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Charles Chaplin

Birth name: Charles Spencer Chaplin

Birth date: 16.04.1889

Sir Charles Spencer Chaplin, Jr., KBE (16 April 1889 – 25 December 1977), better known as Charlie Chaplin, was an English comedy actor. Chaplin became one of the most famous actors as well as a notable director and musician in the early to mid Hollywood cinema era. He is considered to be one of the finest mimes and clowns ever caught on film and has greatly influenced performers in this field. He acted in, directed, scripted, produced, and eventually scored his own films. Chaplin was also one of the most creative and influential personalities in the silent-film era. His working life in entertainment spanned over 65 years, from the Victorian stage and music hall in the United Kingdom as a child performer, almost until his death at the age of eighty-eight. Chaplin's high-profile public and private life encompassed highs and lows with both adulation and controversy. His principal character was "The Tramp" (known as "Charlot" in France and the French-speaking world, Greece, Italy, Portugal, Romania, Spain and Turkey, and as "Carlitos" in Brazil). "The Tramp" is a vagrant with the refined manners and dignity of a gentleman. The character wears a tight coat, oversized trousers and shoes, and a derby; carries a bamboo cane; and has a signature toothbrush moustache.Contents Childhood Charles Chaplin, c. 1920 Charlie Chaplin was born on 16 April 1889, in East Street, Walworth, London. His parents were both entertainers in the Music Hall tradition; they separated before Charlie was three. He learned singing from his parents. The 1891 census shows that his mother, the actress Lily Harvey (Hannah Harriet Hill), lived with Charlie and his older brother Sydney on Barlow Street, Walworth. As a child Charlie also lived with his mother in various addresses in and around Kennington Road in Lambeth, including 3 Pownall Terrace, Chester Street, and 46 Methley Street. His maternal grandmother was half-Roma, a fact he was very proud of[2], but also described as "the skeleton in our family cupboard". Chaplin's father was an alcoholic and had little contact with his son, though Chaplin and his brother briefly lived with their father and his mistress Louise at 287 Kennington Road (which address is now ornamented with a plaque commemorating Chaplin's residence). The brothers resided there when their mother became mentally ill and was admitted to the Cane Hill Asylum at Coulsdon. His father's mistress sent the young Chaplin to Kennington Road school. Chaplin's father died when Charlie was twelve in 1901. At the time of the 1901 Census, Charles resided at 94 Ferndale Road, Lambeth, with the The Eight Lancashire Lads, which was led by John William Jackson (the 17 year old son of one of the founders). A larynx condition ended the singing career of Chaplin's mother. Hannah's first crisis came in 1894 when she was performing at The Canteen, a theatre in Aldershot. The theatre was mainly frequented by rioters and soldiers, and it was one of the worst places to perform. Hannah was badly injured by the objects the audience mercilessly threw at her, and she was booed off the stage. Backstage, she cried and argued with her manager. In the meantime, the five-year old Chaplin went on stage alone and started singing a very well-known tune at that time, "Jack Jones". When Hannah Chaplin was again admitted to the Cane Hill Asylum, Chaplin was left in the workhouse at Lambeth in south London, moving after several weeks to the Central London District School for paupers in Hanwell. The young Chaplin brothers forged a close relationship to survive. They gravitated to the Music Hall while still very young, and both of them proved to have considerable natural stage talent. Chaplin's early years of desperate poverty were a great influence on his characters. Themes in his films in later years would re-visit the scenes of his childhood deprivation in Lambeth. Chaplin's mother died in 1928 in Hollywood, seven years after being brought to the U.S. by her sons. Unknown to Charlie and Sydney until years later, they had a half-brother through their mother. The boy, Wheeler Dryden, was raised abroad by his father but later connected with the rest of the family and went to work for Chaplin at his Hollywood studio. America Chaplin first toured America with the Fred Karno troupe from 1910 to 1912. Then, after five months back in England, he returned for a second tour and arrived in the United States with the Karno Troupe on October 2, 1912. In the Karno Company was Arthur Stanley Jefferson, who would later become known as Stan Laurel. Chaplin and Laurel shared a room in a boarding house. Stan Laurel returned to England but Chaplin remained in the United States. In late 1913, Chaplin's act with the Karno Troupe was seen by film producer Mack Sennett, who hired him for his studio, the Keystone Film Company. Chaplin's first film appearance was in Making a Living a one-reel comedy released on February 2, 1914. Pioneering film artist Kid Auto Races in Venice (1914): Chaplin's second film and the début of his "tramp" costume. Chaplin's earliest films were made for Mack Sennett's Keystone Studios, where he developed his tramp character and very quickly learned the art and craft of film making. The tramp was first presented to the public in Chaplin's second film Kid Auto Races at Venice (released Feb. 7, 1914) though Mabel's Strange Predicament, his third film, (released Feb. 9,1914) was produced a few days before. It was for this film that Chaplin first conceived of the tramp. As Chaplin recalled in his autobiography: "I had no idea what makeup to put on. I did not like my get-up as the press reporter [in Making a Living]. However on the way to the wardrobe I thought I would dress in baggy pants, big shoes, a cane and a derby hat. I wanted everything to be a contradiction: the pants baggy, the coat tight, the hat small and the shoes large. I was undecided whether to look old or young, but remembering Sennett had expected me to be a much older man, I added a small moustache, which I reasoned, would add age without hiding my expression. I had no idea of the character. But the moment I was dressed, the clothes and the makeup made me feel the person he was. I began to know him, and by the time I walked on stage he was fully born." (Chaplin, My Autobiography: 154). Chaplin's early Keystones use the standard Mack Sennett formula of extreme physical comedy and exaggerated gestures. Chaplin's pantomime was subtler, more suitable to romantic and domestic farces than to the usual Keystone chases and mob scenes. The visual gags were pure Keystone, however; the tramp character would aggressively assault his enemies with kicks and bricks. Moviegoers loved this cheerfully earthy new comedian, even though critics warned that his antics bordered on vulgarity. Chaplin was soon entrusted with directing and editing his own films. He made 34 shorts for Sennett during his first year in pictures, as well as the landmark comedy feature Tillie's Punctured Romance. In 1915, Chaplin signed a much more favourable contract with Essanay Studios, and further developed his cinematic skills, adding new levels of depth and pathos to the Keystone-style slapstick. Most of the Essanay films were more ambitious, running twice as long as the average Keystone comedy. Chaplin also developed his own stock company, including ingenue Edna Purviance and comic villains Leo White and Bud Jamison. In 1916, the Mutual Film Corporation paid Chaplin US$670,000 to produce a dozen two-reel comedies. He was given near complete artistic control, and produced twelve films over an eighteen-month period that rank among the most influential comedy films in cinema. Practically every Mutual comedy is a classic: Easy Street, One AM, The Pawnshop, and The Adventurer are perhaps the best known. Edna Purviance remained the leading lady, and Chaplin added Eric Campbell, Henry Bergman, and Albert Austin to his stock company; Campbell, a Gilbert and Sullivan veteran, provided superb villainy, and second bananas Bergman and Austin would remain with Chaplin for decades. Chaplin regarded the Mutual period as the happiest of his career. Most of the Chaplin films in circulation date from his Keystone, Essanay, and Mutual periods. After Chaplin assumed control of his productions in 1918 (and kept exhibitors and audiences waiting for them), entrepreneurs serviced the demand for Chaplin by bringing back his older comedies. The films were recut, retitled, and reissued again and again, first for theatres, then for the home-movie market, and in recent years, for home video. Even Essanay was guilty of this practice, fashioning "new" Chaplin comedies from old film clips and out-takes. The twelve Mutual comedies were revamped as sound movies in 1933, when producer Amadee J. Van Beuren added new orchestral scores and sound effects. A listing of the dozens of Chaplin films and alternate versions can be found in the Ted Okuda-David Maska book Charlie Chaplin at Keystone and Essanay: Dawn of the Tramp. Efforts to produce definitive versions of Chaplin's pre-1918 short films have been underway in recent years; all twelve Mutual films were restored in 1975 by archivist David Shepard and Blackhawk Films, and new restorations with even more footage were released on DVD in 2006. Creative control Charlie Chaplin Studios, 1922 At the conclusion of the Mutual contract in 1917, Chaplin signed a contract with First National to produce eight two-reel films. First National financed and distributed these pictures (1918-23) but otherwise gave him complete creative control over production. Chaplin built his own Hollywood studio and using his independence, created a remarkable, timeless body of work that remains entertaining and influential. Although First National expected Chaplin to deliver short comedies like the celebrated Mutuals, Chaplin ambitiously expanded most of his personal projects into longer, feature-length films, including Shoulder Arms (1918), The Pilgrim (1923), and the feature-length classic The Kid (1921). In 1919, Chaplin co-founded the United Artists film distribution company with Mary Pickford, Douglas Fairbanks and D.W. Griffith, all of whom were seeking to escape the growing power consolidation of film distributors and financiers in the developing Hollywood studio system. This move, along with complete control of his film production through his studio, assured Chaplin's independence as a film-maker. He served on the board of UA until the early 1950s. All Chaplin's United Artists pictures were of feature length, beginning with A Woman of Paris (1923). This was followed by the classic The Gold Rush (1925), and The Circus (1928). After the arrival of sound films, he made City Lights (1931), as well as Modern Times (1936) before he committed to sound. These were essentially silent films scored with his own music and sound effects. City Lights contained arguably his most perfect balance of comedy and sentimentality. Of the final scene, critic James Agee wrote in Life magazine in 1949 that it was the "greatest single piece of acting ever committed to celluloid". His dialogue films made in Hollywood were The Great Dictator (1940), Monsieur Verdoux (1947), and Limelight (1952). While Modern Times (1936) is a non-talkie, it does contain talk —- usually coming from inanimate objects such as a radio or a TV monitor. This was done to help 1930s audiences, who were out of the habit of watching silent films, adjust to not hearing dialogue. Modern Times was the first film where Chaplin's voice is heard (in the nonsense song at the end, being both written and performed by Chaplin). However, for most viewers it is still considered a silent film -- and the end of an era. Although "talkies" became the dominant mode of movie making soon after they were introduced in 1927, Chaplin resisted making such a film all through the 1930s. He considered cinema was essentially a pantomimic art. He said: "Action is more generally understood than words. Like Chinese symbolism, it will mean different things according to its scenic connotation. Listen to a description of some unfamiliar object -- an African wart hog, for example; then look at a picture of the animal and see how surprised you are (Time Magazine, February 9, 1931)." It is a tribute to Chaplin's versatility that he also has one film credit for choreography for the 1952 film Limelight, and another as a singer for the title music of The Circus (1928). The best known of several songs he composed are "Smile", composed for the film "Modern Times" and given lyrics to help promote a 1950s revival of the film, famously covered by Nat King Cole. "This Is My Song" from Chaplin's last film, "A Countess From Hong Kong," was a number one hit in several different languages in the 1960s (most notably the version by Petula Clark and discovery of an unreleased version in the 1990s recorded in 1967 by Judith Durham of The Seekers), and Chaplin's theme from Limelight was a hit in the 1950s under the title "Eternally." Chaplin's score to Limelight was nominated for an Academy Award in 1972 due to a decades-long delay in the film premiering in Los Angeles making it eligible. The Great Dictator His first dialogue picture, The Great Dictator (1940), was an act of defiance against German dictator Adolf Hitler and Nazism, filmed and released in the United States one year before it abandoned its policy of isolationism to enter World War II. Chaplin played the role of a Nazi-like dictator "Adenoid Hynkel",Dictator of Tomainia, clearly modeled on Hitler. The film also showcased comedian Jack Oakie as "Benzino Napaloni", dictator of Bacteria. The Napaloni character was clearly a jab at Italian dictator Benito Mussolini and Fascism. Paulette Goddard filmed with Chaplin again, depicting a woman in the ghetto. The film was seen as an act of courage in the political environment of the time, both for its ridicule of Nazism and for the portrayal of overt Jewish characters and the depiction of their persecution. Chaplin played both the role of Adenoid Hynkel and also that of a look-alike Jewish barber cruelly persecuted by the Nazis. The barber physically resembles Chaplin's Tramp character, but is not considered to be the Tramp. At the conclusion, the two characters Chaplin portrayed swapped positions through a complex plot, and he dropped out of his comic character to address the audience directly in a speech. Politics Charlie Chaplin together with the American socialist Max Eastman in Hollywood 1919. Chaplin's political sympathies always lay with the left. His politics seem tame by modern standards, but in the 1940s his views (in conjunction with his influence, fame, and status in the United States as a resident foreigner) were seen by many as communistic. His silent films made prior to the Great Depression typically did not contain overt political themes or messages, apart from the Tramp's plight in poverty and his run-ins with the law, but his 1930s films were more openly political. Modern Times depicts workers and poor people in dismal conditions. The final dramatic speech in The Great Dictator, which was critical of following patriotic nationalism without question, and his vocal public support for the opening of a second European front in 1942 to assist the Soviet Union in World War II were controversial. In at least one of those speeches, according to a contemporary account in the Daily Worker, he intimated that Communism might sweep the world after World War II and equated it with human progress. Apart from the controversial 1942 speeches, Chaplin declined to support the war effort as he had done for the First World War which led to public anger, although his two sons saw service in the Army in Europe. For most of WWII he was fighting serious criminal and civil charges related to his involvement with actress Joan Barry (see below). After the war, the critical view towards what he regarded as capitalism in his 1947 black comedy, Monsieur Verdoux led to increased hostility, with the film being the subject of protests in many US cities. As a result, Chaplin's final American film, Limelight, was less political and more autobiographical in nature. His following European-made film, A King in New York (1957), satirized the political persecution and paranoia that had forced him to leave the US five years earlier. After this film, Chaplin lost interest in making overt political statements, later saying that comedians and clowns should be "above politics". McCarthy era Although Chaplin had his major successes in the United States and was a resident from 1914 to 1952, he always retained his British nationality. During the era of McCarthyism, Chaplin was accused of "un-American activities" as a suspected communist sympathizer and J. Edgar Hoover, who had instructed the FBI to keep extensive secret files on him, tried to end his United States residency. FBI pressure on Chaplin grew after his 1942 campaign for a second European front in the war and reached a critical level in the late 1940s, when Congressional figures threatened to call him as a witness in hearings. This was never done, probably from fear of Chaplin's ability to lampoon the investigators. This was probably a wise decision, as Chaplin later stated that, if called, he wanted to appear dressed in his Tramp costume.[citation needed] In 1952, Chaplin left the US for what was intended as a brief trip home to the United Kingdom for the London premiere of Limelight. Hoover learned of the trip and negotiated with the Immigration and Naturalization Service to revoke Chaplin's re-entry permit. Chaplin decided not to re-enter the United States, writing; ".....Since the end of the last world war, I have been the object of lies and propaganda by powerful reactionary groups who, by their influence and by the aid of America's yellow press, have created an unhealthy atmosphere in which liberal-minded individuals can be singled out and persecuted. Under these conditions I find it virtually impossible to continue my motion-picture work, and I have therefore given up my residence in the United States." Chaplin then made his home in Vevey, Switzerland. He briefly and triumphantly returned to the United States in April 1972, with his wife, to receive an Honorary Oscar, and was welcomed warmly. Chaplin and Jackie Cooganin The Kid (1921) Academy Awards Chaplin won one Oscar in a competitive category, and was given two honorary Academy Awards. Competitive award In 1972, he won an Oscar for the Best Music in an Original Dramatic Score for the 1952 film Limelight, which co-starred Claire Bloom. The film also features an appearance with Buster Keaton, which was the only time the two great comedians ever appeared together. Due to Chaplin's political difficulties, the film did not play a one-week theatrical engagement in Los Angeles when it was first produced. This criterion for nomination was unfulfilled until 1972. Chaplin was also nominated for Best Comedy Director for The Circus in 1929, for Best Picture, Best Actor, Best Original Screenplay, and Best Original Music for The Great Dictator in 1940, and again for Best Original Screenplay for Monsieur Verdoux in 1948. During his active years as a filmmaker, Chaplin expressed disdain for the Academy Awards; his son Charles Jr wrote that Chaplin invoked the ire of the Academy in the 1930s by jokingly using his 1929 Oscar as a doorstop. This may help explain why City Lights and Modern Times, considered by several polls to be two of the greatest of all motion pictures[citation needed], were not nominated for a single Academy Award. Honorary awards When the first Oscars were awarded on May 16, 1929, the voting audit procedures that now exist had not yet been put into place, and the categories were still very fluid. Chaplin had originally been nominated for both Best Actor and Best Comedy Directing for his movie The Circus, but his name was withdrawn and the Academy decided to give him a special award "for versatility and genius in acting, writing, directing and producing The Circus" instead. The other film to receive a special award that year was The Jazz Singer. Chaplin's second honorary award came forty-four years later in 1972, and was for "the incalculable effect he has had in making motion pictures the art form of this century". He came out of his exile to accept his award, and received the longest standing ovation in Academy Award history, lasting a full five minutes. Final works Chaplin's two final films were made in London: A King in New York (1957) in which he had starred, written, directed and produced; and A Countess from Hong Kong (1967), starring Sophia Loren and Marlon Brando, in which Chaplin had made his final on-screen appearance in a brief cameo role as a seasick steward, and in which he had directed, produced, and written. In the mid 1960's Chaplin wrote the song "Love, this is your song" which his friend Petula Clark took to number 1 in the UK charts. Aged around 75, Chaplin was probably the oldest person to have written a UK no 1 single. In his autobiography My Autobiography, published in 1974, Chaplin indicated that he had written a screenplay for his youngest daughter, Victoria; entitled The Freak, the film would have cast her as an angel. According to Chaplin, a script was completed and pre-production rehearsals had begun on the film (the book includes a photograph of Victoria in costume), but were halted when Victoria married. "I mean to make it some day," Chaplin wrote; however, his health declined steadily in the 1970s and he died before this could happen. In the 1970s, Chaplin wrote original music compositions and scores for his silent pictures and re-released them. He composed the scores of all his First National shorts, and of The Kid and The Circus. One of Chaplin's last completed works, the score for his 1923 film A Woman of Paris, was finished in 1976.

Filmography

# A Countess from Hong Kong (1967) .... An old steward # A King in New York (1957) .... King Shahdov # Limelight (1952) .... Calvero # Monsieur Verdoux (1947) .... Henri Verdoux # The Great Dictator movie buy and download page (1940) .... Hynkel - Dictator of Tomania / A Jewish Barber # Modern Times (1936) (as Charlie Chaplin) .... A Factory Worker # City Lights movie buy and download page (1931) (as Charlie Chaplin) .... A Tramp ... aka City Lights movie buy and download page: A Comedy Romance in Pantomime (USA: copyright title) # The Circus (1928) (as Charlie Chaplin) .... A Tramp # Camille (1926/II) .... Mike ... aka The Fate of a Coquette (USA: subtitle) # The Gold Rush movie buy and download page (1925) .... The Lone Prospector # A Woman of Paris: A Drama of Fate (1923) (uncredited) .... Porter # The Pilgrim (1923) .... The Pilgrim # Pay Day (1922/I) .... Laborer # Nice and Friendly (1922) .... Tramp # The Idle Class (1921) .... Tramp and Husband ... aka Vanity Fair (USA) # The Nut (1921/I) (uncredited) .... Chaplin impersonator # The Kid movie buy and download page (1921) (as Charlie Chaplin) .... A Tramp # A Day's Pleasure (1919) .... Father ... aka A Ford Story (USA) # Sunnyside (1919) .... Farm handyman # The Professor (1919) .... Professor Bosco # Shoulder Arms (1918) .... Recruit # The Bond (1918) .... Charlie ... aka Charlie Chaplin in a Liberty Loan Appeal # Triple Trouble (1918) .... The Janitor ... aka Charlie's Triple Trouble (USA) # A Dog's Life (1918) .... Tramp # The Adventurer (1917/I) .... The Convict # The Immigrant (1917) .... Immigrant ... aka A Modern Columbus (USA) ... aka Broke (USA: 8mm release title (short version)) ... aka Hello U.S.A. (USA) ... aka The New World (USA) # The Cure (1917) .... The Inebriate ... aka The Water Cure (USA) # Easy Street (1917) .... The Derelict # The Rink (1916) .... A Waiter. Posing as Sir Cecil Seltzer ... aka Rolling Around (USA) ... aka Waiter (USA) # Behind the Screen (1916) .... David (Goliath's assistant) ... aka The Pride of Hollywood (USA) # The Pawnshop (1916) .... Pawnshop assistant ... aka At the Sign of the Dollar (USA) ... aka High and Low Finance (USA) # The Count (1916) .... Tailor's apprentice ... aka Almost a Gentleman (USA) # One A.M. (1916) .... Drunk ... aka Solo (USA) # The Vagabond (1916) .... Street Musician ... aka Gipsy Life (USA) # The Fireman (1916) .... Fireman ... aka A Gallant Fireman (USA) ... aka The Fiery Circle (USA) # The Floorwalker (1916) .... Tramp ... aka Shop (USA) ... aka The Store # Burlesque on Carmen (1916) .... Darn Hosiery ... aka Charlie Chaplin's Burlesque on Carmen (USA: complete title) # Police (1916) .... Charlie, Convict 999 ... aka Charlie in the Police (USA) ... aka Charlie the Burglar ... aka Housebreaker # Burlesque on Carmen (1915) .... Darn Hosiery ... aka Charlie Chaplin's Burlesque on Carmen (USA: complete title) # A Night in the Show (1915) .... Mr. Pest and Mr. Rowdy ... aka A Night at the Show ... aka Charlie at the Show # Shanghaied (1915/I) .... Tramp ... aka Charlie Shanghaied (USA) ... aka Charlie on the Ocean ... aka Charlie the Sailor # The Bank (1915) .... Charlie, a Janitor ... aka Charlie Detective ... aka Charlie at the Bank ... aka Charlie in the Bank (USA) # A Woman (1915) .... Gentleman/'Nora Nettlerash' ... aka Charlie the Perfect Lady (USA) ... aka The Perfect Lady # Work (1915) .... Izzy A. Wake's assistant ... aka Charlie at Work ... aka Charlie the Decorator (USA) ... aka Only a Working Man ... aka The Paperhanger ... aka The Plumber # His Regeneration (1915) (uncredited) .... A customer # By the Sea (1915) .... Stroller ... aka Charlie by the Sea (USA) ... aka Charlie's Day Out # The Tramp (1915) .... Tramp ... aka Charlie on the Farm (USA) ... aka Charlie the Hobo ... aka Charlie the Tramp (USA) # A Jitney Elopement (1915) .... Suitor, the Fake Count ... aka Charlie's Elopement ... aka Married in Haste # In the Park (1915) .... Charlie ... aka Charlie in the Park ... aka Charlie on the Spree # The Champion (1915) .... Challenger ... aka Battling Charlie ... aka Champion Charlie ... aka Charlie the Champion (USA) # A Night Out (1915/I) .... Reveller ... aka Champagne Charlie ... aka Charlie's Drunken Daze (USA) ... aka Charlie's Night Out (USA) ... aka His Night Out (USA) # His New Job (1915) .... Film Extra ... aka Charlie's New Job # His Prehistoric Past (1914) .... Weakchin ... aka A Dream ... aka King Charlie ... aka The Caveman ... aka The Hula-Hula Dance (USA) # Getting Acquainted (1914) .... Mr. Sniffels ... aka A Fair Exchange ... aka Exchange Is No Robbery ... aka Hello Everybody # Tillie's Punctured Romance (1914) .... Charlie, City Slicker ... aka For the Love of Tillie ... aka Marie's Millions ... aka Tillie's Big Romance ... aka Tillie's Nightmare # His Trysting Place (1914) .... Clarence, the Husband ... aka Family Home ... aka Family House ... aka His Trysting Places (USA) ... aka The Henpecked Spouse (USA) ... aka The Ladies' Man (USA) ... aka Very Much Married (USA) # His Musical Career (1914) .... Charlie, Piano Mover ... aka Charlie as a Piano Mover (USA) ... aka Musical Tramps ... aka The Piano Movers # Gentlemen of Nerve (1914) .... Mr. Wow-Woe, Track Fanatic ... aka Charlie at the Races ... aka Some Nerve # Dough and Dynamite (1914) .... Pierre, a Waiter ... aka The Cook ... aka The Doughnut Designer ... aka The New Cook # Those Love Pangs (1914) .... Masher ... aka Busted Hearts ... aka Oh, You Girls (USA) ... aka The Rival Mashers # The New Janitor (1914) .... Janitor ... aka The Blundering Boob ... aka The New Porter ... aka The Porter # The Rounders (1914) .... Reveller ... aka Going Down (USA) ... aka Oh, What a Night (USA) ... aka Revelry ... aka The Love Thief (USA) ... aka Tip, Tap, Toe (USA) ... aka Two of a Kind # His New Profession (1914) .... Charlie ... aka Helping Himself ... aka The Good for Nothing # The Masquerader (1914/I) .... Film Actor/Beautiful Stranger ... aka Putting One Over ... aka The Female ... aka The Female Impersonator (USA) ... aka The Perfumed Lady (USA) ... aka The Picnic (USA) # Recreation (1914) .... Tramp ... aka Spring Fever # The Face on the Bar Room Floor (1914) .... Artist ... aka The Ham Actor ... aka The Ham Artist # The Property Man (1914) .... The Property Man ... aka Charlie on the Boards (USA) ... aka Getting His Goat ... aka Hits of the Past (USA) ... aka Props (USA) ... aka The Rustabout ... aka Vamping Venus # Laughing Gas (1914) .... Dentist's Assistant ... aka Busy Little Dentist (USA) ... aka Down and Out ... aka Laffing Gas (USA) ... aka The Dentist ... aka Tuning His Ivories (USA) # Mabel's Married Life (1914) .... Mabel's Husband ... aka The Squarehead ... aka When You're Married # Mabel's Busy Day (1914) .... Tipsy Nuisance ... aka Charlie and the Sausages ... aka Hot Dog Charlie ... aka Hot Dogs ... aka Love and Lunch # The Knockout (1914) .... Referee ... aka Counted Out ... aka The Pugilist # Her Friend the Bandit (1914) .... Bandit ... aka A Thief Catcher ... aka Mabel's Flirtation # The Fatal Mallet (1914) .... Suitor ... aka Hit Him Again ... aka The Pile Driver ... aka The Rival Suitors # A Busy Day (1914) .... Wife ... aka Busy as Can Be (USA) ... aka Lady Charlie ... aka Militant Suffragette # Caught in the Rain (1914) .... Tipsy Hotel Guest ... aka At It Again ... aka In the Park (USA: reissue title) ... aka Who Got Stung? # Caught in a Cabaret (1914) .... Waiter ... aka Charlie the Waiter (USA) ... aka Faking with Society ... aka Jazz Waiter ... aka Prime Minister Charlie (USA) ... aka The Waiter # Twenty Minutes of Love (1914) .... Pickpocket ... aka Cops and Watches ... aka He Loves Her So ... aka Love-Friend # Mabel at the Wheel (1914) .... Villain ... aka A Hot Finish (USA) ... aka His Daredevil Queen # The Star Boarder (1914/II) .... The Star Boarder ... aka In Love with His Landlady ... aka The Fatal Lantern (USA) ... aka The Hash-House Hero ... aka The Landlady's Pet (USA) # Cruel, Cruel Love (1914) .... Lord Helpus/Mr. Dovey ... aka Lord Helpus # His Favorite Pastime (1914) .... Drunken masher ... aka Charlie Is Thirsty (USA) ... aka Charlie's Reckless Fling (USA) ... aka The Bonehead ... aka The Reckless Fling (USA) # Tango Tangles (1914) .... Tipsy Dancer ... aka Charlie's Recreation ... aka Music Hall # A Film Johnnie (1914) .... The Film Johnnie ... aka Charlie at the Studio ... aka Charlie the Actor (USA) ... aka Film Johnny (UK) ... aka Million Dollar Job ... aka Movie Nut # Between Showers (1914) .... Masher ... aka Charlie and the Umbrella ... aka In Wrong Thunder and Lightning (USA) ... aka The Flirts # Mabel's Strange Predicament (1914) .... Tramp ... aka Hotel Mixup # Kid Auto Races at Venice (1914) .... Tramp ... aka Kid's Auto Race ... aka The Children's Automobile Race ... aka The Pest (USA) # Making a Living (1914) .... Swindler ... aka A Busted Johnny ... aka Doing His Best ... aka Take My Picture (USA) ... aka Troubles