Showing posts with label Robert Florey. Show all posts
Showing posts with label Robert Florey. Show all posts

Tuesday, January 5, 2016

Working with Charlie Chaplin: Vol. 4

I couldn't come up with a title for this one but suffice to say you didn't want to get on Chaplin's bad side. I must admit that I did consider calling it "For Christ's Sake!" You'll see why...

[Chaplin to assistant director and half-brother, Wheeler Dryder, during production of Monsieur Verdoux] "No, no, no, shut up, you silly bastard, for Christ's sake, we cut to Annabella, you don't understand anything about motion pictures. I know what I'm doing, yeah, that's what I cut to. I have been in this business for 20--for 30 years, you don't think I am gaga? Oh, shut up...Christ... We cut to Annabella, I know goddamn well what I am doing...For Christ's sake, I have been cutting this scene in my mind for the past three years...I know exactly...then the music starts....Don't talk to me." (reminiscences of Robert Florey via "Charlie Dearest" by Brian Taves, Film Comment, April 1988)
Group shot on the set of Monsieur Verdoux, 1946:
L-R: Robert Florey, Wheeler Dryden, Henry Bergman (in front), Rollie Totheroh, and CC

After I had been working at the Manoir for a few days I ventured to ask if he ever stopped work for a cup of tea during the afternoon. He snapped back, "I don't like tea." Feeling this to be a bit lacking in consideration, I retorted equally, "Well, I do." To my surprise instead of a lordly rebuke he said quite gently, "How thoughtless, you must forgive me, Eric." He at once rang for Gino [the butler] and from that day and every day thereafter a gentle tap would be heard on the door at precisely 4:00 pm and Gino would appear with a silver tray containing a pot of tea, a wedge of chocolate cake, and an assortment of sweet biscuits. At this point Mr. Chaplin would then absent himself from the room for five minutes. Occasionally he would remain, sitting in the armchair facing me and I would feel waves of suppressed irritation wafting over me as he tapped his fingers on the arm of his chair and dared me with his eyes to linger a moment longer than he considered necessary. (Eric James, Making Music With Charlie Chaplin, 2000)
CC with longtime music associate Eric James

[Chaplin to son Sydney, who played Neville in Limelight] "For Chrissakes, come on Syd!. Get some feeling into the lines...Show a little warmth!...For Chrissakes, what's wrong with you? Get the lead out of your pants!" (Jerry Epstein, Remembering Charlie, 1989)
With Sydney in Limelight

It was on 
A Woman Of Paris. We were all in watching rushes. And he said, "Rollie, that's out of focus." And I said, "Gee, if it was out of focus, my eyes are sharp, I'd tell you." "For Christ's sake! Jesus Christ! Lousy!" he said. So I said, "Well, if you can say that is lousy, you'd better get yourself another boy." He said, "I will." "Okay." So he ran down to Mr. [Alfred] Reeves office. I went back and sat in my office. They went to lunch, and I went to lunch and came back...Word came down that we'd call it a day. [That night, Alf Reeves went came to talk to Rollie at home and made sure that he would come in the next day. Rollie said he would, and give Charlie his two weeks' notice.]The next morning I was sitting on the bench and instead of Charlie driving in through the gates where he always did, he came into his front office through the screen door and I was sitting on the bench outside. He mentioned to me to come down to him and he turned around and put his behind up in the air and he said, "Kick me in the ass, Rollie." And I did. And he said, "You know, I wanted to take that shot over anyhow." ("Roland H. Totheroh Interviewed," Timothy J. Lyons, ed., Film Culture, Spring 1972

With Rollie, 1923
He got so frustrated with Almira Sessions that he started yelling and screaming. 'Why can't you get anything straight? All you have to do is this, this and this...'" (Interview with Marilyn Nash, "Limelight" newsletter, Spring 1997)

Almira Sessions as Lena Couvais in Monsieur Verdoux (1947)

"Hello, Gardiner," he said, looking at me with those strange, deep blue, and at times, pathetic eyes. "Say, you didn't show up at 6 a.m." And then rather sharply: "You held everything up, you know." I explained to him that there had been some mistake about the call as I had not received one the night before and that I was sorry I had caused him any inconvenience, but that it really wasn't my fault. "I must have cooperation at all times from people who work for me," he answered. "If people don't show enthusiasm over their work with me, I've no use for them. And if you feel you are not going to be able to put everything you've got into this role. I can always get someone else."I felt mortified and completely tongue-tied. I pulled myself together and, as calmly as I could, that I would do everything possible to do my part to the utmost and was looking forward to being in the picture more than any other assignment I had had previously."Well, that's fine, Reggie," he said, smiling now. "Let's say no more about your being late this morning." I smiled and thanked him and he walked away over to the camera. (Reginald Gardiner, "The Pleasure of Meeting A Dictator," New York Herald Tribune, September 16, 1940)

Reggie Gardiner, left, as Schultz in The Great Dictator (1940)

Tuesday, April 21, 2015

Chaplin with French screenwriters Marcel Achard and Bernard Zimmer, 1934

Pour Vous, 1934

This is when Chaplin was thinking seriously about doing a Napoleon film. In the caption of the top left photo, he is telling Zimmer (according to my very loose translation): "Yes, I would make a film about Napoleon."

Marcel Achard claims to have assisted Chaplin with the gag in Modern Times where the feeding machine throws soup at Charlie. (Hollywood & the Foreign Touch by Harry Waldman).  He may have also assisted in the dubbing of Chaplin's later talkies, inc. Monsieur Verdoux, into French.

Thursday, March 13, 2014

Charlie reading Cinemagazine with Robert Florey, 1922


Florey was working as a reporter for the magazine at the time. They are looking at the June 16, 1922 issue (below) with French actor, Gaston Modot, on the cover.

Tuesday, October 22, 2013

RIP Henry Bergman (February 23, 1868 – October 22, 1946)


Henry Bergman became an indispensable member of Chaplin's stock company in 1916. He adored Charlie and was a loyal and supportive friend and associate for 30 years. Chaplin repaid that loyalty by keeping Henry on his payroll until his death.

In an interview from 1931, Henry remembers how he came to work for Charlie:
I had known Mr. Chaplin personally. We used to be quite friendly at dinners, etc., and when I mentioned to him that I was looking for a job he said, "Why don't you come with me? You can work with me when I start a company of my own." That's the way it was. (Interview with Mayme Ober Peak, Boston Globe, February 22, 1931. I posted a longer excerpt from the interview here.)
Bergman was a versatile actor and would sometimes have multiple roles in one film. During filming, he was known to be just as tireless as Charlie:
For hour on hour on a sweltering August day during Shoulder Arms, Charlie forced the weighty Henry, in a full parade of German arms and uniform and sweating under a full muff (or crepe hair beard) to pursue him, disguised as a tree stump, through a eucalyptus grove. "You great fat hulk," complained the ex­hausted comedian. "Can't I wear you out?" Henry pled fatigue, but told Chaplin he was determined not to give up until Charlie did. (Harry Crocker, "Henry Bergman," Academy Leader, April 1972). 
In the 1920s, Bergman opened a popular Hollywood restaurant called Henry’s (possibly financed, or co-financed, by Chaplin). Henry would often go from table to table talking with customers, with his ever-present cigar dangling from his mouth. Charlie, who was fascinated by the success of the restaurant, was a regular customer. His favorite dishes were the lentil soup and coleslaw.

One of the last photos of Henry was taken on the set of Monsieur Verdoux. He did not have a role in the film and died from a heart attack shortly after shooting had begun.

Cameraman Rollie Totheroh is between Bergman and Chaplin. Associate Director Robert Florey is on the left of Bergman and Charlie’s half-brother Wheeler Dryden is behind Florey. 

Monday, July 15, 2013

With Jean de Limur & Robert Florey, his collaborators on A Woman Of Paris, c. 1922

Charlie is dressed in his clerical costume from The Pilgrim. All three seem to be posing with their left foot pointed out.