The Gold Rush 1924 1925 1926 next previous
The Gold Rush Clippings 57/363
Gladys Hall/Adele W. Fletcher, Motion Picture, N. Y., Feb. 1924.
Adolphe Menjou has justly come to be regarded
as one of the most adept and fascinating shadows cast upon
the screen. In A Woman of Paris, he succeeded
in making his villain all of the hero. And we hear that Lubitsch
has only praise to offer him for the work he has done
under his direction in The Marriage Circle.
(...) Photo by Melbourne Spurr, Motion Picture, Feb. 1924
& A rainy night on Broadway looking toward
Times Square from 54th Street, New York, circa 1928, University
of California Riverside, California Museum of Photography
& Fifth Avenue, New York
(...) Photo by Underwood & Underwood,
Motion Picture, June 1922
„No, No, NO!“
Editorial content. „We interview Charlie Chaplin
A Playful Playlet in One Act and Five Scenes
Three photos. „Charlie doesn‘t think
the heroine in his story loved the boy from the country
after she had known intimately a man of the
other sort... sophisticated, with polish and charm. He thinks
she only felt a sentimental interest for the boy,
thinking, perhaps, that she should be in love with him.
At the left is a scene from A Woman of Paris,
showing Adolphe Menjou and Edna Purviance. On the right,
Chaplin is seen directing a sequence of this
production... and below, as he was snapped directing
an exterior scene.“
The Cast
Charlie Chaplin – Whom all the world knows
We – Gladys Hall and Adele Whitely Fletcher
Such supernumeries as: Hotel clerks, audience at the
Lyric Theater, page boys, telephone operators,
publicity men, elevator experts, Charlie‘s Japanese valet,
who should be in the diplomatic service, et cetera.
SCENE I IS THE LYRIC THEATER. – It is the New
York premiere of A Woman of Paris.“
„Gladys Hall (coaxingly): Aren‘t we going to interview him?
Huh? Huh?“
Adele Whitely Fletcher (with deliberation... perhaps she
was planning a single interview, who knows?)
Maybe...“ (...)
„Gladys Hall: I have a new dress and everything...“ (...)
„SCENE II. – The lobby of the Ritz-Carlton. Two days
later. It is eleven o‘clock and Gladys Hall and Adele Whitely
Fletcher enter, yawning. Of course they are working
girls and all that. Still... Adele Whitely Fletcher requests
the number of Mr. Chaplin‘s suite with something of
an air de luxe.“ (...)
„Adele Whitely Fletcher (optimistically, as it develops):
Room 423, please...“
„Adele Whitely Fletcher: Miss Hall and Miss
Fletcher to see Mr. Chaplin by appointment. (Pause)
„Adele Whitely Fletcher (aggrieved): But we had an
appointment. He hasn‘t risen yet?“ (...)
SCENE III. Same as Scene II. Two o‘clock
in the afternoon.“ (...)
„Adele Whitely Fletcher (and there is marked doubt in
her tone): Room 423, please... (Pause.)
„Adele Whitely Fletcher: He hasn‘t risen yet?
Well, but... (Pause.)
Adele Whitely Fletcher: Very well, then, we‘ll be up in half
an hour...“
„SCENE IV.“ (...)
„Gladys Hall (with seeming irrelevance): In your
picture, A Woman of Paris, was your heroine in love with
both men?
Charlie Chaplin (as impersonally as tho he were
discussing the Einstein theory as applied to the planet of
Mars): No, I don‘t think so. I don‘t think a woman
could love that boy from the country after she had known
intimately a man of the other sort. A man of his
sophistication, polish, charm. For the boy I thought she
felt a sentimental interest. She felt that she should
be in love with him; that it was the thing to do. But a woman
loves first the man who makes her comfortable.
After that she can afford to indulge in sentiment...
Adele Whitely Fletcher: Don‘t you think that women are
more sentimental than men?
Charlie Chaplin: No. You know they‘re not. Men are
the great sentimentalists. Women are more direct,
too. A woman sees something she wants and goes straight
after it. She generally gets it, too.“ (...)
„Adele Whitely Fletcher: You didn‘t have a bit of trouble
with the censors, did you?
Charlie Chaplin: No you see, in the first place, the
ending of the picture salved anything like that.
And then, too, there is really nothing in the entire picture
that could offend a child when you come to think
of it. Only the sophisticated person, the person thoroughly
in the knowledge of a certain type of life and what
it means, would be sure of what he or she was seeing.
I feel, that is, I tried, to give the lives of those few
people as I saw them, as they would be lived, and with
offense to none.
(Adele Whitely Fletcher and Gladys Hall now
reluctantly arise to go. Especially in view of the fact that
the valet has been answering the ‘phone at intervals
for hours and now, rather hoarse, informs Mr. Chaplin that
someone is awaiting him in the anteroom.)
Charlie Chaplin (gallantly): Don‘t hurry. I‘ve lots
more to say to you. And I‘m really sorry there was any
misunderstanding about our appointment.
Really.“ (...)
„SCENE V. – Fifth Avenue. It is now five-thirty. The
interviewers are discovered threading their aimless ways thru
the crowds.“ (...)
Six photos, two drawings.
See also Hall/Fletcher, We Interview Pola Negri,
Motion Picture, Jan. 1923.
Redaktioneller Inhalt
The Gold Rush 1924 1925 1926 next previous
