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the little tramp, but it took six months of reshooting for Chaplin to reach the scenes again where Clive was fired!
Then, suddenly, Chaplin expressed dissatisfaction with Virginia Cherrill. Half a million feet of film had been shot, much of it with Virginia; yet Chaplin suddenly found her unsuitable.
She had given him trouble from the beginning. Living on alimony, she felt no compulsion to work. She was a party girl given to staying out most of the night. Many mornings she would appear on the set somewhat the worse for wear, unfit for the camera which magnifies the slightest sign of dissipation. Chagrined by a lecture from the puritanical Kono on her drinking and the strain on Chaplin, she promised better behavior. She was, in fact, more serious in her work and improving remarkably under Chaplin's coaching when he suddenly took a violent dislike to her.
Chaplin sent her word that she wouldn't be needed for a few days, and as soon as she had left Georgia Hale, heroine of "The Gold Rush," with whom Chaplin was still on intimate terms, flounced into the studio with an assortment of blonde wigs. Chaplin began making tests. Though it seems impossible that the fiery prostitute of "The Gold Rush" could have effected a believable transformation into the sweet blind girl, Chaplin's "yes-men" nodded to his judgment that her tests were successful — all but Carl Robinson, who bluntly asserted that she was awful. Chaplin said nothing at the time; but he later rejected Georgia and the search went on.
One day a sixteen-year-old appeared at the studio with her mother. She was beautiful and intelligent, and Chaplin, after playing some scenes with her, was on the verge of drawing up a contract. In a panic over the potentialities for disaster in another sixteen-year-old and her mother, Robinson had Reeves dismiss the one remaining secretary in the office. With no typist available, the