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scene, turned away brokenhearted, realizing that his throne was tottering. After two more pictures, Sterling left Sennett in February, to form his own company. Lehrman also left to form the L-Ko (Lehrman KnockOut) Company which made outright imitations of the Keystone pictures. Sterling was to return to Sennett after Chaplin left him.
In this third film Chaplin also introduced another famous mannerism. Running, he turned a sharp corner and skidded, holding one foot straight out and balancing on the other while looking back and clutching his hat.
Chaplin made a new comedy every week. His correct name was mentioned for the first time by the Moving Picture World in its notice of "Caught in a Cabaret" (April 27, 1914), which film was announced as the first of a new series. Chaplin was catching on. The Dramatic Mirror, the same month, acclaimed him as "second to none."
Sennett soon realized that it would be best to give Chaplin a free hand in story and style. Beginning with "Caught in the Rain," his thirteenth film, Chaplin wrote and directed all his pictures, blending the Keystone style and his own with great skill. He may be said to have welded his stage-comedy training and his uniquely attractive personality to the Sennett cinematic method.
Chaplin's screen character (not fully developed during this first year) was built in part, on his pantomime training with the Karno Company. Even the costume had Karno relatives. Fred Kitchen, for instance, also used large shoes and loose trousers. More important still, in its origin, were his memories of London street types, especially an old man who minded horses.
Last but not least was the influence of Max Linder, the pioneer French screen comic. Linder projected a similar personality and wore a similar make-up, but more on the "dude" side with a high silk hat and dapper