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one's head and it is to Chaplin's credit that, instead of unbalancing him, it seemed to strengthen his selfassurance and spur him to greater achievements.
There were endless "fake" Chaplin pictures during this period. His old issues were revived under new titles to mislead the public. Spurious "new" Chaplins were turned out by using a few clips and close-ups from old Chaplin prints and adding scenes done by imitators. Most of them burlesqued some popular feature of the day. Among them were "The Fall of the Rummy-Nuffs," "The Dishonor System," "One Law for Both," "Charlie in a Harem," "Charlie Chaplin in 'A Son of the Gods.' " This last combined Chaplin shots and footage from the Fox-Kellerman fantasy "A Daughter of the Gods," making Chaplin appear to be cavorting among mermaids. Such retitling and rehashing of the Chaplin films is not unknown today! 1915-1918 was also the era of Chaplin impersonation contests, Chaplin toys, and Chaplin show numbers. There was even a Chaplin animated cartoon and Chaplin caricatures in the papers.
Foremost among the many imitators of Chaplin was Billy West who flourished during 1917-1918, making pictures for the King Bee Company. His was unashamed aping of every Chaplin detail of costume, gesture, and movement. West, a Russian-born actor who had appeared in minor films, was supported by Oliver ("Babe") Hardy, Ethel Teare, and later Leo White, lured from the Chaplin Company. Billie Ritchie, from the Karno Company, Bobbie Dunn, Ray Hughes, and Charles Amador were other formidable imitators. Amador, a Mexican, eventually adopted the name Charles Aplin. None of these imitators succeeded in holding the public, for, while it was not too difficult to imitate Chaplin's mannerisms and gags, it was impossible to simulate the more delicate pantomime and the personality the great comedian had created. However, Chaplin sued "Charles Aplin" and