Evening star., 1935-09-01

the same picture proved another
problem. Certainly Joe knew Chaplin
would never permit the purchase of
two fur coats - and yet two fur coats
to wear at one and the same time were
exactly what he demanded.
A Los Angeles furrier helped solve
the puzzle. Taking a fur coat left in
storage by a woman customer IA
mans coat would completely swallow
Charles slender frame), the obliging
furrier changed the buttons from left
to right, sewed up the pockets and
made Sits for Charles hands. did
something or other to the collar -
and there was one OF the fur coats.
The other, dreadful f'r-lined broad
cloth with an astrakhan collar, Joe
dug up somewhere with the promise Of
refund of S35. The coat cost S95.
Together the two coats, one atop
the other, Travelled through scene
after scene of THE Gold Rush" while
undoubtedly some unsuspecting wo-
man in movie audience howled with
glee, never dreaming for one wild,
hysterlcal moment it was her coat
that frolicked about Nor did Chaplin.
When it came time to return the
snappy broadcloth number, Charlie
refused to give it up. To this day he
sits back in the depth of his Limousine
wrapped in its terrible folds, looking
for all the world like the hamish
heavy of next weeks East Lynne.
1t requires no less than five derbies,
six pairs of baggy pants, four coats.
six bamboo canes. four striped shirts
and three pairs of monstrous shoes,
size thirteen and one-half (broken in
by the janitor), to get Chaplin through
one picture. These things are all pro-
vided without his knowing how. He
need only reach and grab.
Several times a day fresh mus
tache is applied. These MIR. Chaplin
puts on himself. A barber comes to
the studio twice a week to keep his
gray hair dyed black throughout the
picture; but when it comes to hair
cut. Charlie cuts his own.
There are but two people on the
Chaplin staff. besides Charlie himself,
who have more than vague idea as
to what his stories are all about. One
is Della Steel, the script girl, and one is
Henry.
A Chaplin picture conference is
something that defies description.
When the picture situations (they are
never referred to as gags on the Chap
lin lott have been perfected in the
mind of Chaplin - long, slow pro-
cess that requires from two to four
years - Della and Henry are then
summoned to conference in Charles
bungalow.
About the table they gather - and
the situations are acted out one after
the other Charlie begins by taking his
own role of the little tramp, closely
watching their reactions to his every
move. Henry. who weighs the better
part of ton. is then called upon to
play Chaplin's role; Della takes Miss
Goddard's role of the little street waif;
Charlie is the factory foreman. Then
swiftly they change parts again. Della
is Charlie, the tramp; Henry is a
policeman and Chaplin becomes the
street waif.
1t was his untiring striving for per-
fection in performance and his gentle
patience with the clumsiest performer
that impressed titled visitor land
visitors are rare) at the Chaplin lot
recently. Rehearsals began at ten that
morning with extras and bit players
ready and waiting. Then began one of
the strangest phenomena ever wit
messed: Chaplin directing his own
picture. In explaining the action to
the owner of the delicatessen shop,
Charlie became the character In some
tVoanDar he fnol ~, a,,or,x,0,,c ,>~o~~>r