The filmgoers' annual (1932)

158 The Filmgoers' Annual still lives, " A Dog's Life." After this production he turned his attention to government work, touring the Southern portion of the United States in the interests of the Third Liberty Loan ; and on completion of this tour he returned to his studio and made propaganda films. His next step was a daring one in the making of a farce on the war. His production, "Shoulder Arms," was released at a most opportune time and brought the greatest comment from all sides for its laugh-provoking merits. This he followed with a fantasy, "Sunnyside," then "A Day's Pleasure." For the next year little was heard of Chaplin, save that he was working on a great picture. During this time he was married to Mildred Harris, a motion picture star under the guidance of Lois Weber of the Universal producing forces. A son was born, but died before it was a week old. This was a sad blow to Chaplin. The matrimonial venture of the great artist was not harmonious and it culminated in a divorce in November, 1920. Early in 1921 Chaplin startled the world with the presentation of a sixreel masterpiece, " The Kid." In this he introduced to the screen the greatest child player the world has ever known in Jackie Coogan, who, through his wonderful work in that production, is now a star in his own right. After a considerable rest Chaplin turned his attention to his work and in a few months released "The Idle Class," Since he won fame as the villain in " Way Down East," Lowell Sherman has never been guilty of a bad performance. a production in which he portrayed a dual character. This film has been the cause of much comment, many declaring it one of the comedian's best, while others are inclined to belittle it. This latter phase is, undoubtedly, due to the fact that "The Kid " has spoiled many of the Chaplin admirers, for " The Idle Class " is excellent. Following this picture Chaplin started another, but after having worked one day he decided he was entitled to a holiday and he made a hurried trip to New York, sailed on the " Olympic" and landed at Southampton, September 10, 1921 , and was given a sensational reception in London, described in his book, " My Wonderful Visit." Chaplin returned to the United States and once again took up his picture work. Together with Douglas Fairbanks, Mary Pickford, and D. W. Griffith, he formed the United Artists Corporation. Apart from " A Woman of Paris," which he wrote, produced, and directed, but in which he did not appear, Chaplin has made three pictures under this arrangement, both feature length, the first being " The Gold Rush " and the second, " The Circus," and the third, " City Lights." Chaplin stands alone as champion of silent pictures. He has refused to permit his character to talk and he will not allow any talking in his productions. He believes that pantomime is a distinct art in itself and that it is far superior to the new medium that has b2en adopted by other producers. RUTH CHATTERTON Everybody likes Ruth Chatterton's voice, except those who don't know good vocal cords when they hear them. It was her voice that won her recognition on the stage, before her face had been seen. That was when she telephoned Henry Miller, the noted Broadway producer, looking for a job in the days when she had to have one or go on living with her mother on £2 10s. a week — which is nobody's dream. He liked her face and her acting as well, when he had a chance to see her. Therefore under his management Ruth Chalterton became a star at the age of eighteen, not quite believing it herself. Rut this was no sudden leap in the dark. She had received an early amount of hard training, enough for a whole team of players. Her first engagement was with a musical stock company, providing the inexperienced beginner with a grinding routine that was hard on the toes, the tendons and the temperament. At first she met with parental objection, but when the family fortunes were swept away, all except a tiny dab, Ruth's small salary became something to hug to the bosom. It was after she acquired more knowledge of the theatre in a stock company that held Lowell Sherman, Pauline Lord, and Lenore Ulric that she became, under the Miller management, proper material for Broadway electric lights in " Daddy Long Legs," " Come Out of the Kitchen," " Moonlight and Honeysuckle," and " A Marriage of Convenience." Her work in these plays was of such outstanding calibre that it brought her the distinction of being the first actress to play Barrie parts, excepting Maude Adams, to whom they had hitherto been consecrated. She played in Barrie's " Mary Rose," and later in " The Little Minister," and then just to show that this didn't exhaust her possibilities, she translated, produced and starred in the French play " La Tendresse," all with her own energy. Following a season in musical comedy with " The Magnolia Lady," and a new departure in characterisation with " Changelings," she put on " The Green Hat " in Hollywood. This and " The Devil's Plum Tree " brought her to the notice of Emil Jannings, who finally induced her to enter motion pictures. Miss Chatterton, who had held aloof from the screen until won over by her admiration for the great German star, scored with him in " Sins of the Fathers," and when talking films came along, with her great stage experience and her cultured voice, she made instantaneous successes in "The Doctor's Secret," " Madame X," and since then her work in " The Laughing Lady," " Sarah and Son," " Anybody's Woman," and " The Right to Love " have kept her prominently in circulation. She is studious and accomplished at languages, having kept her voice from acquiring a New York coating by frequent trips abroad. Despite her arduous early days, the only hard luck she ever mentions is that of being born on Christmas Eve. She is 5 feet 2£ inches tall, and has light brown hair, deep blue eyes, and long fingers adept at music. MAURICE CHEVALIER One day, toward the end of the war, Maurice Chevalier came back to his native Paris from a prisoners' camp in Germany, a poor poilu in a faded, illfitting uniform, with his small successes as a music-hall singer almost forgotten and a wound in his chest which doctors said would prevent his ever singing again. To-day, he is one of the outstanding figures of the international stage and screen. Maurice Chevalier's story is that of a poor boy whose life, until recent years, was one of doubts and fears and grinding toil. The opulence of setting for his love affairs in " The Love Parade," his business success in " The Big Pond," and the size of the fortune he receives in his new starring picture, " Playboy of Paris," and the joy of " The Laughing Lieutenant " are in grotesque contrast to the misery he has known. He was born in Menilmontant, which is the Whitechapel of Paris. His father was a house painter who died when Maurice was eleven. After that his mother was obliged to bear the burden of supporting him and other young children, often going out as a charwoman. Maurice was the favourite of the family of three boys, and his mother, up to the time of her death in 1928, was his greatest love. Even as a boy, Chevalier's dreams were all of the stage, centering with natural boyishness upon the circus with its clowns and acrobats. It was this ambition to become a mummer that caused his expulsion from school at the age of twelve. He then became an apprentice carpenter, but was so wrapped up with dreams of the stage that he neglected his work and was discharged. Electrician, then printer, then apprentice