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In France, intellectuals and artists protested against the boycott of Chaplin's films and the public pillorying of the star. Among the signers were Germaine Dulac, Louis Aragon, Man Ray, Robert Desnos, and Rene Clair. They inveighed against private moral judgments in the judgment of art and called the proposal to prohibit Chaplin's pictures "a stupid blunder." Chaplin himself pleaded that domestic affairs of an artist should not be allowed to clash with his creative work. (Press agents and columnists continue their disproportionate "buildups" on the private lives and tastes of "stars"; yet, when things go wrong, the industry wonders at the disproportionate public reaction.)
Claiming insolvency, Lita asked and received permission from the courts to move into the Chaplin mansion "to save rent."
After Chaplin recovered from his illness and while waiting in New York for a settlement of the case, which he feared might cost him his public and his career, there was a turn in the tide and invitations began to pour in. At the annual Old Timers' Night of the New York Newspaper Club, he received an ovation for one of his famous skits. The Telegraph reported, "A great hush fell over the audience as the master pantomimist squared his shoulders and, flinging back an imaginary cloak, stepped into a phantom arena and created a throbbing, vibrant image of an unlucky toreador outwitted by a vile trick on the part of the bull." This skit and one on a wife and a French lover discovered by the husband were usually reserved for his private parties.
Whether it was the effect of strategy, attributed to his lawyer who accompanied him, or another evidence of the turning tide, Chaplin won over the newspapermen present. Chaplin was entertained by the Atwater-Kents in Philadelphia; he went fishing with Frances Alda, the opera singer; at parties given by William B. Leeds, Jr.