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I LOVE THAT VILLAIN 125
would walk in and announce that the whole thing was off, that we were finished.
The thought haunted me because my part had been growing during the making of the picture. Originally Revel had just been the other man in a tragic love story. But as the months went by the character of Revel had developed until I was sure that Charlie was more interested in my part than in any of the others. And then one day he confirmed this in a way that almost floored me.
"Within two years after this picture is released," he told me, "you will be making five thousand dollars a week/'
"You re joking, Mr. Chaplin," I replied.
"Not at all. I know the public. After they see you in this picture, they'll make you a star."
But it was not the public that made me a star; it was Chaplin, and I have never ceased to be grateful. However, just before the completion of the picture something happened that shook my faith in the film. That something was a premiere at the Egyptian Theater that I attended. The picture was The Covered Wagon.
I don't think I had ever been affected as much by any other picture except The Birth of a Nation. The theme of the pioneer movement to the West was new to the movies and tremendously exciting, and it lent itself wonderfully to the medium of silent pictures. The wagon trains moving across the vast plains, the Indian fights, and the development of the land were spectacles that could be told more effectively with the camera than with words. When I left the theater, I was completely dejected because in comparison A Woman of Paris seemed trifling and unimportant. How could the trite love story we were doing command any attention from the critics after they had seen an epic like The Covered Wagon?
But despite the greatness of The Covered Wagon as a spectacle and as one of the industry's top box-office successes, its fictional elements were unreal and its central characters were as