Motion Picture Classic (Jul-Dec 1930)

Holds Open Court The CHARGE: The DEFENDANT: Defense Attorney: rhose of the past, if I am to judge public sentiment by the thousands of letters which pour into the studio, begging that I remain in the field of silent pictures. Letters from all over the world. One of these was in behalf of oneand-a-quarter million deaf people in the United States, who claim that they are totally unable to follow the thread of a talking picture. "It is tragic about the movies," said Mrs. Thomas Edison. "We loved them so. The talkies have spoiled everything for me — because I am deaf." Due to the constant turning and shifting of the positions of characters, lip-reading is impossible for these unfortunates, who depended upon the films for so large a portion of their entertainment. Too, they are unable to grasp the synchronized sounds which form the background of the usual talking film — the noise of a scaffold being erected as a condemned man waits in his cell, and so on. There are between twentyfive and thirty millions of deaf people in rhe world. Even if my silent pictures had ftnly this audience alone, they would be playing toone considerably larger than any nther type of film! Qualified To Talk T has been suggested that my failure to make talking pictures is based on an inability to meet the requirements of the microphone. This is totally untrue. My stage d('but was made as Billy, rhe pageboy, in "Sherlock Holmes," with William Gillette at the Duke of York Theater in London, October 17, 1905. For years thereafter I was in every form of audible entertainment, and my first appearance in this country, which resulted in my entrance into the films, was in a vaudeville sketch called, "A Night in an English Music-Hall." When it also is recalled that my mother was Lily Harley, the Gilbert and Sullivan prima donna, and my father C harles C hap lin, one of Continental Europe's best known Protean actors, it is apparent that by inheritance, as well as by training, 1 am fitted to engage in this field which I am avoiding. I I They Are Not Wanted Silent Pictures Charles Chaplin simply believe that the silent pictures are best. What would you have thought of Rembrandt, Ladies and Gentlemen of the Jury, if he had turned sign-painter, merely because he could get more work ? Scarf-Pins In Portraits ILBERT SELDES, the noted drama critic, _ made a shrewd statement upon the advent ot synchronization. He said that "just as the movies were showing promise, they turned garrulous, started talking to themselves." This is bitterly true. The talkies are mechanical, limited in their field, and quite devoid of charm. Dialogue has no more place in the usual film than a scarfpin has the right to be punched into rhe scarf of a portrait by Gainsborough, or a phonograph inserted in a bust by Michelangelo. & My opponents, the makers of talking pic^ tures, have indulged in heavy advertising campaigns in order to foist their product upon the public which you men and women represent. But despite this fact, held back ■ as they are by monetary considerations. " the press of both England and America has come forth to declare that I am unquestionably right in the stand which I am taking before you to-day! They also add that I am the only one who would dare take this position, in that my pictures always have depended upon pantomime, rather than words. One observer was kind enough to say that "you might as well try to fit words to a rainbow' as to a Chaplin comedy." A reaction like that does something to ease my conviction that fame is exasperating. The Lone Defender PANTOMIME is one of the greatest forms of expression. It is cruel to see it given this killing blow. And, believing as I do, I intend to bend all my efforts toward doing my part in keeping it alive. I do not think there is any amount of persuasion of money or influence which could get me to make a talking motion picture. I realize that I am alone in my stand among producers, but I think I am right and I. am going ahead in my own way. This I am able to do. Success has meant one thing at least to me, for which I thank my destiny. It has allowed me to think. I used to be afraid of ideas. That fear goes with poverty. And I did knowpoverty in its most awful form. But money has given me faith in myself — and theories of my own. And thus it is. Ladies and Gentlemen of the Jury. {Continued on page Sj) 37