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rate at least for Chaplin. Actually the entire "city" was just one "T" shaped set, with a theatre entrance and cabaret on one side, the flower shop and a couple of stores on the other, and the monument at the crossbar of the "T," before a mere suggestion of a public building. This one set, photographed from a variety of angles, gave a remarkable illusion of vastness. There was also a corner, backed by a drop with painted windows, where the blind girl sits with her basket of flowers (juxtaposed, for the sake of economy, to the millionaire's house and garden).
Chaplin filled the sets with a swarm of extras (mostly pretty girls under 25!) and scudding automobiles to give an almost abstract impression of a synthesized metropolis— New York, London, and Paris, in one. For interiors, two arch pieces served in the millionaire's living room, bedroom, and dressing room.
It took some time to find the actress he needed for the blind girl. None of his tests had turned up a girl who fitted the. one in his mind. He had given up hopes of finding her in Hollywood when, at a boxing match, one night, he thought he saw her in a girl sitting at the ringside. She reminded him of Edna Purviance as she had looked of old — the same blonde hair, the same classic features, the same radiant smile. He sought her out, after the match, and next day Virginia Cherrill, who had never appeared on stage or screen — who, at least according to her own statement, had no Hollywood ambitions at all — was Chaplin's new leading lady. Her salary was a mere hundred a week, no great sum in those halcyon days. However, all she brought to the part was good looks and near-sightedness, the latter a deficiency in general, though an asset for the particular role she was cast in. The flower girl was full grown in Chaplin's mind; all he needed was this girl's physical frame, as a sculptor needs clay of a certain consistency.
Miss Cherrill was vacationing in California after a long