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The First True Life Story of
CHARLIE CHAPLIN
By Alfred A. Cohn
fl,This is the first o/Screenland's remarkable series of stories of our foremost celluloid luminaries, presenting the hitherto untold life tales of the famous film folk. These vital, throbbing chronicles of motion picture history will make you know— and understand—your favorites as never before. Here you will find stories never before published—anecdotes that reveal the real person behind the shadow self created by publicity.
_small group of men stepped blinkingly out of the darkness of the projection room. With a single exception perhaps, their brows were impressively altitudinous ; their demeanor studiously important. No word was spoken until they had emerged into broad, dazzling daylight. One of the group finally spoke.
"Gentlemen," he declared in something of the tones the royal physician wTould employ while informing the king's councillors that a male heir had just been ushered into the world to save the dynasty ; "Gentlemen, we have just seen the greatest forward step ever taken in motion pictures. This that we have seen is Life; it is Truth; it is Art."
Had there been within hearing one of the thousands of erudite exhibitors or sapient salesmen of cinematic wares, any of whom know all there is to know about making "pitchers," he would have immediately suggested putting it "on the shelf." The "shelf" is the graveyard of screenplays that are considered too bad or "too artistic" to release. The wise exhibitor or salesman just naturally knows that an artistic picture is not "box office."
And yet a few days later the same picture was shown to a bunch of the hardest boiled, lowest browed box office experts west of Death Valley with the result that it was booked for a run at a Los Angeles theatre at the biggest guaranteed rental ever offered for a screenplay anywhere.
A,
Concerning A Woman of Paris
.rt and the box office at last seem to have met on common ground.
Whether or not the picture is all that the intellectuals say
it is cannot be proved by me. Nor can 1 guarantee that the production will bring in its appraised value, something like $3,000000. I am merely chronicling the astonishing fact that on the face of things, art and commercialism have been merged, and the amazing fact that this cinema millenium has been brought about by Charlie Chaplin, hitherto regarded simply as the chief exponent and
H. Charlie Chaplin, in a tense moment of directing A Woman of Paris.
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