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Chaplin as a composer 237
the sound version of "The Gold Rush." Subsequent years saw the publication of a theme from "The Great Dictator" to a lyric entitled "Falling Star," and three numbers from "Monsieur Verdoux": "A Paris Boulevard," "Tango Bitterness," and "Rumba."
After Chaplin made his first million, he installed a pipe organ in his Beverly Hills mansion. In certain moods he is known to have fingered this expensive instrument for hours at a time. Realizing the importance of musical accompaniment to the silent film, Chaplin sought to have it reproduced in every theatre exactly as he wished it. He supervised the cue sheets (lists of numbers to be played, sent free to all theatres booking a film) of his pictures from "The Kid" (1921) up to "City Lights" (1931) — when it was possible to have the music recorded on the film itself. Then it also was commercially expedient to claim at least "music and sound effects" since by 1931 the silent picture had been superseded by the talkie.
Arthur Johnston and Alfred Newman arranged and orchestrated the music for "City Lights," Chaplin's outstanding score. But the melodies, with the exceptions noted above, used for the associations they would evoke, were composed by Chaplin. At least twenty numbers in the score could be published as separate and original works. As was customary in the scoring for silent pictures, the Wagnerian leitmotiv system was followed — a distinctive musical theme associated with each character and idea. The musical cues in "City Lights" come to some ninety-five, not counting the passages where the music follows or mimics the action in what is generally known as "mickey-mousing," from its use in the scoring of animated cartoons.
A fanfare on trumpets, over a night scene, opens the picture proper. It is heard again as a sort of fate theme at moments of crises, such as the count over Charlie in the boxing ring, and his capture and imprisonment. Saxo