Authors: Charles Chaplin
Olympic
, s.s., C.’s voyages in,
134
,
260
–61,
329
O’Neill, Eugene,
245
O’Neill, Oona (‘a luminous beauty’),
413
–14; C.’s marriage to,
415
–16,
425
–6,
452
; gives up American citizenship,
466
opera’s emotional effect on C,
136
–7
Oppenheimer, Dr Robert,
460
orientation, importance of, in acting
technique,
256
Orpen, Sir William,
277
Our America
(Waldo Frank),
245
outside location: ‘I loathe working on’,
219
Oxford Music Hall (London), C. plays at the,
114
–15
Paderewski, Ignacy,
191
pain as source of humour,
210
Painful Predicament of-Sherlock
Holmes, The(Wm Gillette’s curtain-raiser),
C.’s part hi,
88
–90
painters, C. on,
389
palaces: ‘all are preposterous’,
353
panache type of acting, C.’s dislike
of,
253
Pantages Theatre Circuits (U.S.A.),
Paris,
C.’s first impressions of,
108
; adventures
in,
109
–14; C.’s welcome in,
Parker, Sir Gilbert,
200
paternity suit, Joan Barry’s,
415
ff.;
the trials,
419
–24
patriotism, C. and,
349
–50
Pavlova, Anna,
184
,
185
,
191
,
193
–4
Pebble Beach (California),
382
–5
personality,
‘nothing transcended’,
143
;
indefinable… shines through’,
Philadelphia, C.’s spending spree in
135
–7
philosophizing: ‘1 often indulged
in’,
199
Picasso, Pablo,
464
Pickfair (home of D. Fairbanks and
Mary Pickford),
288
Pickford, Mary,
156
; and Douglas
Fairbanks,
198
,
199
,
288
–90,
372
; and Elinor Glyn,
201
; and Liberty Bond Drives,
213
–17
passim;
and film companies’ mergers,
221
; her legal and business acumen,
222
; and United Artists,
221
–3,
292
; at
Monsieur Verdoux
première,
443
Pierce, Peggy (‘xwe ignited’),
156
–7
Pilgrim, The
(C’s film),
291
Pinnie (C.’s children’s nurse),
466
Poe, Edgar Allan, C. and works of,
135
poetó end poetry, C. on,
245
,
389
’pom-pom’ dance,
113
Post Office, The
(Karno sketch),
122
Postance, Mr (Wm Gillette’s stage manager),
89
–90
‘Poverty Row’ films,
183
Prélude à l’Après-midi d’un Faune
(Debussy),
114
,
192
–3
press, C. and the,
353
; antagonism of,
400
–401,
415
ff.,
440
ff.
Priestley, J. B.,
467
Provincetown Players,
244
psychic phenomena, C’s experiment in,
344
–6
psychology as ingredient of silent films,
294
–5
Purviance, Edna, ‘she was beautiful’,
169
; ‘we were inseparable’,
203
–5; and Thomas Meighan,
204
–5; on
C.’s wedding,
228
; C. considers parts for,
293
;
in 0
A Woman of Paris
,
294
–5; her last letters,
Rachmaninov, Sergei,
390
Rain
(W. Somerset Maugham),
127
;
‘a model play’,
200
récitations, C.’s childhood,
41
‘red-light’ districts of America,
127
Reeve, Ada,
257
Reeves, Alf (C.’s manager),
117
,
138
,
259
,
327
–8,
372
Reeves, Mrs Alf,
282
–3
Reeves, Billie (comedian),
92
Reinhardt, Max (publisher),
467
Reinhardt, Max (theatrical impresario),
180
; his school of acting,
409
Relativity, Einstein’s reactions to the emergence of his theory of,
317
religion, C’s first introduction to,
19
,
21
–2; his views on,
134
,
287
,
449
Reshevsky, Samuel (boy champion chess-player),
234
–5
Reynolds, Dr Cecil,
247
–9,
297
–8
Rhetoric
(Kellogg), C. and,
123
Ringling Brothers’ Circus,
46
Ritz Hotel (London),
264
; treacle pudding at the,
268
Roach, Hal,
171
Robbins, Jess (of Essanay Co.),
160
Robin Hood
(Fairbanks’ film),
198
Robinson, Carlisle (‘Carl’),
231
,
259
Rock, Charles (Eng. actor),
81
Rockefeller, John D.,
306
Rocksavage, Lord,
276
Roget’s
Thesaurus
, Negro truck-driver introduces C. to,
244
‘Roman Senator’, the:
see
Elliott, Maxine
romance and adventure, C.’s longing for,
93
,
102
Roosevelt, Franklin D.,
214
,
373
,
399
Rossier, Emile,
472
Rossier, Michel,
472
Royal Aquarium (London),
14
Royal Command Performance, C. declines request to appear at,
349
Russell, Jimmy,
279
Russia, C. and,
271
,
314
, speeches in support of ‘second front’,
401
ff.
Sage, Russell,
304
Saintsbury, H. A. C.’s stage engagement with,
77
–9; ‘the best Sherlock Holmes’,
81
–2
San Francisco, C. in,
128
–9,
161
,
169
San Simeon, W. R. Hearst’s ranch
at,
307
–9
Sanders, George and Benita,
473
Santa Barbara, C. and Oona at,
416
Santa Monica,
156
; C.’s house at,
174
; Marion Davies’ beach-house at,
306
,
311
Sartre, Jean-Paul,
464
Sassoon, Sir Philip,
268
,
273
–4,
315
,
330
,
346
–7; his hospitality
‘something out of the
Arabian Nights’
,
276
–7
Schenck, Joe,
291
–2,
322
–3,
326
,
350
,
375
schools and schooldays,
27
–33,
40
–42
Schopenhauer, Arthur, C. and writings of,
134
–5
Schwartz, Charles, C.’s lawyer,
452
scientists, C. on
389
Scottie, Death Valley,
185
–6 ‘scratch crowd’ (vaudeville term),
116
sea, C.’s first sight of the,
24
sea-voyages, C.’s views on,
379
Second World War, C. and the,
386
ff
Seers, Grad,
445
self-analysis, C.’s,
267
Sennett, Mack,
129
,
138
; engages C. for Keystone Co.,
139
,
141
–5; ‘enthusiasm his secret of success’,
146
; working with C,
147
,
148
–53,
154
,
155
,
157
–9
sex,
‘I do not believe it is the most
important element’,
206
; C.’s sex-life,
206
–8; ‘I can add
nothing new’,
354
; H. G.
Wells on,
354
;
see also
love
affairs
Shadow and Substance, C
.considers as film project,
408
–9; abandoned,
426
Shakespeare, William,
253
; ‘I hardly think’ he wrote the works,
358
–9
Shamus O’Brien
(Irish melodrama),
C.’s parents in,
17
Shaw, George Bernard,
93
,
269
,
331
–2,
337
Shaw, Mrs G. B.,
332
Sheridan, Clare,
285
–6; Sheridan, Mark, (comedian),
46
Sherlock Holmes
(Wm Gillette’s
play), C.’s part in,
77
Shubert, Lee,
121
shyness, C.’s,
91
,
196
,
303
,
399
,
452
silent films, C.’s determination to
continue making,
322
Silverman, Sime (of
Variety)
,
124
,
304
–5
Simenon, Georges,
384
sin, C.’s views on,
437
Sinclair, Upton,
343
Singapore, C.’s recollections of,
362
–3
Sing-Sing prison, C. visits,
280
–81
Skating
film,
152
slapstick comedy, C. on,
208
;
its transition to sentiment,
233
–4
Smith, Gerald K. (America Firster),
411
Smith, Kate (C.’s aunt),
16
Smith, W. H. and Son (stationers),
C.’s job at,
61
Social Credit, C.’s interest in,
324
,
350
Sorel, Cécile,
275
South London Music Hall, C. sees
Southend-on-Sea, C.’s childhood
memories of, and return to,
24
Spender, Stephen,
428
Spies, Walter,
364
–5
spiritualism in Hollywood,
318
Spoor, George K. (Essanay Co.),
160
–73
stage décor, C. on,
253
–4
stage fright, C. and,
44
,
99
,
122
Stage Hand, The
, C. directs for
Keystone,
157
Stanislavski, Constantin, and ‘inner
truth’,
157
Stein, Gertrude,
302
–3
Steinbeck, John,
383
–4
Steinbeck, Mrs John,
384
Sterling, Ford (Keystone comedian).
C. replaces,
142
; ‘his style did not
after leaving Keystone,
159
;
and Sam Bernard,
257
Stevens, Emily (Amer. actress),
257
Stewart, Donald Ogden,
467
–544
‘stewed eels and treacle pudding’,
268
Straker (W.), Ltd (stationers and
printers), C.’s job at,
61
–2
Stratford-on-Avon, C. visits
358
–9
Strauss, Carl (cowboy film-actor),
169
Stravinsky, Igor,
390
–91
Submarine Pilot, The
(Sydney Chaplin’s
film),
159
subtlety and restraint (in acting), C.
and,
256
suicide, comedians and,
46
–7
Sullivan and Considine (Amer.
theatre owners),
121
; C. on
circuit: ‘we passed muster’,
124
Sulzberger, Arthur,
395
–8
Sunday dinner as respectability
symbol,
50
Sunnyside
: (‘like pulling teeth’),
230
Sutter’s
CoW(Eisenstein’s ‘very fine film’),
320
Swaffer, Hannen,
384
Swanson, Gloria,
165
; in Elinor
Glyn film,
202
; and Pola Negri,
295
Sweet, Blanche,
155
Tagg’s Island (river Thames),
Karno’s houseboat at,
133
talking films, C.’s attitude to,
321
–3,
360
,
374
,
382
Talleyrand-Périgord, Marquis de,
276
Talmadge, Norma,
291
Tankard, the (public house,
Tannhâuser
(Wagner), C. and,
136
Tate’s Café (San Francisco),
169
Taylor, Frank, and Dylan Thomas
428
‘tears as well as laughter’ (in C.’s films),
155
Teddy boys, C.’s defence of,
93
Tellegen, Lou,
155
Terry, Dame Ellen,
257
Thalberg, Irving,
294
theatre, the,