City Lights (United Artists) (1931)

Qeneral Advance Stories Salient Facts About "City Fights” atelv, $l.M>0.000 With all s in the Cost, npproxim . . . Thirty months phase of production . exception of two sn produced entirely with of the Charles Chaplin studios, Hollywood, Calif. . . . Construc¬ tion of necessary streets and buildings of every character so as to depict a large city any¬ where . . . Dredging for a river and the building of huge em¬ bankment . . . thousands of pleas¬ ure automobiles, taxicabs and other public conveyances used during production . . . 10,000 or more pedestrians employed . . . replica of huge boxing stadium constructed . . . building of a cafe and night club seating five hundred . . . complete construc¬ tion and furnishing of rooms such as might be inhabited by a mil¬ lionaire . . . construction of a acted by Charles Chaplin . . . distributed bv United Artists Corporation . . . nine reels . . . one hour and twenty minutes entertainment . . . synchronized with music and sound effects . . . absolutely without dialogue . . . a motion picture in action and action and action . . . “City Lights.” BELIEVING SILENT FILMS SUPREME ART FORM CHARLIE CHAPLIN MAKES LATEST TALKLESS Chaplin Pioneers With New Comedy The gigantic creation of the mo¬ tion picture world arrives at the ... theatre, with the pres¬ entation of "City Lights,” Charlie Chaplin’s screen masterpiece. A production absolutely vqjd of dialogue but with fascinating musi¬ cal synchronization and sound ef¬ fects, “City Lights” is hailed as the newest thing in cinema art and the greatest Chaplin effort of all time. More than two years in the mak¬ ing and with an expenditure of close to two million dollars, “City Lights is said to be the last word in pantomimic genius. Those who have viewed the work of the com¬ edian-producer are of the belief that this offering will go a long way to bring back non-dialogue mo¬ tion pictures. “City Lights” is an original idea and was written by Chaplin. It is a simple story of everyday life in any large city, with a human treat¬ ment such as the style for which this producer is noted, and, which he followed in his direction. There is not a human voice used J^at any time, throughout the picture but the unique manner employed through instrumental music, is de¬ clared to be a revolutionary step in synchronization. A majority of all the music used throughout the ac¬ tion is original and was created by Chaplin and arranged by Arthur Johnston, associated with the Irv¬ ing Berlin Company. An entire city was constructed within the Chaplin plant in Holly¬ wood for “City Lights.” This was made necessary, although at tremen- H dous cost,, because it was found im- ™ possible for the comedian to work in the streets while garbed in his famous attire. Ten thousand or more people were employed to por¬ tray the inhabitants of the city. More than any production Chap¬ lin has ever offered “City Lights” is the most extensive. Some of the massive settings include the busi¬ ness district; slums, theatrical, se- ^*4e<:t; a prizefight stadium; a river and 1 its embankment; a huge and gay cafe and the exquisite rooms of a millionaire’s mansion. The action represents that which goes on in any large city anywhere. There are three characters vital to the story. One is a tramp, as enacted by Chaplin; another a flow¬ er girl who is blind and portrayed by Virginia Cherrill and the other an eccentric millionaire, by Harry Myers. And of importance to these three, the girl’s grandmqther, Flor¬ ence Lee; the millionaire’s butler, Allan Garcia, and a prizefighter, Hank Mann. Chaplin Presents Dual Personality Few of Charlie Chaplin’s mil¬ lions of admirers can visualize the comedian as he is in real life. The forlorn figure in the ill-fitting coat, baggy trousers, dog-eared shoes, battered derby and pocket edition mustache who provokes such guf¬ faws and belly-laughs in “City Lights” at the....!.theatre '•' now, presents a strikingly different front when off the screen. During his recent personal ap¬ pearance in connection with the na¬ tional presentation of his picture, Chaplin on more than one occasion brought many a gasp and sigh from female admirers w r ho blocked traffic to catch a glimpse of him. A little older and grayer than in the days when he played in slapstick comedy and threw custard pies, the genius of comedy cuts a smart figure in his soft gray cap, silky alpaca pile over¬ coat, soft collared shirt, quiet gray suit and gray spats, and silver gray hair with the most “beautiful curl.” Quiet, serious, with a low, modu¬ lated voice, the dean of America’s corni-tragic pictures seems any¬ thing but the master of slapstick whose one-reelers convulsed the hinterland some years back. Chap¬ lin looks more like an English play¬ wright, admits to a great respect for Thomas Burke, plays tennis and the pipe organ for recreation and never travels with less than fifty neckties. “City Lights” is the first picture the comedian has made in three years. He calls it a romantic com¬ edy in pantomime. Ohatiie Ohaplin. Atar of"Gi.tg Lights 10—One Col. Star Scene Head (Mat 05c; Cut 30c) CHAPLIN WRITES SONGS IN FILM Charlie Chaplin undertakes to master another phase of motion pic¬ ture making in ihis forthcoming super-production, “City Lights,” which comes to the. theatre on.. adding to his accomplishments of author, di¬ rector, star ad producer that of composer of music. While “City Lights” is absolutely void of dialogue, it is fully synchro¬ nized with music, and sound effects are also included. The entire musi¬ cal accompaniment, with but sev¬ eral exceptions, is the original crea¬ tion of Chaplin. He was assisted in the arrangement by Arthur John¬ ston of the Irving Berlin organiza¬ tion. Although it is not generally known, Charlie Chaplin is an ac¬ complished musician. In this art he is self-taught and he is known to be the master of numerous instru¬ ments. His talent in this respect includes the violin, cello, piano, or¬ gan, concertina and several of the brasses. In his early youth, while traveling with a repertoire troupe throughout Continental Europe and the United States, Ohaplin began to develop his taste for music. With his first savings he purchased an old violin and that became the foundation for his present day knowledge. Each night in the solitude of his hotel room young Chaplin would devote his time to the violin. His ear was excellent, but not having had the education in music he was unable to read notes although he could distin¬ guish them. He would therefore hum or whistle the various numbers he had heard at the theatre and then attempt to play them on his violin. In the course of time Chaplin had mastered the violin to an advanced' degree and he turned his attention to the piano. This was easier for him and it was not long before he was considered quite an attraction among the members of his com¬ pany. Since entering upon a motion pic¬ ture career, back in 1913, the com¬ edian has had considerable more time to devote to his music. Over the period of years he developed rapidly and was ever anxious to acquaint himself with more instru¬ ments. In 1915, he formed a music publishing company bearing his name and he was responsible for a dozen or more compositions of the ballad or sentimental type. Later, when he became more involved in his chosen line of endeavor he dis¬ continued the commercial side" of music. With the coming of synchroniza¬ tion in motion pictures Chaplin de¬ cided to undertake the accompani¬ ment to his first sound production, “City Lights.” For a year or more he has devoted much of his time to this phase of the production. One of the outstanding numbers to be offered with his latest picture is “Beautiful, Wonderful Eyes.” The melody as well as the words of this ballad are Chaplin’s although onlv the music accompanies the film. Among the other numbers created b.y Chaplin to be heard while “City Lights” glides across the screen are, “Tomorrow the Sun Will Shine,” “Happy Romance,” “Prom¬ enade,” “Orientale” and the title piece, a one-step, which is the theme number and will undoubtedly find popular favor with those terpsichor- ean in desire. Chaplin Has Einstein Crying With Laughter You could almost see the scene before your eyes. “There we sat,” said Charlie Chaplin, “a clown and a scientist, watching the picture, sometimes laughing. sometimes sighing.” He was describing the world premiere of “City Lights,” which he attended with Dr. Albert Einstein, proponent of the Einstein theory of relativity. Through the milling crowds outside the theatre walked the comedian and his distinguished guest, all the time engaged in an animated conversation that was a combination of meager German and English. While the picture was be¬ ing unreeled both would laugh, the scientist would occasionally wipe the tears of laughter from his eyes. “City Lights,” which comes to the .theatre on.. is the first picture Chaplin has made in three years. And the man who has immortalized the dog-eared foot-gear, battered hat and seedy < lothes is more than , a little proud of his accomplishment. Besides writing, directing and starring in the picture, which he describes as “A romantic comedy in pantomime.” Chaplin also composed the music' for the piece. “It’s mv first attempt at compos¬ ing,” said Chaplin a little shyly. “Music forms the background to the film, for ‘City Lights’ is not silent, you know; it is simply a non-talking film with synchronized sound. “No, I’m not diametrically op¬ posed to talkies,” he said. “I mere¬ ly feel they are not my medium. I feel that I am a better pantomim- ist than actor. As a matter of fact, talkies have put new life into the movies. But I feel I will always steer shy of them.” Probably the most hilarious scene ever brought to the screen is in¬ cluded in Charlie Chaplin’s “City Lights,” the picture that is heralded as the outstanding achievement of the great comedian’s long career, to be shown at the . theatre starting . The sequence in question depicts a night at a mediocre fight club and introduces Chaplin as a pugilist. Incidentally this is the first time that the comedian has appearerl in the squared arena since he pro¬ duced, many years ago, “The Cham pion.” In order to provide the truly Chaplinesque atmosphere the entire area of the big indoor stage was transformed to represent a fight stadium, with the necessary training quarters and dressing rooms. It is here that Chaplin goes behind tin- scenes to reveal the antics of tin fighters and their trainers before entering the ring. Charlie Chaplin’s gamble on the desires of the ever-fickle amuse¬ ment-seeking public, which cost him $1,500,000 and comes in the form of the massive motion picture pro¬ duction, “City Lights,” will open an engagement at the. theater. Ut is the great producer-comedi¬ an’s wager on his oft-repeated decla¬ ration that there is, and alw r ays will be, a demand the world over for a motion picture that in the true sense of the word is a motion pic¬ ture without dialog. “City Lights” More than a thousand persons were used for this scene. The spec¬ tators, all men, filled to overflow the arena. At least fiftv percent of the numbers were one-time boxers. Flashes of several bouts art- shown and also the entire contest between Chaplin and his opponent, enacted by Hank Mann. Those two put on a fast two round affair and from all reports it is the most humorous and peculiar slugging match ever recorded by the cam¬ era. Names that were once prominent in the boxing world are among the more intimate ones in the dress¬ ing room and as seconds to Ohaplin and Hank Mann. Chiefly among them are Tone Stabenau, Victor Alexander. “Sugar” Willie Keeler, “Kid” Wagner. Joe Herrick, Eddie McAulilTe, Joe Ritchie. Sailor Vin¬ cent, Ad Herman and -t v Slocum. The referee is Tfddie Baker. is, however, synchronized with sound and music. Back in March of 1928, Chaplm recorded the first scenes of “City Lights” and then only after he had devoted some four months to the perfection of his story. Then caffie along the first all-dialog picture and at once producers went into a hud¬ dle and as one announced all talk¬ ing pictures for the future. Not so with the kin:** of panto¬ mime! Hp stood on the sidelines and silenced his cameras and . ob¬ served what was going on in the industry. He refused to believe that an art that had prdgressed for twenty-five years should step aside for what he termed “a new. form of screen amusement.” After a careful study of what was going on Chaplin reached the conclusion that the talkie was an inferior medium for the screen, one without a true art form, and in a twinkling he re¬ sumed his work on “City Lights” an announced it would be without dialog. At once the cry came from the industry that Chaplin was a “rebel” but to this the comedy genius only smiled. “They are the rebels, not “It was they and not I,” said Chaplin, “.who* rebelled against the silent motion picture. Talking pic¬ tures are not motion pictures but a poor ^excuse for a genuine stage play. I consider my silence more eloquent than mv voice and that I can give superior entertainment in the old medium, to what I con¬ sider inferior entertainment in the new medium.” Those who have seen “City Lights” agree with what Chaplin has said. Other producers have not been backward with their predic¬ tions that the next twelve months will see a rush for the silent prod uct with as much as forty percent output. Having hurled the gauntlet down to the third largest industry of the country, the motion picture business, Chaplin set out to prove his contention with not just another motion picture. In “City Lights,” it is believed, the best motion pic¬ ture of all time has come to the screen. The action of the play is in any metropolitan city. And from the populace Chaplin has drawn three individuals and around them woven a story. As usual he is the tramp, while the main supporting cast are the characters of an eccentric mil¬ lionaire and a blind girl. A new personality to theatregoers is Virginia Cherrill, who portrays the part of the girl. She is a miss of twenty years and of rare beauty, naturally blonde and blue-eyed. This is her initial screen appearance but i: is believed that she has a bril¬ liant future. Harry Myers, lie of ^ Connecticut Yankee in King Arthur’s Court" fame, returns to the screen as the millionaire. 11 is per¬ formance is said f<> be the most side-splitting of lbs long career, flank Maun, Morence I,ce, Henry Bergman, Allan Garcia, Albert Aus¬ tin and Eddie Baker embellish tin- east in delightful moments. To the making of “City Lights” Chaplin devoted close to three vears The actual cost of prodtn don runs slight I v over $1,500,000 and more than 15,000 persons were employed, exclusive of the com¬ edian’s personal staff of forty. 800.,000 feet of film were exposed and tin- finished product measures /'lose to nine reels or nine thousand feel. Giiariie Oliaplin in a^cenefrom"City lights! 11—Two Col. Scene (Mat 10c; Cut 50c) Chaplin Stages Prize-Fight as a Highlight for His New Talkless Comedy , "City Lights”