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I LOVE THAT VILLAIN 123
rule is sometimes broken, but only when special factors make it possible.
We did an exterior street scene near Westlake Park one day in which Charlie showed a couple of actors coming around the corner of the building from right to left. Then he moved his camera and shot the scene from the opposite direction. Sutherland and all the rest of the technical crew screamed their heads off. Eddie got so mad that he threatened to quit because Chaplin paid no attention to his protests.
It was the same old story. Next day in the projection room Charlie suddenly discovered that he had been wrong. The actors seemed to be playing two different scenes. In one they were walking east and in the next they were walking west. They returned to the scene of the crime and reshot it. This sort of thing would have been ruinous at another studio, but on a Chaplin film it was routine. Most of the scenes were reshot anyway, so no one thought anything of it.
There is a fantastic story about a conference that took place after the picture was finished. This conference lasted for something like nine hours, and the argument revolved about a simple question of grammar. Nobody in the studio could agree on which was the correct subtitle— "Who is it?" or "Who is she?" The conference would have continued indefinitely, according to Eddie Sutherland, except that Chaplin's Airedale walked into the conference room, listened for a few minutes, and then vomited.
Another conference that almost stopped the picture completely was one in which Chaplin suddenly dreamed up an ending. He had been shooting for months but had no ending. One day he came in and called the staff together.
"I have a wonderful ending for the picture," he said. "Listen to this. After John commits suicide, Marie leaves Revel and consecrates herself to a life of penance— she becomes a nurse in a leper colony. We see her— this beautiful, this lovely girl— performing menial tasks for these lepers, waiting for the inevitable end. Fade-out."