• “[146] Ultimately work on the film resumed, and following its September 1921 release, Chaplin chose to return to England for the first time in almost a decade.

• [149] 1923–1938: silent features A Woman of Paris and The Gold Rush Having fulfilled his First National contract, Chaplin was free to make his first picture as an independent
  producer.

• [85] Chaplin asserted a high level of control over his pictures and started to put more time and care into each film.

• [125][140] For this new venture, Chaplin also wished to do more than comedy and, according to Louvish, “make his mark on a changed world”.

• [44] Stage comedy and vaudeville Chaplin soon found work with a new company and went on tour with his brother, who was also pursuing an acting career, in a comedy sketch called
  Repairs.

• [59] 1914–1917: entering films Keystone Six months into the second American tour, Chaplin was invited to join the New York Motion Picture Company.

• [185] Despite its success, he permanently associated the film with the stress of its production; Chaplin omitted The Circus from his autobiography, and struggled to work on
  it when he recorded the score in his later years.

• [65] Chaplin (left) in his first film appearance, Making a Living, with Henry Lehrman who directed the picture (1914) Chaplin’s trademark character “the Tramp” debuts in Kid
  Auto Races at Venice (1914), Chaplin’s second released film Chaplin’s boss was Mack Sennett, who initially expressed concern that the 24-year-old looked too young.

• When filming began at the end of 1928, Chaplin had been working on the story for almost a year.

• Robinson notes that this was an innovation in comedy films, and marked the time when serious critics began to appreciate Chaplin’s work.

• [125] A Dog’s Life, released April 1918, was the first film under the new contract.

• [108] He made only four more films for Mutual over the first ten months of 1917: Easy Street, The Cure, The Immigrant, and The Adventurer.

• [190] He, therefore, rejected the new Hollywood craze and began work on a new silent film.

• [76] Thereafter he directed almost every short film in which he appeared for Keystone,[77] at the rate of approximately one per week,[78] a period which he later remembered
  as the most exciting time of his career.

• With his aforementioned concern about the declining quality of his films because of contract scheduling stipulations, Chaplin’s primary concern in finding a new distributor
  was independence; Sydney Chaplin, then his business manager, told the press, “Charlie [must] be allowed all the time he needs and all the money for producing [films] the way he wants …

• She went on to appear in 35 films with Chaplin over eight years;[84] the pair also formed a romantic relationship that lasted into 1917.

• With the new year, however, Chaplin began to demand more time.

• [201] Travels, Paulette Goddard, and Modern Times City Lights had been a success, but Chaplin was unsure if he could make another picture without dialogue.

• [69][i] The film was Mabel’s Strange Predicament, but “the Tramp” character, as it became known, debuted to audiences in Kid Auto Races at Venice – shot later than Mabel’s
  Strange Predicament but released two days earlier on 7 February 1914.

• “[130] He spent four months filming the picture, which was released in October 1918 with great success.

• [67] The one-reeler Making a Living marked his film acting debut and was released on 2 February 1914.

• [45] In May 1906, Chaplin joined the juvenile act Casey’s Circus,[46] where he developed popular burlesque pieces and was soon the star of the show.

• He later recalled making his first amateur appearance at the age of five years, when he took over from Hannah one night in Aldershot.

• [171] On 6 July 1925, Chaplin became the first movie star to be featured on a Time magazine cover.

• Mirroring the circumstances of his first union, Lita Grey was a teenage actress, originally set to star in the film, whose surprise announcement of pregnancy forced Chaplin
  into marriage.

• [154] The public, however, seemed to have little interest in a Chaplin film without Chaplin, and it was a box office disappointment.

• Chaplin strongly disliked the picture, but one review picked him out as “a comedian of the first water”.

• [155] The filmmaker was hurt by this failure – he had long wanted to produce a dramatic film and was proud of the result – and soon withdrew A Woman of Paris from circulation.

• By early June, however, Chaplin “suddenly decided he could scarcely stand to be in the same room” as Collins, but instead of breaking off the engagement directly, he “stopped
  coming in to work, sending word that he was suffering from a bad case of influenza, which May knew to be a lie.

• [139] Losing the child, plus his own childhood experiences, are thought to have influenced Chaplin’s next film, which turned the Tramp into the caretaker of a young boy.

• [40] His performance was so well received that he was called to London to play the role alongside William Gillette, the original Holmes.

• By the time the act finished touring in July 1907, the 18-year-old had become an accomplished comedic performer.

• [123] It was completed in January 1918,[124] and Chaplin was given freedom over the making of his pictures.

• [66] He was not used in a picture until late January, during which time Chaplin attempted to learn the processes of filmmaking.

• Frustrated with their lack of concern for quality, and worried about rumours of a possible merger between the company and Famous Players-Lasky, Chaplin joined forces with
  Douglas Fairbanks, Mary Pickford, and D. W. Griffith to form a new distribution company, United Artists, in January 1919.

• Before the creation of United Artists, Chaplin married for the first time.

• It was a challenging production that lasted 21 months,[192] with Chaplin later confessing that he “had worked himself into a neurotic state of wanting perfection”.

• He initially refused to move to sound films in the 1930s, instead producing City Lights (1931) and Modern Times (1936) without dialogue.

• [142] The Kid was in production for nine months until May 1920 and, at 68 minutes, it was Chaplin’s longest picture to date.

• “[197] Given its general release in January 1931, City Lights proved to be a popular and financial success, eventually grossing over $3 million.

• He continues to be held in high regard, with The Gold Rush, City Lights, Modern Times, and The Great Dictator often ranked on lists of the greatest films.

• He remained convinced that sound would not work in his films, but was also “obsessed by a depressing fear of being old-fashioned”.

• [131] United Artists, Mildred Harris, and The Kid After the release of Shoulder Arms, Chaplin requested more money from First National, which was refused.

• Associates warned him against making a comedy about the war but, as he later recalled: “Dangerous or not, the idea excited me.

• [169] They originally met during her childhood and she had previously appeared in his works The Kid and The Idle Class.

• [199][200] City Lights became Chaplin’s personal favourite of his films and remained so throughout his life.

• [89] The character became more gentle and romantic;[90] The Tramp (April 1915) was considered a particular turning point in his development.

• He received several offers, including Universal, Fox, and Vitagraph, the best of which came from the Mutual Film Corporation at $10,000[o] a week.

• His first feature-length film was The Kid (1921), followed by A Woman of Paris (1923), The Gold Rush (1925), and The Circus (1928).

• [50] However, the teenager made an impact on his first night at the London Coliseum and he was quickly signed to a contract.

• In January 1918, Chaplin was visited by leading British singer and comedian Harry Lauder, and the two acted in a short film together.

• [42] At 16 years old, Chaplin starred in the play’s West End production at the Duke of York’s Theatre from October to December 1905.

• [104] He added two key members to his stock company, Albert Austin and Eric Campbell,[105] and produced a series of elaborate two-reelers: The Floorwalker, The Fireman, The
  Vagabond, One A.M., and The Count.

• A contract was negotiated with Mutual that amounted to $670,000[p] a year,[100] which Robinson says made Chaplin – at 26 years old – one of the highest paid people in the
  world.

• [175][t] Chaplin was reported to be in a state of nervous breakdown, as the story became headline news and groups formed across America calling for his films to be banned.

• One journalist wrote, “Nobody in the world but Charlie Chaplin could have done it.

• Harper’s Weekly reported that the name of Charlie Chaplin was “a part of the common language of almost every country”, and that the Tramp image was “universally familiar”.

• I began to know him, and by the time I walked on stage he was fully born.

• [202] In this state of uncertainty, early in 1931, the comedian decided to take a holiday and ended up travelling for 16 months.

• The child was taken by Dryden at six months old, and did not re-enter Chaplin’s life for thirty years.

• A representative who had seen his performances thought he could replace Fred Mace, a star of their Keystone Studios who intended to leave.

• Chaplin was nonetheless anxious about this decision and remained so throughout the film’s production.

• [112] However, Chaplin also felt that those films became increasingly formulaic over the period of the contract, and he was increasingly dissatisfied with the working conditions
  encouraging that.

• [22] For the two months she was there, Chaplin and his brother Sydney were sent to live with their father, whom the young boys scarcely knew.

• [60] Chaplin thought the Keystone comedies “a crude mélange of rough and rumble”, but liked the idea of working in films and rationalised: “Besides, it would mean a new life.

• First National had on 12 April announced Chaplin’s engagement to the actress May Collins, whom he had hired to be his secretary at the studio.

• [52] In April 1910, he was given the lead in a new sketch, Jimmy the Fearless.

• “There was nothing we could do but accept poor mother’s fate”, Chaplin later wrote, and she remained in care until her death in 1928.

• The Pilgrim, his final short film, was delayed by distribution disagreements with the studio and released a year later.

• [127] Chaplin then embarked on the Third Liberty Bond campaign, touring the United States for one month to raise money for the Allies of the First World War.

• [133] Work on the picture was for a time delayed by more turmoil in his personal life.

• [54][55] The young comedian headed the show and impressed reviewers, being described as “one of the best pantomime artists ever seen here”.

• [81] When Chaplin’s contract came up for renewal at the end of the year, he asked for $1,000 a week[j] an amount Sennett refused as too large.

 

Works Cited

[‘An MI5 investigation in 1952 was unable to find any record of Chaplin’s birth.[6] Chaplin biographer David Robinson notes that it is not surprising that his parents failed to register the birth: “It was easy enough, particularly for music hall artists,
constantly moving (if they were lucky) from one town to another, to put off and eventually forget this kind of formality; at that time the penalties were not strict or efficiently enforced.”[5] In 2011 a letter sent to Chaplin in the 1970s came to
light which claimed that he had been born in a Gypsy caravan at Black Patch Park in Smethwick, Staffordshire (part of Birmingham at the time). Chaplin’s son Michael has suggested that the information must have been significant to his father for him
to retain the letter.[7] Regarding the date of his birth, Chaplin believed it to be 16 April, but an announcement in the edition of 11 May 1889 of The Magnet stated it as the 15th.[8]
o ^ Sydney was born when Hannah Chaplin was 19. The identity
of his biological father is not known for sure, but Hannah claimed it was a Mr. Hawkes.[10]
o ^ Hannah became ill in May 1896, and was admitted to hospital. Southwark Council ruled that it was necessary to send the children to a workhouse “owing
to the absence of their father and the destitution and illness of their mother”.[18]
o ^ According to Chaplin, Hannah had been booed off stage and the manager chose him – as he was standing in the wings – to go on as her replacement. He remembered
confidently entertaining the crowd, and receiving laughter and applause.[30]
o ^ The Eight Lancashire Lads were still touring until 1908; the exact time Chaplin left the group is unverified, but based on research, A. J. Marriot believes it was in
December 1900.[33]
o ^ William Gillette co-wrote the Sherlock Holmes play with Arthur Conan Doyle, and had been starring in it since its New York opening in 1899. He had come to London in 1905 to appear in a new play, Clarice. Its reception was
poor, and Gillette decided to add an “after-piece” called The Painful Predicament of Sherlock Holmes. This short play was what Chaplin originally came to London to appear in. After three nights, Gillette chose to close Clarice and replace it with
Sherlock Holmes. Chaplin had so pleased Gillette with his performance in The Painful Predicament that he was kept on as Billy for the full play.[41]
o ^ Chaplin attempted to be a “Jewish comedian”, but the act was poorly received and he performed
it only once.[48]
o ^ $4,100 in 2021 dollars[62]
o ^ Robinson notes that this was not strictly true: “The character was to take a year or more to evolve its full dimensions and even then – which was its particular strength – it would evolve during
the whole rest of his career.”[70]
o ^ equivalent to $27,000 in 2021
o ^ equivalent to $34,000 in 2021
o ^ equivalent to $271,000 in 2021
o ^ After leaving Essanay, Chaplin found himself engaged in a legal battle with the company that lasted
until 1922. It began when Essanay extended his last film for them, Burlesque on Carmen, from a two-reeler to a feature film (by adding out-takes and new scenes with Leo White) without his consent. Chaplin applied for an injunction to prevent its distribution,
but the case was dismissed in court. In a counter-claim, Essanay alleged that Chaplin had broken his contract by not producing the agreed number of films and sued him for $500,000 in damages. In addition, the company compiled another film, Triple
Trouble (1918), from various unused Chaplin scenes and new material shot by White.[98]
o ^ equivalent to $2,700,000 in 2021
o ^ equivalent to $180,000 in 2021
o ^ equivalent to $16,700,000 in 2021
o ^ The British embassy made a statement saying:
“[Chaplin] is of as much use to Great Britain now making big money and subscribing to war loans as he would be in the trenches.”[115]
o ^ equivalent to $21,200,000 in 2021
o ^ equivalent to $77,300,000 in 2021
o ^ In her memoirs, Lita Grey later
claimed that many of her complaints were “cleverly, shockingly enlarged upon or distorted” by her lawyers.[176]
o ^ equivalent to $9,360,000 in 2021
o ^ equivalent to $53,500,000 in 2021
o ^ Chaplin left the United States on 31 January 1931,
and returned on 10 June 1932.[204]
o ^ Chaplin later said that if he had known the extent of the Nazi Party’s actions he would not have made the film; “Had I known the actual horrors of the German concentration camps, I could not have made The
Great Dictator; I could not have made fun of the homicidal insanity of the Nazis.”[229]
o ^ Speculation about Chaplin’s racial origin existed from the earliest days of his fame, and it was often reported that he was a Jew. Research has uncovered
no evidence of this, and when a reporter asked in 1915 if it was true, Chaplin responded, “I have not that good fortune.” The Nazi Party believed that he was Jewish and banned The Gold Rush on this basis. Chaplin responded by playing a Jew in The
Great Dictator and announced, “I did this film for the Jews of the world.”[235]
o ^ In December 1942, Barry broke into Chaplin’s home with a handgun and threatened suicide while holding him at gunpoint. This lasted until the next morning, when
Chaplin was able to get the gun from her. Barry broke into Chaplin’s home a second time later that month, and he had her arrested. She was then prosecuted for vagrancy in January 1943 – Barry had been unable to pay her hotel bills, and was found
wandering the streets of Beverly Hills after taking an overdose of barbiturates.[246]
o ^ According to the prosecutor, Chaplin had violated the act when he paid for Barry’s trip to New York in October 1942, when he was also visiting the city. Both
Chaplin and Barry agreed that they had met there briefly, and according to Barry, they had sexual intercourse.[248] Chaplin claimed that the last time he was intimate with Barry was May 1942.[249]
o ^ Carol Ann’s blood group was B, Barry’s was
A, and Chaplin’s was O. In California at this time, blood tests were not accepted as evidence in legal trials.[256]
o ^ Chaplin and O’Neill met on 30 October 1942 and married on 16 June 1943 in Carpinteria, California.[259] Eugene O’Neill disowned
his daughter as a result.[260]
o ^ equivalent to $83,000 in 2021
o ^ Chaplin had already attracted the attention of the FBI long before the 1940s, the first mention of him in their files being from 1922. J. Edgar Hoover first requested that a
Security Index Card be filed for Chaplin in September 1946, but the Los Angeles office was slow to react and only began active investigation the next spring.[281] The FBI also requested and received help from MI5, particularly on investigating the
false claims that Chaplin had not been born in England but in France or Eastern Europe, and that his real name was Israel Thornstein. MI5 found no evidence of Chaplin being involved in the Communist Party.[282]
o ^ In November 1947, Chaplin asked
Pablo Picasso to hold a demonstration outside the US embassy in Paris to protest the deportation proceedings of Hanns Eisler, and in December, he took part in a petition asking for the deportation process to be dropped. In 1948, Chaplin supported
the unsuccessful presidential campaign of Henry Wallace; and in 1949 he supported two peace conferences and signed a petition protesting the Peekskill incident.[290]
o ^ Limelight was conceived as a novel, which Chaplin wrote but never intended
for publication.[294]
o ^ Before leaving America, Chaplin had ensured that Oona had access to his assets.[307]
o ^ Robinson speculates that Switzerland was probably chosen because it “was likely to be the most advantageous from a financial point
of view”.[310]
o ^ The honour had already been proposed in 1931 and 1956, but was vetoed after a Foreign Office report raised concerns over Chaplin’s political views and private life. They feared the act would damage the reputation of the British
honours system and relations with the United States.[349]
o ^ Despite asking for an Anglican funeral, Chaplin appeared to be agnostic. In his autobiography he wrote, “I am not religious in the dogmatic sense … I neither believe nor disbelieve
in anything … My faith is in the unknown, in all that we do not understand by reason; I believe that … in the realm of the unknown there is an infinite power for good.”[354]
o ^ Stan Laurel, Chaplin’s co-performer at the company, remembered
that Karno’s sketches regularly inserted “a bit of sentiment right in the middle of a funny music hall turn”.[363]
o ^ Although the film had originally been released in 1952, it did not play for one week in Los Angeles because of its boycott, and
thus did not meet the criterion for nomination until it was re-released in 1972.[433]
o ^ On his birthday, 16 April, City Lights was screened at a gala at the Dominion Theatre in London, the site of its British premiere in 1931.[488] In Hollywood,
a screening of a restored version of How to Make Movies was held at his former studio, and in Japan, he was honoured with a musical tribute. Retrospectives of his work were presented that year at The National Film Theatre in London,[489] the Munich
Stadtmuseum[489] and the Museum of Modern Art in New York, which also dedicated a gallery exhibition, Chaplin: A Centennial Celebration, to him.[490]
o Charles Chaplin, Jr., with N. and M. Rau, My Father, Charlie Chaplin, Random House: New York,
(1960), pages 7-8. Quoted in “The Religious Affiliation of Charlie Chaplin”. Adherents.com. 2005. Archived from the original on 6 August 2011. Retrieved 10 October 2010.
o ^ Charlie Chaplin, My Autobiography, page 19. Quoted in “The Religious Affiliation
of Charlie Chaplin”. Adherents.com. 2005. Archived from the original on 6 August 2011. Retrieved 10 October 2010.
o ^ Hopewell, John (23 September 2019). “Carmen Chaplin to Direct ‘Charlie Chaplin, a Man of the World’ (Exclusive)”. Variety. Retrieved
10 October 2021.
o ^ Hancock, Ian F. (2002). We are the Romani People. Univ of Hertfordshire Press. p. 129. ISBN 978-1-902806-19-8.
o ^ Jump up to:a b Robinson, p. 10.
o ^ Whitehead, Tom (17 February 2012). “MI5 Files: Was Chaplin Really a Frenchman
and Called Thornstein?”. The Daily Telegraph. Archived from the original on 24 April 2012. Retrieved 11 April 2012.
o ^ “Charlie Chaplin Was ‘Born into a Midland Gipsy Family'”. Express & Star. 18 February 2011. Archived from the original on 22
February 2012. Retrieved 17 February 2012.
o ^ Robinson, p. xxiv.
o ^ Robinson, pp. 3–4, 19.
o ^ Jump up to:a b Robinson, p. 3.
o ^ Robinson, pp. 5–7.
o ^ Weissman 2009, p. 10.
o ^ Robinson, pp. 9–10, 12.
o ^ Robinson, p. 13.
o ^ Robinson,
p. 15.
o ^ Robinson, p. xv.
o ^ Robinson, p. 16.
o ^ Robinson, p. 19.
o ^ Chaplin, p. 29.
o ^ Robinson, pp. 24–26.
o ^ Chaplin, p. 10.
o ^ Weissman 2009, pp. 49–50.
o ^ Chaplin, pp. 15, 33.
o ^ Jump up to:a b Robinson, p. 27.
o ^
Robinson, p. 36.
o ^ Robinson, p. 40.
o ^ Weissman 2009, p. 6; Chaplin, pp. 71–74; Robinson, p. 35.
o ^ Robinson, p. 41.
o ^ Chaplin, p. 88; Robinson, pp. 55–56.
o ^ Robinson, p. 17; Chaplin, p. 18.
o ^ Chaplin, p. 41.
o ^ Marriot, p.
4.
o ^ Marriot, p. 213.
o ^ Chaplin, p. 44.
o ^ Louvish, p. 19.
o ^ Robinson, p. 39.
o ^ Chaplin, p. 76.
o ^ Robinson, pp. 44–46.
o ^ Marriot, pp. 42–44; Robinson, pp. 46–47; Louvish, p. 26.
o ^ Robinson, pp. 45, 49–51, 53, 58.
o ^
Robinson, pp. 59–60.
o ^ Chaplin, p. 89.
o ^ Marriot, p. 217.
o ^ Robinson, p. 63.
o ^ Robinson, pp. 63–64.
o ^ Marriot, p. 71.
o ^ Robinson, pp. 64–68; Chaplin, p. 94.
o ^ Robinson, p. 68; Marriot, pp. 81–84.
o ^ Robinson, p. 71;
Kamin, p. 12; Marriot, p. 85.
o ^ Robinson, p. 76.
o ^ Robinson, pp. 76–77.
o ^ Marriot, pp. 103, 109.
o ^ Marriot, pp. 126–128; Robinson, pp. 84–85.
o ^ “Chaplin – A Musical Biography”. CharlieChaplin.com. Retrieved 23 February 2022.
o ^
Robinson, p. 88.
o ^ Robinson, pp. 91–92.
o ^ Robinson, p. 82; Brownlow, p. 98.
o ^ Robinson, p. 95.
o ^ Chaplin, pp. 133–134; Robinson, p. 96.
o ^ Robinson, p. 102.
o ^ Chaplin, pp. 138–139.
o ^ 1634–1699: McCusker, J. J. (1997). How
Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real
Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. “Consumer Price Index (estimate) 1800–”. Retrieved 16
April 2022.
o ^ Robinson, p. 103; Chaplin, p. 139.
o ^ Robinson, p. 107.
o ^ Bengtson, John (2006). Silent Traces: Discovering Early Hollywood Through the Films of Charlie Chaplin. Santa Monica Press.
o ^ Chaplin, p. 141.
o ^ Robinson, p.
108.
o ^ Robinson, p. 110.
o ^ Chaplin, p. 145.
o ^ Robinson, p. 114.
o ^ Jump up to:a b c d Robinson, p. 113.
o ^ Mostrom, Anthony (19 June 2011). “Unsuspecting extras go down in film history”. Los Angeles Times.
o ^ Robinson, p. 120.
o ^
Chaplin, C. (1964). My Autobiography. New York: Simon and Schuster.
o ^ Robinson, p. 121.
o ^ Robinson, p. 123.
o ^ Maland 1989, p. 5.
o ^ Kamin, p. xi.
o ^ Chaplin, p. 153.
o ^ Robinson, p. 125; Maland 1989, pp. 8–9.
o ^ Robinson, pp.
127–128.
o ^ Robinson, p. 131.
o ^ Robinson, p. 135.
o ^ Robinson, pp. 138–139.
o ^ Robinson, pp. 141, 219.
o ^ Neibaur, p. 23; Chaplin, p. 165; Robinson, pp. 140, 143.
o ^ Robinson, p. 143.
o ^ Maland 1989, p. 20.
o ^ Maland 1989,
pp. 6, 14–18.
o ^ Maland 1989, pp. 21–24.
o ^ Robinson, p. 142; Neibaur, pp. 23–24.
o ^ Robinson, p. 146.
o ^ Louvish, p. 87.
o ^ Robinson, pp. 152–153; Kamin, p. xi; Maland 1989, p. 10.
o ^ Maland 1989, p. 8.
o ^ Louvish, p. 74; Sklar,
p. 72.
o ^ Robinson, p. 149.
o ^ Robinson, pp. 149–152.
o ^ Robinson, p. 156.
o ^ “C. Chaplin, Millionaire-Elect”. Photoplay. IX (6): 58. May 1916. Archived from the original on 17 January 2014.
o ^ Robinson, p. 160.
o ^ Larcher, p. 29.
o ^
Robinson, p. 159.
o ^ Robinson, p. 164.
o ^ Robinson, pp. 165–166.
o ^ Robinson, pp. 169–173.
o ^ Robinson, p. 175.
o ^ Robinson, pp. 179–180.
o ^ Robinson, p. 191.
o ^ “”The Happiest Days of My Life”: Mutual”. Charlie Chaplin. British
Film Institute. Archived from the original on 22 November 2012. Retrieved 28 April 2012.
o ^ Brownlow, p. 45; Robinson, p. 191; Louvish, p. 104; Vance 2003, p. 203.
o ^ Chaplin, p. 188.
o ^ Brownlow, Kevin; Gill, David (1983). Unknown Chaplin.
Thames Silent.
o ^ Robinson, p. 185.
o ^ Robinson, p. 186.
o ^ Robinson, p. 187.
o ^ Jump up to:a b Robinson, p. 210.
o ^ Robinson, pp. 215–216.
o ^ Jump up to:a b Robinson, p. 213.
o ^ Chaplin “Charlie Chaplin meets Harry Lauder – Rare
Archival Footage”, Roy Export Company Ltd., Association Chaplin via YouTube. Retrieved 1 November 2018.
o ^ Robinson, p. 221.
o ^ Schickel, p. 8.
o ^ Chaplin, p. 203; Robinson, pp. 225–226.
o ^ Robinson, p. 228.
o ^ Jump up to:a b “Independence
Won: First National”. Charlie Chaplin. British Film Institute. Archived from the original on 24 March 2012. Retrieved 5 May 2012.
o ^ Chaplin, p. 208.
o ^ Robinson, p. 229.
o ^ Robinson, pp. 237, 241.
o ^ Robinson, p. 244.
o ^ Chaplin, p.
218.
o ^ Robinson, pp. 241–245.
o ^ Chaplin, pp. 219–220; Balio, p. 12; Robinson, p. 267.
o ^ Jump up to:a b Robinson, p. 269.
o ^ Chaplin, p. 223.
o ^ Robinson, p. 246.
o ^ Robinson, p. 248.
o ^ Robinson, pp. 246–249; Louvish, p. 141.
o ^
Robinson, p. 251.
o ^ Chaplin, p. 235; Robinson, p. 259.
o ^ Robinson, p. 252; Louvish, p. 148.
o ^ Louvish, p. 146.
o ^ Robinson, p. 253.
o ^ Robinson, p. 261.
o ^ Chaplin, pp. 233–234.
o ^ Robinson, p. 265.
o ^ Milton, Joyce (1996).
Tramp. HarperCollins. p. 184. ISBN 0-06-017052-2.
o ^ Robinson, p. 282.
o ^ My Wonderful Visit.
o ^ Robinson, pp. 295–300.
o ^ Robinson, p. 310.
o ^ Robinson, p. 302.
o ^ Robinson, pp. 311–312.
o ^ Robinson, pp. 319–321.
o ^ Robinson,
pp. 318–321.
o ^ Louvish, p. 193.
o ^ Robinson, pp. 302, 322.
o ^ Louvish, p. 195.
o ^ Kemp, p. 64; Chaplin, p. 299.
o ^ Robinson, p. 337.
o ^ Robinson, p. 358.
o ^ Robinson, pp. 340–345.
o ^ Robinson, p. 354.
o ^ Robinson, p. 357.
o ^
Robinson, p. 358; Kemp, p. 63.
o ^ Kemp, pp. 63–64; Robinson, pp. 339, 353; Louvish, p. 200; Schickel, p. 19.
o ^ Kemp, p. 64.
o ^ Vance 2003, p. 154.
o ^ Robinson, p. 346.
o ^ Chaplin and Vance, p. 53; Vance 2003, p. 170.
o ^ Chaplin
and Vance, pp. xvi, xviii, 4, 26, 30.
o ^ Robinson, pp. 355, 368.
o ^ Ujjal, Kumar (16 April 2020). “Charlie Chaplin: The First Actor in the world to be on the cover of Times magazine”. Infotoline. Retrieved 1 April 2021.
o ^ Robinson, pp. 350,
368.
o ^ Robinson, p. 371.
o ^ Louvish, p. 220; Robinson, pp. 372–374.
o ^ Maland 1989, p. 96.
o ^ Robinson, pp. 372–374; Louvish, pp. 220–221.
o ^ Robinson, p. 378.
o ^ Maland 1989, pp. 99–105; Robinson, p. 383.
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o ^ Brownlow, p. 73; Louvish, p. 224.
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o ^ Jump up to:a b Robinson, p. 389; Maland 2007,
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o ^ Robinson, p. 398; Maland 2007, pp. 33–34, 41.
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