City Lights (United Artists) (1931)

Feature Stories Editors Will Play Up Chaplin Favors Silent Screen Comedian Believes Silent Screen is Superior Art Form; Looks Upon Talkers as an Addition to Art but Thinks Pantomime Keynote of All Drama 7 he story below, in Chaplin's own war (is, explains the comedian’s stand on talking pictures, /is this is Mr. Chaplin’s official statement on the subject, impress your focal papers with its importance and have it carried on the front pages if possible with pictures of Chaplin and the production. by CHARLES CHAPLIN star of "City Lights” which comes to the theatre on ! Because the silent or non-dialog picture has been temporarily pushed aside in the hysteria attending the introduction of speech by no means indicates that it is extinct or that the motion picture screen.has seen the last of it. “City Lights” is evidence of this. It is a non-dialog hut synchronized film. Why did I continue to make non-dialog films? The silent pic¬ ture, first of all, is a universal means of expression. Talking pictures necessarily have a limited field, they are held down to the particular tongues of particular races. Chaplin Exhibits "A” Complex While Casting for Heroines for His Films I am confident that the future.will sec a return of interest in non-talk- i'iSf productions because there is a constant demand for a medium that is universal in its utility. It is axio¬ matic that true drama must be uni- ersal in its appeal, — the word lenient might be better, — and 1 believe the medium of presentation should also be a universal rather than a restricted- one. Understand. I consider the talk¬ ing picture a valuable addition to the dramatic art, regardless of its limi¬ tations; but I regard it only as an addition, not as a substitute. Cer¬ tainly it could 1 not be a substitute for the- motion picture that has ad¬ vanced as a pantomimic art form so notably during its brief twenty years of story-telling. After all, panto¬ mime has always been the universal means of communication. It existed jHp as the universal tool long before language was born. Pantomime serves well where languages are in the conflict of a common ignorance. Primitive folk used the sign lan¬ guage before thev were able to form an intelligible word. At what point in the world’s his- tofy pantomime first made its ap¬ pearance is speculative. Undoubt¬ edly ft greatly antedates the first records of its part in Greek culture, cached a highly definite develop- . ' m( mu' in Rome and was a distinct factor in the mediaeval mystery plays. Ancient Egypt was adept in its use. and in the sacrificial rites of Druidism and in the w.ar dances of the aborigines of all lands it had a fixed olace. Pantomime lies at the base of any form of drama. In the silent form of photoplay it is the keynote. In the vocal form it must always be an essential because non-visual drama leaves altogether too much to the imagination. If there is any doubt of this, an example is the radio play. Action is more generally under¬ stood than words. The lift of an eyebrow, however faint, may convey more than a hundred words. Like the Chinese symbolism, it will mean ^ different things according to its scenic connotation. Listen to a dc- . scription of some unfamiliar object, —an African wart-hog, for example, then describe it; observe a picture of the animal and note the variety of astonishment. We hear a great deal about chil¬ dren not going to the movies any more, and it is undoubtedly true that hundreds of thousands of pros¬ pective film patrons, of future film- goers, young tots who formerly thrilled to the silent screen, do not - vyaTtend' any more because they are unable to follow the dialog of talk¬ ing pictures readily. On the other hand,. .tl,ie,v do follow action uner¬ ringly. This is because the eye .is better trained than the ear. There is nothing in “City Lights” that a child won’t follow easily and under¬ stand. I am a comedian and I know that pantomime is more important in comedy than it is in pure drama. It mav be even more effective in farce than in straight comedy. These two differ in that the former im¬ plies the attainment of humor with¬ out logical action.—in fact, rather the reverse; and the latter achieves this attainment as the outcome of sheer legitimate motivation. Silent comedy is more satisfactory enter¬ tainment for the masses than talking comedy because most cornedv de¬ pends on swiftness of action, and an event can happen and be laughed at before it can be told in words. Of course, pantomime is invaluable in drama, too. because it serves to effect the gradual transi¬ tion from farce to pathos or from corned v to tragedy much more smoothly and with less effort than speech can ever do. I base this statement on recent .observations: the sudden arrival of ~7S(lialog in motion pictures is causing rtjianv of our actors to forget the elements of the art of acting. Pan¬ tomime, 1 have always believed and still believe, is the prime qualifica¬ tion ot a successful screen player. A truly capable actor must possess a thorough grounding in pantomime. Consider the Irvings, Coquelins, Bernhardts, Duses. Mansfields and Booths, and you will find at the root Of their art, pantomime. My screen character remains speechless from choice. “City Lights” is synchronized and certain sound effects are part of the com¬ edy but it is a non-dialog picture because I preferred that it be that, for the reasons I have given. Again Charlie Chaplin has startled the entire movie world with a pic¬ ture that may have a revolutionary effect on the future of the screen. His new film, “City Lights,” which comes to the.theatre on ., is a non-dialogue film, although synchronized with music composed mainly by Chaplin and sound effects that are an in¬ tegral part of the comedy "gags” evolved in the development -of the story. The film, that has taken more than two years and more than $1,500,000 to produce, is described as Chaplin’s funniest, not barring "Shoulder Arms,” "The Pilgrim" u.ffi "The Gold Rush.” United Artists reveals that during the year preceding the release of the picture, an average of 120 tele- Charlie Chaplin has an “A” com¬ plex! At least, so it seems, when recall¬ ing the various leading women who have been associated with the com¬ edian in his screen work, the first letter of the alphabet is significant. In Chaplin’s latest United Art¬ ists photoplay, “City Lights,” a per¬ sonality unknown to theatregoers is Virginia Cherrill. The young wom¬ an plays the feminine lead, a diffi¬ cult portrayal, that of a blind flower vender. Miss Cherrill was assigned the' part after numerous actresses had been carefully considered. She was drawn from private life. It was after Virginia Cherrill signed the Chaplin contract that the “A” complex of the comedian was discovered. The last letter of the given name is where the theory is drawn from. As in Virginia, the final “A.” Ecln-A Purviancc was for many vears Chaplin’s leading woman. She graduated to stardom with the pro¬ duction, "A Woman of Paris" and Charlie then cast an eye about for her successor. Georgi-A Hale then arrived. After serving as leading woman in “The Gold Rush” tliis young woman be¬ came a factor in motion pictures and phone calls a week were made to the New York office alone by film fans interested in the film. Charlie here appears, as ever, in the historic trousers, the elephantine shoes and crazily cocked derby. This time he has as boon compan¬ ion in his antics, Harry Myers, re¬ membered for “A Connecticut Yan¬ kee in King Arthur's Court” in its silent picture form. Virginia C'ncr.- rill, Chicago girl, makes her debut in the film as Chaplin’s leading lady. She plays the role of a flower girl loved by the tramp. Tbc quizzical hobo, dear to millions, again goes in fdr those spinning runs around corners, precarious balancings on a quavering heel with both hands clutching for dear life onto the wind¬ blown derby. Charlie worries about again Chaplin was forced to find a leading woman. Mern-A Kennedy next bagged the laurels in “The Circus” and like her prcdeccssors expanded to become a prominent contract player. Virgini-A Cherrill was spotted tor the all important foie in “City Lights” and she Completed the fourth of 'the given, “A” ladies. Another strange fact about Chap¬ lin’s leading women is that but in one instance has any of them been experienced in screen acting. Geor¬ gia Hale is the only exception and prior to her work with the pro¬ ducer comedian she had been in only one picture. Edna Purviancc became ac¬ quainted with Chaplin at San Fran¬ cisco at a social function. Merna Kennedy grew up* in the neigh¬ borhood of the Cha-pjin studios in Hollywood but never dreamed as she passed the studio gates each day that she would finally land in the charmed circle. Virginia Cherrill met Chaplin at the' ringside of the Hollywood Legion stadium. Chaplin's most recent choice, Vir¬ ginia Cherrill, makes her initial screen bow at the .. theatre, where “City Lights” starts an engagement next. City Lights” his trousers and his poise and his cosmic significance; and lie is more than ever the earthly Chaplin who touches the heart of things. In the early sequences of “City Lights ’ Charlie is a typical knighl- of the back alleys, without a care in the world except perhaps where his next meal is coming from. Bui his placid existence is given a pur¬ pose when he falls in love with a blind flower girl. The forlorn little vagabond attempts to make some¬ thing of himself first as a white- wing, then a prize-fighter and a man-about-town. Chaplin begins his story with the unveiling of a monument in which lie burlesques the talkies by having jumbled and cackling noises synchronized with the lip movements of the speakers. THE KING OF FUNSTERS in the Comedy of Comedies It’s Not a Dream — It’s True! charlie Chaplin . CITY LIGHT/ 2—Three Col. Ad (Mat 20r; Cut 75 c) Charlie Chaplin Starts New Trend with " CHAPLIN PICKS LEAD WHILE AT RINGSIDE Actor Spies Virginia Cherrill Watching Fights and Casts Her for "City Lights” A desire to visit Hollywood and another desire to witness a prize¬ fight are two of the things in the life of Virginia Cherrill, former Chi¬ cago society girl, that won for her the leading feminine role in Charlie Chaplin’s forthcoming motion pic¬ ture classic, “City Lights," which comes to the .theatre on . It is in the great comedian-producer’s newest screen offering that Miss Cherrill will make hdr bow to theatregoers, and from all reports the young woman has a brilliant future in this field of her chosen endeavor. During the summer of 1928, Miss Cherrill ventured to Hollywood. Her mission was to tour Southern California and spend some time with friends. She had never dreamed of becoming identified with motion pictures. But she did want to see a prizefight. At the Hollywood American Legion stadium Virginia occupied a ringside seat. It was the same night that Charlie Chaplin turned to fistiana for recreation and he sat also in a ringside seat. Dur¬ ing that day the comedian had inter¬ viewed numerous aspirants for his screen heroine. But he had made no decision. Then he spied Miss Cherrill directly opposite. “Who’s that?” said Chaplin to his companion, who happened to be a film who’s who. The young woman was a stranger, however. “But,” protested Chaplin, “that’s the girl for the leading part in “City Lights’.” The following afternoon a party of four visited the Chaplin studios. Virginia Cherrill was a member oh the group. ..But she did not know why. All she knew was that she had been invited to visit the plant and observe comedy in the making. The girl and the producer were in¬ troduced and a little chat followed. She posed for some pictures and was next induced to have a “test” made. Then her visit was concluded. That evening Miss Chcrrill's likeness was gliding over the silver screen for the observation of Chaplin and his staff. The. following morning Vir¬ ginia Cherrill was under contract. When news of tbc Chicago girl’s conquest was flashed to the Illinois city there returned to Hollywood a storm of protest. Her relatives were astounded that the girl would even think of giving up her place in the exclusive social sets she enjoyed After days of discussion all opposi¬ tion to a career for Virginia was cast aside. Virginia Cherrill has just passed the twentieth year of her life. She is a natural blonde and her eyes arc blue- Her personality, it is believed, will win her much favor in her screen work. Of all things, it is said, she has great charm. Carthage, Illinois, is the city of Virginia’s nativity. She was edu¬ cated at Kemper Hall Convent, Kenosha, Wisconsin, and the Star- rett Finishing School for Girls, Chi¬ cago. Since entering motion pic¬ tures Miss Cherrill has become a full-fledged Californian and occu¬ pies a home with her mother in the Hancock Park section of Los An¬ geles. In “City Lights” Miss Cherrill’s portrayal is a difficult one. Her character is that of a blind flower vender and she is one of three in the cast who are vital to the story. Her work opposite Chaplin will, it is declared, prove beyond a doubt that Chaplin was not mistaken when be glanced across the roped arena at the young woman who immedi¬ ately appealed to him as the one who should be his leading woman. Chaplin Has Difficulty Casting "City Lights” As in evervthing he does, Chap¬ lin selects the players who appear in his pictures with great care and deliberation. In “City Lights,” his new comedy which is to play at the .theatre on ., one of the principal characters is an eccentric millionane who while drunk treats Charlie like his long lost brother, hut when sober looks upon him as a total stranger. This Dr. Ickvll ad Mr. Hyde of the tippling bowl, demanded an actor of parts who not only could play the role but would act as a foil f or Chaplin. . , , . Early in production when his sel¬ ection had been made, Chaplin was dissatisfied with the wav things were* going. Much footage Had. been filmed, but he had it all thrown out and started casting again. Ihis time lie chose Harry Myers, the player who gave so splendid an ac¬ count of himself in thp silent films Yankee.