We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
110 IT TOOK NINE TAILORS
doned her, and since she has burned her bridges behind her, she goes to Paris alone. A few months later she has become "a woman of Paris'— mistress of Pierre Revel, the wealthiest man in France. Revel is fond of her and showers her with every material thing she desires, but she longs for a normal married life— a home and children.
At the height of her luxurious life her former fiance comes to Paris searching for her and discovers that she is a rich man's mistress. He is willing to forgive all and marry her, but because of a misunderstanding they quarrel and he commits suicide. The boy's mother, distraught by her son's death, determines to kill the girl; but when she finds her sobbing besides her son's bier, she realizes her mistake. In the end the girl leaves Revel and returns to the country to live with the boy's mother.
At first I had no great faith in the story. To me it was simply a job and a good part. Not until we started shooting did I begin to realize that we were making a novel and exciting picture. It was Chaplin's genius that transformed the very ordinary story. Aside from his own great talent as an actor he had the ability to inspire other actors to perform their best. Within a few days I realized that I was going to learn more about acting from Chaplin than I had ever learned from any director. He had one wonderful, unforgettable line that he kept repeating over and over throughout the picture. "Don't sell it!" he would say. "Remember, they're peeking at you."
It was a colorful and concise way to sum up the difference between the legitimate stage and the movies— a reminder that in pictures, when one has an important emotion or thought to express, the camera moves up to his face and there he is on the screen with a head that measures 6 feet from brow to chin. The audience is peeking at him under a microscope, so he can't start playing to the gallery 200 feet away, because there is no gallery in a movie theater; the audience is sitting in his lap.
From my early days in movies I had been schooled in the exaggerated gestures and reactions that were thought necessary