, 124

Sulzberger, Arthur, 395–8

Sunday dinner as respectability

symbol, 50

Sunnyside: (‘like pulling teeth’), 230

Sutter’s CoW(Eisenstein’s ‘very fine film’), 320

Swaffer, Hannen, 384

Swanson, Gloria, 165; in Elinor

Glyn film, 202; and Pola Negri, 295

Sweet, Blanche, 155

Swope, Bayard, 285, 444

Tagg’s Island (river Thames),

Karno’s houseboat at, 133

talking films, C.’s attitude to, 321–3, 360, 374, 382

Talleyrand-Périgord, Marquis de, 276

Talmadge, Norma, 291

Tankard, the (public house,

Kennington Road), 9, 265

Tannhâuser (Wagner), C. and, 136

Tate’s Café (San Francisco), 169

Taylor, Frank, and Dylan Thomas 428 ‘tears as well as laughter’ (in C.’s films), 155

Teddy boys, C.’s defence of, 93

Tellegen, Lou, 155

Terry, Dame Ellen, 257

Thalberg, Irving, 294 theatre, the,

C’s early interest in, 21, 41, 48, 93; his views on, 250 ff

theatricialism, C. on, 252

thinking, C. on, 247

Thomas, Dylan, C. and 428–9

Thomas, Olive, 226, 243

Thorndike, Dame Sybil, 257

Three Stags, the (public house,

Kennington Road), 58

time-saving: ‘the basic virtue’ in film making, 250

Tinney, Frank, 257

Tivoli Music Hall (London), C. appears at, 103

touring companies, C.’s loneliness in, 83–4

toy-making, C.’s job in, 65

tragedy and comedy, combination of, 40

‘tramp character’, the, 44, 145; origin of the costume, 145; ‘growing more complex’, 208; dilemma of talking films and, 360, 382

Tree, Sir Herbert Beerbohm, 194–7, 258

Tree, Iris, 196–7

tricky effects: ‘I loathe them’, 250

truth, C. on, 255, 286

Turpin, Ben, 165, 169

Twain, Mark, C. and works of, 142

Twelve Just Men (C. writes sketch), 97

Twenty Minutes of Love

‘I made it in an afternoon’, 157; music sets mood for, 209

Un-American Activities, Committee on, 439, 458

United Artists,

formation of, 221; and mergers, 292; alarm over The Great Dictator,387; sale of, 446; list of C’s films for, 480

Universal Company, 160

Valentino, Rudolph, 186–7, 312

Vanbrugh, Dame Irene, 89, 257

Vanderbilt, Cornelius, and German

concentration camps, 316

Variety (Amer, stage periodical), 124, 304

vaudeville, English and American

compared, 135

Venice, C. on, 352

Vienna, romance in, 352

Vierte, Salka, 428

violence in the theatre, C. on, 429

Wagner, Rob, 214–16 passim

Wainewright, J. G., 254

Wallace, Mina, 413–14

Waller, Lewis, 91

war-wounded, C. and the, 277, 386

Ward, Fanny, 204

Warfield, David, 256

Warner Brothers, and Hearst Productions, 314; first talking picture, 321

Watson’s Beef Trust (Amer, burlesque show), 126

Weber, Lois, 226

Weiller, Commandant Paul-Louis, 276, 473

Weldon, Harry, 92; and C, in The Football Match, 98-101, 114

Welles, Orson, 410; and idea for

Monsieur Verdoux, 412–13

Wells, H. G., 259, 268; C and, 270–71, 277–8, 341–4 passim; on sex, 354; work output, 384

West, Rebecca, 271

Wharton, Edith, 200

Whimsical Walker, 121 Whispering Chorus, The (De Mille film), 173

Whitman, Walt: ’Leaves of Grass annoyed me’, 135

Williams, Bransby, 47

Williams, J. D. (of First National), 219; ‘buttered me up’, 243

Williams, Percy (Amer, theatre- owner, 121

Willkie, Wendell, 404

Wilson, Lady Sarah, 276

Wilson, Woodrow, 214

Winchell, Walter, in juvenile music-hall troupe, 123

Winter, Ella, 567

Woman of Paris, A, 252–3

wood-chopper, C.’s job as, 71–3, 265

Woollcott, Alexander, 384

Wow-wows, The (Karno sketch),

C. on U.S.A. tour in, 117–18, 121; ‘silly, dull sketch’, 122; but ‘one funny Englishman, 124

Wright, Lloyd (C.’s lawyer), 415, 417–418

writers, C. on, 389

York, Duke and Duchess of (later King and Queen), 346

York, Harry (Theatre Royal, Blackburn) 88

Young, Clara Kimball, 156

Zarmo (comedy juggler), 47

Ziegfeld Follies, in ‘ Chaplin numbers ‘, 172 ; Frank Crowninshied and, 234

Zukor, Adolph, 222–3

* A large hall which stood on the corner of Victoria Street opposite Westminster Abbey, where there were spectacular entertainments and sideshows.

* In the Karno troupe it took at least six months working together before we could perfect a tempo. Until then it was called a ‘scratch crowd’.

* Pantages circuit, which gave three shows a day.

* Hetty Green, one of the richest women in the world, was reputed to have made over $100,000,000 through her business acumen.

* This accredited remark is not true. We happened to be in the Mexican quarter, and my remark was: ‘There is more vitality here than in Beverly Hills.’