Unlike almost every other screen actor, Charlie does not work from a script. When he starts a new story he is apt to come into his studio and say, “Build me a kitchen and a dining-room.” He has at this moment perhaps only the germ of an idea. But day by day he develops it, and as he does so his scenario-writer puts down each scene. This method has often been described, and I touch upon it here only for its value in revealing his psychology. A scenario would undoubtedly irk him as much as would a social engagement. Always, always, Chaplin must be assured that he is free, that his individuality has scope for its spontaneous play.
His emotionality is never more apparent than when he is at work. Often he becomes exhausted in his efforts to inspire one of his company with the desired emotion. “Heavens!” he will cry, “It’s enough to break your heart—such stupidity!” When he sees the rushes, anger and despair are apt to break from their leashes and run away with the projection-room. Often, however, these emotions are directed quite as much toward his own part in the performance as toward that of others. Charlie has, in fact, that capacity for being dissatisfied with his own work which is a part of every great artist.
The world at large does not seem to know much about Charlie’s brother Sydney. Yet he is a very real brother and Charlie has a very real affection for him. He himself is an excellent comedian with only one disadvantage—he is the near relative of a great comedian. This relationship, I may add, could never be detected from a casual glance at the two, for Syd Chaplin is rather tall and rather blond and his features are much more sharply cut than are those of his brother.
Syd, by the way, possesses a very ready wit. Once when dining with Mary and Doug he listened to the latter’s statement that the costumes for “Robin Hood” had cost a hundred and sixty-two thousand dollars.
“Hmph!” commented Syd, “I should call that ‘Robbin’ Doug.’”
It was after completing his $670,000 contract with the Mutual Film Company that Charlie made with the First National Company a million-dollar deal calling for eight two-reel pictures. This did not sound difficult. The comedian expected to complete the order in a year. Instead, he has only just recently finished the last of the National Film pictures.
Chapter Fourteen
JACKIE COOGAN AND “THE KID”
The few superfluities which appeal to Charlie Chaplin must have some association of romance. For example, he is very fond of mangoes, and every evening that a certain Los Angeles café has this delicacy the manager calls up Chaplin’s house. When Charlie sits down in front of a glass of this exotic fruit he is positively radiant.
“Lovely musty odor!” he will comment. To him the delicacy calls up visions of long-robed, wide-sleeved Eastern men, of caravans winding threadlike across the desert, and of incense rising in fretted temples from the feet of golden gods. Every bit of him goes out to meet this glamourous suggestion just exactly as every bit of him goes out to meet the broad, rollicking humor of the derby pulled off by the string.