Photoplay (Jan - Jun 1924)

Photoplay Mw.\/i\i Aumuhmm, Smuon A BDUdl man with big pants and a CUriotU gait attracted Vessel's attention and wrung ■ laugh from him. \\ hen the at t ended Ceaael wenl back stage. He had a notion to interview this yOUDfi man There was just a possibility t li.it lie might be useful in Keystone comedies, lie was cei tainly a most amusing little eiiss. Keystone Offers Chaplin $75 a Week The young man was somewhat enrious about his caller, with whom he chatted in deepest and daike-t London accents on the Bubject of the kinema. "What the blooming 'ell — no." ,-l tell you, Mr Chapman, we can give you $75 a week." The young "Mr. Chapman" was entirely dubious. He had proiound doubts about so rash a venture. He had had a hit of a hard time here and there along the line and things were better now. He was in the good graces of Alt' Reeves, manager of Rarno's Pantomime Company, and they were booked solid on the big time from coast to coast. There were other conversations. This Kessel was getting persistent. He raised the offer to a hundred dollars a week. \o. 'The young Englishman was going to take no such chances. He had the caution born of bitter experience. He had been born with a traveling troupe of strolling British players at Fontainbleau in France. His early boyhood had been spent against the seamy side of life in London, a child laborer in a toy factory. It had been a fight against penury and want all the way along. He was doing well enough now, why take a chance? The Karno company moved along. But Adam Kessel still had that little English comedian on his mind. "A Night in a London Club" was playing at the Xixon theater in Philadelphia when Alf Reeves got a wire : Is Charlie Chapman with your company? Have him call Saturday our office, Putnam Bldg. Kessel & Bauman. In response to that wire Charles Chaplin duly appeared in Xew York and Adam Kessel raised the offer to S150 a week. Charlie Chaplin's Screen Debut Chaplin went back to Philadelphia to consult with Alf Reeves. "You had better take it," was Reeves' advice, "because you can't hope to get much more here with us than you are getting now." Chaplin was in no haste. His contract was due to expire in November, at which time the company was booked to play at the Empress in Los Angeles. He notified Kessel that he would start work with Keystone in Los Angeles then. Mack Sennett made a call on Chaplin back stage at the Empress and one day in November Charlie took his baggy old pants and shoes out to the Keystone lot. "What the blooming 'ell" was ahead he did not know. When in doubt an actor always does his favorite business. Chaplin's first Keystone appearance was a part in a one reel release entitled "Kid's Auto Races." He wore the gait and mannerisms that had been most successful in his music hall appearances. It was a bit of a trick he had picked up in the toy factory days when he imitated a wretched old bar fly who hobbled about at the Queen Heads, a London "pub," to hold the cabbies' horses for them while they roistered inside. Chaplin's mother had reproached him mightily for making sport of the old unfortunate and perhaps that had helped to burn it into the youngster's mind. Now it was to be the making of his world wide fame. A screen examination of "Kid's Auto Races " '39 lor tin ( otnpl* < (on Frecklei Skin 50th oAnniversary MALVINA PREPARATIONS * KHAM — LOTION ICHTHYOL SOAP Hie boudoirs ol thousands of beautiful women are graced with Milvin.i Cream. Lotion and Ichthyol Soap. Each serves that purpose for which it was intended -to b,;iutify and kt<[> milady beautiful. Originated in 1874 Always popular with beautiful women M.iivin.i preparations were originated in the laboratory of Prof. Hubert in 1874. 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