The Bowery

Although work prohibited me from submitting my piece at the time the post was to go live, Danny Kasman was nice enough to append my 'essaylet' about Raoul Walsh's extraordinary 1933 film The Bowery to the final installment here of the Notebook's series highlighting Film Forum's Essential Pre-Code retrospective (which ended this past Thursday).

This Notebook entry also includes writing by Ben Sachs, Matthew Flanagan, David Cairns, Miriam Bale, Adrian Martin, and Zach Campbell.




===

Flunky, Work Hard

The Earliest Surviving Naruse Film

Koshiben ganbare [Flunky, Work Hard] by Mikio Naruse, 1931:



• Ragged cutting, which attains a lyricism in the shots of a toy plane gliding through the air.

• The same blighted suburban landscapes that appear in other Shochiku output of the period, specifically Ozu's I Was Born, But... (one year after) and Passing Fancy (two years after).

• Kaleidoscopic effects, and in the most beautiful image, the toy planes have been transformed into 'ghost planes' by virtue of crude superimposition across the would-be deathbed. (In a roundtable at the Notebook site here, Dan Sallitt writes: "The really interesting thing about the 'montage of inner revelation' is that the last montage interlude occurs as the child is coming around. It seems to suggest that the protagonist's anguish has staying power even in the face of a relatively happy ending.")

• The 'sick child' motif, also found in Ozu's 1931 Tokyo Chorus and Passing Fancy, among other films.

• "Flunky, Work Hard": One of the most beautiful titles in cinema — an adept and inspired translation of "Koshiben ganbare".

===

Happy 90th Birthday, Chris Marker

L'Héritage de la chouette [The Owl's Legacy] by Chris Marker, 1989:


Now open for business:

Chris Marker's work-in-progress Gorgomancy.net.

Presently on the menu:

L'Héritage de la chouette [The Owl's Legacy, 1989]

A web/Flash conversion of the Immemory CD-ROM [1997]

Ouvroir: A Second Life Wandering with Guillaume-en-Egypte [2010]

Stopover in Dubai [2011]

A Day to Remember by Liu Wei [2005]

===

Blonde Venus

I wrote a short piece about Josef von Sternberg's great 1932 Blonde Venus at The MUBI Notebook here. It's part of a slate of capsules about the films projecting during Week 3 of Film Forum's excellent Essential Pre-Code series. (Details and full schedule here.) Blonde Venus plays on Sunday July 31st and Monday August 1st as part of a double-bill with John Francis Dillon's 1932 Call Her Savage.

The MUBI Notebook entry also includes pieces by Gina Telaroli, David Cairns, Ben Sachs, Zach Campbell, Glenn Kenny, and Jaime Christley.

===

Letter from a Friend

this is the only song i ve listened today
my mom invited like thirty people
a traditional middle eastern welcome party to [redacted]
lots of tea lots of deserts [sic]
and me with my lovely dress smiling to everyone and at the same time thinking about the dream i had last night
burning houses with my mom ...
sometimes i want to burn everything around me
i wish i could do it one day burning a chair burning all of my books burning curtains
burning a palm tree
:)
this song is so beautiful

i hope you re doing well
lots of love from
mersin

Touch of Evil

Out This November on The Masters of Cinema Series




LIMITED EDITION 2 x BLU-RAY ONLY

• Six versions of Welles’ Touch of Evil: the 1998 reconstruction; the 1958 preview version rediscovered in the mid-1970s; and the 1958 theatrical version — each presented in both 1.85:1 and 1.37:1 aspect ratios

• English SDH subtitles on all versions

• A host of extras presented for the first time in the UK

• A lavish 80-PAGE illustrated book containing the words of Orson Welles, and much more

Click here for more details, or go here to Amazon UK to pre-order.

===

Cassavetes in 1978

===

Twin Peaks

Episode 18

Twin Peaks: Episode 18 by David Lynch / Duwayne Dunham, et al., 1990:



It's incredible to think that even twenty-one years ago the precepts of Mac OS GUI were in place (the window, the bar, the scroll) and embedded within this device: the Macintosh Portable. An Apple computer displayed in Twin Peaks, whether product-placed or not, in the post-(+pre-)Jobs, John Sculley era, as a kind of totem of technoliteracy.*

*["In 1987, Sculley made several famous predictions in a Playboy interview. He predicted that the Soviet Union would land a man on Mars within the next 20 years and claimed that optical storage media such as the CD-ROM would revolutionize the use of personal computers. Some of his ideas for the Knowledge Navigator would eventually be fulfilled, not by Apple itself, but by the Internet and the World Wide Web during the 1990s. Condé Nast Portfolio ranked Sculley as the 14th worst American CEO of all time." —Wikipedia]

After the climactic Episode 14 of Twin Peaks — directed by Lynch himself, and obviously steeped as a most personal concoction... it represents one of the artistic high-points of Lynch's entire oeuvre, a work of power in thrall to beyond... — the wisdom is that the show (a series that remarked upon "noir," and as enough time passed, by 2011, simply exists as "noir") 'falls off', Lynch claiming to have lost interest after Ep. 14 (until the final episode of the series)... but even in an episode such as 18, technically directed by Duwayne Dunham, 102,000 things exist to be discussed... it's by no means bad... rather excellent... nothing is stupid, or 'off'... It's exciting to watch the characters be pushed into a register and idiom "post-" the ignitional narrative-arc of Laura Palmer's death... to watch Lara Flynn Boyle and Wendy Robie (a satirical self-reflexive proxy w/r/t the casting's over-aged teens) reciting lines against high-school lockers poised seven inches higher than appropriate... to watch Kyle MacLachlan perform his Agent Cooper schtick in freer berth, the soap-thread flung in a distant dugout...

Sherilyn Fenn, woman of cinema, avatar to justify fortune and zealous Ideal...

There's nothing to complain about!

["David Lynch, who had experienced previous success with the acclaimed The Elephant Man (1980) and Blue Velvet (1986), was hired by a Warner Bros. executive to direct a film about the life of Marilyn Monroe, based on the best-selling book The Goddess. Lynch recalls being 'sort of interested. I loved the idea of this woman in trouble, but I didn't know if I liked it being a real story'." —Wikipedia]




===

Tillie's Punctured Romance

À propos de Green and The Color Wheel (Roth's My Favorite Living Writer Too!)

Tillie's Punctured Romance by Max Sennett, 1914:



The final Chaplin Keystone film marks a final return by Mack Sennett to directing Charlie, also is the first feature-length production with Chaplin's involvement. It is one of the vulgar-worst of the Chaplin-Keystone films, a histrionic, 81-minute tit-flap notable only for its historical status as Chaplin's send-off from the studio. But no harm done — from here, Chaplin was free. If you know this film, neutralize your ghastly shivers in remembrance with passages from two of the recent Roth novels, high-summit controls against kitsch which rank among his concentrated-best work. (I've been especially 'indignant' about contemporary critical reception of 2009's 140-page-long The Humbling, which only testified to the fact that most American book critics don't know how to closely read: wands, magick, performance surely aren't the stuff of most marble kitchen-islands, but they are transforming motifs within Roth's novel; Milton Glaser's brilliant sleeve art for the U.S. hardcover unifies the lot. An essential Roth novel, and one of the finest American artworks of the last five years.)

"Here she took me in those arms of hers, arms as strong as mine, if not stronger, and she said, 'You are an emotional boy. Emotional like your father and all of his brothers. You are a Messner like all the Messners. Once your father was the sensible one, the reasonable one, the only one with a head on his shoulders. Now, for whatever reason, he's as crazy as the rest. The Messners aren't just a family of butchers. They're a family of shouters and a family of screamers and a family of putting their foot down and banging their heads against the wall, and now, out of the blue, your father is as bad as the rest of them. Don't you be. You be greater than your feelings. I don't demand this of you—life does. Otherwise you'll be washed away by feelings. You'll be washed out to sea and never seen again. Feelings can be life's biggest problem. Feelings can play the most terrible tricks. They played them on me when I came to you and said I was going to divorce your father. Now I have dealt with those feelings. Promise me you will deal the same with yours.' "

— Philip Roth, Indignation

+

"He was asked to play Prospero and Macbeth at the Kennedy Center—it was hard to think of a more ambitious double bill—and he failed appallingly in both, but especially as Macbeth. He couldn't do low-intensity Shakespeare and he couldn't do high-intensity Shakespeare—and he'd been doing Shakespeare all his life. His Macbeth was ludicrous and everyone who saw it said as much, and so did many who hadn't seen it. 'No, they don't even have to have been there,' he said, 'to insult you.' A lot of actors would have turned to drink to help themselves out; an old joke had it that there was an actor who would always drink before he went onstage, and when he was warned 'You mustn't drink,' he replied, 'What, and go out there alone?' But Axler didn't drink, and so he collapsed instead. His breakdown was colossal."

— Philip Roth, The Humbling

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914] / His Musical Career [Chaplin, 1914] / His Trysting Places [Chaplin, 1914] / Getting Acquainted [Chaplin, 1914] / His Prehistoric Past [Sennett, 1914]

===

His Prehistoric Past

À propos de Green and The Color Wheel (Roth's My Favorite Living Writer Too!)

Getting Acquainted by Charles Chaplin, 1914:



"The neurologist was not suggesting that migraines were necessarily symptomatic of a neurotic personality disturbance; rather he was responding, he said, to what he took to be 'a Freudian orientation' in the questions I asked him and in the manner in which I had gone about presenting the history of the disorder.

"I did not know that it was a Freudian orientation so much as a literary habit of mind which the neurologist was not accustomed to: that is to say, I could not resist reflecting upon my migraines in the same supramedical way that I might consider the illnesses of Milly Theale or Hans Castorp or the Reverend Arthur Dimmesdale, or ruminate upon the transformation of Gregor Samsa into a cockroach, or search out the 'meaning' in Gogol's short story of Collegiate Assessor Kovalev's temporary loss of his nose. Whereas an ordinary man might complain, 'I get these damn headaches' (and have been content to leave it at that), I tended, like a student of high literature or a savage who paints his body blue, to see the migraines as standing for something, as a disclosure or 'epiphany,' isolated or accidental or inexplicable only to one who was blind to the design of a life or a book. What did my migraines signify?"

— Philip Roth, My Life as a Man

+

"Yes, almost nothing is necessary to set me in pursuit of a perfect stranger, nothing, say, but the knowledge that while taking notes from the encyclopedia with her right hand, she cannot keep the index finger of her left hand from tracing circles on her lips. I refuse — out of an incapacity that I elevate to a principle — to resist whatever I find irresistible, regardless of how unsubstantial and quirky, or childish and perverse, the source of the appeal might strike anyone else. Of course this leads me to seek out girls I might otherwise find commonplace or silly or dull, but I for one am convinced that dullness isn't their whole story, and that because my desire is desire, it is not to be belittled or despised.

" 'Please,' they plead, 'why don't you just talk and be nice? You can be so nice, if you want to be.' 'Yes, so they tell me.' 'But don't you see, this is only my body. I don't want to relate to you on that level.' 'You're out of luck. Nothing can be done about it. Your body is sensational.' 'Oh, don't start saying that again.' 'Your ass is sensational.' 'Please don't be crude. You don't talk that way in class. I love listening to you, but not when you insult me like this.' 'Insult? It's high praise. Your ass is marvelous. It's perfect. You should be thrilled to have it.' 'It's only what I sit on, David.' 'The hell it is. Ask a girl who doesn't own one quite that shape if she'd like to swap. That should bring you to your senses.' 'Please stop making fun of me and being sarcastic. Please.' 'I'm not making fun of you. I'm taking you as seriously as anybody has ever taken you in your life. Your ass is a masterpiece.' "

— Philip Roth, The Professor of Desire

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914] / His Musical Career [Chaplin, 1914] / His Trysting Places [Chaplin, 1914] / Getting Acquainted [Chaplin, 1914]

===

Getting Acquainted

À propos de Green and The Color Wheel (Roth's My Favorite Living Writer Too!)

Getting Acquainted by Charles Chaplin, 1914:



"Stuck into her English book, right there on the floor, was the essay she had written on 'Ozymandias.' B-plus and across the front the professor had written, 'Excellent paragraph development; good understanding of meaning; good use of quotations; but please don't stuff your sentences so.' And maybe she had overdone the main topic sentence somewhat, but her intention had been to state at the outset all those ideas that she would later take up in the body of the essay. 'Even a great king,' her paper began, 'such as Ozymandias apparently had been, could not predict or control what the future, or Fate, held in store for him and his kingdom; that, I think, is the message that Percy Bysshe Shelley, the poet, means for us to come away with from his romantic poem "Ozymandias," which not only reveals the theme of the vanity of human wishes — even a king's — but deals also with the concept of the immensity of "boundless and bare" life and the inevitability of the "colossal wreck" of everything, as compared to the "sneer of cold command," which is all many mere mortals have at their command, unfortunately.' "

— Philip Roth, When She Was Good

+

"Why he brought her home, he said, was 'for a real Jewish meal.' For weeks he had been jabbering about the new goyische cashier ('a very plain drab person,' he said, 'who dresses in shmattas') who had been pestering him — so went the story he couldn't stop telling us — for a real Jewish meal from the day she had come to work in the Boston & Northeastern office. Finally my mother couldn't take any more. 'All right, bring her already — she needs it so bad, so I'll give her one.' Was he caught a little by surprise? Who will ever know.

"At any rate, a Jewish meal is what she got all right. I don't think I have ever heard the word 'Jewish' spoken so many times in one evening in my life, and let me tell you, I am a person who has heard the word 'Jewish' spoken.

" 'This is your real Jewish chopped liver, Anne. Have you ever had real Jewish chopped liver before? Well, my wife makes the real thing, you can bet your life on that. Here, you eat it with a piece of bread. This is real Jewish rye bread, with seeds. That's it, Anne, you're doing very good, ain't she doing good, Sophie, for her first time? That's it, take a nice piece of real Jewish rye, now take a big fork full of the real Jewish chopped liver' — and on and on, right down to the jello — 'that's right, Anne, the jello is kosher too, sure, of course, has to be — oh no, oh no, no cream in your coffee, not after meat, ha ha, hear what Anne wanted, Alex — ?'

"But babble-babble all you want, Dad dear, a question has just occurred to me, twenty-five years later (not that I have a single shred of evidence, not that until this moment I have ever imagined my father capable of even the slightest infraction of domestic law... but since infraction seems to hold for me a certain fascination), a question has arisen in the audience: why did you bring a shikse, of all things, into our home? Because you couldn't bear that a gentile woman should go through life without the experience of eating a dish of Jewish jello? Or because you could no longer live your own life without making Jewish confession? Without confronting your wife with your crime, so she might accuse, castigate, humiliate, punish, and thus bleed you forever of your forbidden lusts! Yes, a regular Jewish desperado, my father. I recognize the syndrome perfectly. Come, someone, anyone, find me out and condemn me — I did the most terrible thing you can think of: I took what I am not supposed to have! Chose pleasure for myself over duty to my loved ones! Please, catch me, incarcerate me, before God forbid I get away with it completely — and go out and do again something I actually like!

"And did my mother oblige? Did Sophie put together the two tits and the two legs and come up with four? Me it seems to have taken two and a half decades to do such steep calculation. Oh, I must be making this up, really. My father... and a shikse? Can't be. Was beyond his ken. My own father — fucked shikses? I'll admit under duress that he fucked my mother... but shikses? I can no more imagine him knocking over a gas station."

— Philip Roth, Portnoy's Complaint

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914] / His Musical Career [Chaplin, 1914] / His Trysting Places [Chaplin, 1914]

===

His Trysting Places

Reference

His Trysting Places by Charles Chaplin, 1914:



"With that unhasteful celerity Mrs. Hait turned and set the scuttle down on the brick coping of the cellar entrance and she and old Het turned the corner of the house in time to see the now wraithlike mule at the moment when its course converged with that of a choleric-looking rooster and eight Rhode Island Red hens emerging from beneath the house. Then for an instant its progress assumed the appearance and trappings of an apotheosis: hell-born and hell-returning, in the act of dissolving completely into the fog, it seemed to rise vanishing into a sunless and dimensionless medium borne upon and enclosed by small winged goblins.

" 'Dey's mo in de front!' old Het cried.

" 'Them sons of bitches,' Mrs. Hait said, again in that grim, prescient voice without rancor or heat. It was not even the owner of them. It was her whole town-dwelling history as dated from that April dawn ten years ago when what was left of Hait had been gathered from the mangled remains of five mules and several feet of new Manila rope on a blind curve of the railroad just out of town; the geographical hap of her very home; the very components of her bereavement—the mules, the defunct husband, and the owner of them. His name was Snopes; in the town they knew about him too—how he bought his stock at the Memphis market and brought it to Jefferson and sold it to farmers and widows and orphans black and white, for whatever he could contrive—down to a certain figure; and about how (usually in the dead season of winter) teams and even small droves of his stock would escape from the fenced pasture where he kept them and, tied one to another with sometimes quite new hemp rope (and which item Snopes included in the subsequent claim), would be annihilated by freight trains on the same blind curve which was to be the scene of Hait's exit from this world; once a town wag sent him through the mail a printed train schedule for the division. A squat, pasty man perennially tieless and with a strained, harried expression, at stated intervals he passed athwart the peaceful and somnolent life of the town in dust and uproar, his advent heralded by shouts and cries, his passing marked by a yellow cloud filled with tossing jug-shaped heads and clattering hooves and the same forlorn and earnest cries of the drovers; and last of all and well back out of the dust, Snopes himself moving at a harried and panting trot, since it was said in the town that he was deathly afraid of the very beasts in which he cleverly dealt."
— William Faulkner, "Mule in the Yard"

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914] / His Musical Career [Chaplin, 1914]

===

His Musical Career

Reference

His Musical Career by Charles Chaplin, 1914:



"It had an effect on him — he stood staring. The subject of their contention had finished singing; he left the piano, and his recognition of what — a little awkwardly — didn't take place in celebration of this might nevertheless have been an acclaimed operatic tenor's series of repeated ducks before the curtain. So he bowed himself over to Daisy. 'Won't you come to the other room and have some tea?' he asked — offering Mrs. Walker's slightly thin refreshment as he might have done all the kingdoms of the earth."
— Henry James, Daisy Miller

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914] / Gentlemen of Nerve [Chaplin, 1914]

===

Gentlemen of Nerve

Reference

Gentlemen of Nerve by Charles Chaplin, 1914:



"There came an evening during my novitiate when, after being fed but lightly, I was taken to a Chamber, and there laced into an expensive Corset, black as Midnight, imported, I was told, from Paris, from the very workshop of the Corsetier to the Queen. They painted my face into a wanton Sister of itself, showing me, in a Hand-Mirror,— 'twas a Woman I'd never seen before,— whom, upon the Instant, sinfully, I desir'd."
— Thomas Pynchon, Mason & Dixon

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914] / Dough and Dynamite [Chaplin, 1914]

===

Dough and Dynamite

Reference

Dough and Dynamite by Charles Chaplin, 1914:



"Here it is impossible to tell whether sexual assault took place as well as murder. The undressing, again, may have been the work of cops or physicians."
— Luc Sante, Evidence: NYPD Crime Scene Photographs: 1914-1918

===

Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914] / Those Love Pangs [Chaplin, 1914]

===

Those Love Pangs

Reference

Those Love Pangs by Charles Chaplin, 1914:



"So we sat there quiet with her hands against my hands like Colonel Sanders and his wife at LI 87345, where he is in jail for refusing to give up the recipe for KFC Haitian MiniBreasts, and then Carolyn said, I didn't mean that thing about the rabbit, and I scrinkled up my nose rabbit-like to make her laugh."
— George Saunders, "Jon", In Persuasion Nation

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914] / The New Janitor [Chaplin, 1914]

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The New Janitor

Reference

The New Janitor by Charles Chaplin, 1914:



"Did you go to't so young? Were you a gamester at five, or at seven?"
— William Shakespeare, Pericles

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914] / The Rounders [Chaplin and Arbuckle, 1914]

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The Rounders

Reference

The Rounders by Charles Chaplin and Roscoe "Fatty" Arbuckle, 1914:



"En mars 1972, Resnais fit un voyage aux Etats-Unis de Providence (Rhode Island), à Newport, Salem et Marblehead sur les traces de Howard Philipp [sic] Lovecraft, sur lequel il voulait réaliser une espèce de documentaire."
— Robert Benayoun, Alain Resnais, arpenteur de l'imaginaire: de Hiroshima à Mélo

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914] / His New Profession [Chaplin, 1914]

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His New Profession

Reference

His New Profession by Charles Chaplin, 1914:



" 'Thinks she's like something in the works of Tennyson. You know, chemically pure. ...' "
— Aldous Huxley, After Many a Summer Dies the Swan

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914] / The Masquerader [Chaplin, 1914]

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The Masquerader

Reference

The Masquerader by Charles Chaplin, 1914:



"Palm Springs. Deciding about God."
— Susan Sontag, Reborn: Journals & Notebooks: 1947-1963

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Previous pieces on Chaplin at Cinemasparagus:

Making a Living [Lehrman, 1914] / Kid Auto Races at Venice, Cal. [Lehrman, 1914] / Mabel's Strange Predicament [Normand, 1914] / Between Showers [Lehrman, 1914] / A Film Johnnie [George Nichols, 1914] / Tango Tangles [Sennett, 1914] / His Favorite Pastime [George Nichols, 1914] / Cruel, Cruel Love [George Nichols, 1914] / The Star Boarder [George Nichols, 1914] / Mabel at the Wheel [Normand and Sennett, 1914] / Twenty Minutes of Love [Chaplin and Maddern, 1914] / Caught in a Cabaret [Chaplin and Normand, 1914] / Caught in the Rain [Chaplin, 1914] / A Busy Day [Sennett, 1914] / The Fatal Mallet [Sennett, 1914] / The Knockout [Sennett, 1914] / Mabel's Busy Day [Sennett, 1914] / Mabel's Married Life [Sennett, 1914] / Laughing Gas [Chaplin, 1914] / The Property Man [Chaplin, 1914] / The Face on the Barroom Floor [Chaplin, 1914] / Recreation [Chaplin, 1914]

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