Charlie Chaplin was one of the greatest and widely loved silent movie stars. From “Easy Street” (1917) to “Modern Times” (1936), he made many of the funniest and most popular films of his time. He was best known for his character, the naive and lovable Little Tramp. The Little Tramp, a well meaning man in a raggedy suit with cane, always found himself wobbling into awkward situations and miraculously wobbling away. More than any other figure, it is this kind-hearted character that we associate with the time before the talkies.

Born in London in 1889, Chaplin first visited America with a theater company in 1907. Appearing as “Billy” in the play “Sherlock Holmes”, the young Chaplin toured the country twice. On his second tour, he met Mack Sennett and was signed to Keystone Studios to act in films. In 1914 Chaplin made his first one-reeler, “Making a Living”. That same year he made thirty-four more short films, including “Caught in a Cabaret”, “Caught in the Rain”, “The Face on the Bar-Room Floor”, and “His Trysting Place”. These early silent shorts allowed very little time for anything but physical comedy, and Chaplin was a master at it.

Chaplin’s slapstick acrobatics made him famous, but the subtleties of his acting made him great. While Harold Lloyd played the daredevil, hanging from clocks, and Buster Keaton maneuvered through surreal and complex situations, Chaplin concerned himself with improvisation. For Chaplin, the best way to locate the humor or pathos of a situation was to create an environment and walk around it until something natural happened. The concern of early theater and film was to simply keep the audience’s attention through overdramatic acting that exaggerated emotions, but Chaplin saw in film an opportunity to control the environment enough to allow subtlety to come through.

Chaplin was known as one of the most demanding men in Hollywood. Regardless of the size the part, Chaplin walked each actor through every scene. Chaplin knew that a successful scene was not simply about the star, but about everyone on the screen. He demanded that the entire cast work together in every performance. Without this unity he could not express the subtlety of character that was so important to him. The only way to achieve that unity was to maintain complete control over every scene. This constant attention to detail ran many features over-time and over-budget, but the public reaction assured him and the studios that what he was doing worked. As his popularity increased he took more liberties with filming. Movies such as his 1925 hit, “The Gold Rush”, demanded unending reworking of scenes and rebuilding of sets.

Chaplin typically improvised his story in front of the camera with only a basic framework of a script. He shot and printed hundreds of takes when making a movie, each one a little experimental variation. While this method was unorthodox, because of the expense and inefficiency, it provided lively and spontaneous footage. Taking what he learned from the footage, Chaplin would often completely reorganize a scene. It was not uncommon for him to decide half-way through a film that an actor wasn’t working and start over with someone new. Many actors found the constant takes and uncertainty grueling, but always went along because they knew they were working for a master.

Though Chaplin is of the silent movie era, we see his achievements carried through in the films of today. With the advent of the feature-length talkies, the need for more subtle acting became apparent. To maintain the audience’s attention throughout a six-reel film, an actor needed to move beyond constant slapstick. Chaplin had demanded this depth long before anyone else. His rigor and concern for the processes of acting and directing made his films great and led the way to a new, more sophisticated, cinema.

“Everything I know I learned in vaudeville.”
-James Cagney

At the turn of the century in America, the Wright Brothers made their first successful flight, Jack London wrote Call of the Wild, Henry Ford started his motor company, and thousands of people escaped small apartments in big cities to see the amazing acts of vaudeville. Vaudeville was made of comedians, singers, plate-spinners, ventriloquists, dancers, musicians, acrobats, animal trainers, and anyone who could keep an audience’s interest for more than three minutes. Beginning in the 1880s and through the 1920s, vaudeville was home to more than 25,000 performers, and was the most popular form of entertainment in America. From the local small-town stage to New York’s Palace Theater, vaudeville was an essential part of every community.

Throughout the 1850s and 60s, variety entertainment became popular among the frontier settlements and urban centers. These shows, intended for all-male audiences, were often obscenely comical. In 1881 Tony Pastor, a ballad and minstrel singer, created a variety show for families. Other managers recognized that a wider audience meant more money and followed his lead. With an influx of recent immigrants and quickly growing urban populations, vaudeville soon became a central point for American cultural life.

There was usually a dozen or more acts in every vaudeville performance. Starting and ending with the weakest, the shows went on for hours. The performances ranged from the truly talented to the simply quirky. There were musicians, such as the piano player Eubie Blake, and the child star, Baby Rose Marie. There were great acts of physical talent; everything from contortionists, to tumblers to dancers such as the Nicholas Brothers. Actors performed plays, magicians put on shows, jugglers juggled, but the real focus of vaudeville was comedy. Great comic acts such as Witt and Berg and Burns and Allen brought in the biggest crowds.

Vaudeville’s attraction was more than simply a series of entertaining sketches. It was symbolic of the cultural diversity of early twentieth century America. Vaudeville was a fusion of centuries-old cultural traditions, including the English Music Hall, minstrel shows of antebellum America, and Yiddish theater. Though certainly not free from the prejudice of the times, vaudeville was the earliest entertainment form to cross racial and class boundaries. For many, vaudeville was the first exposure to the cultures of people living right down the street.

Some of the most famous vaudeville performers began at an early age. Like the Yiddish theater and the circus, vaudeville was a family affair — singing sisters, dancing brothers, and flying families. For many of these families, the traveling lifestyle was simply a continuation of the adventures that brought them to America. Their acts were a form of assimilation, in which they could become active parts of popular culture through representations of their heritage. Many made acts from the confusions of being a foreigner, while others displayed skills they had learned back in the old country.

Once an act worked, performers repeated it in front of audience after audience. Many performers became known simply by their signature act. With the advent of the radio, however, America found a free and easy way to tap into that variety of entertainment they had looked for in vaudeville. With such specialized skills, the performers continued to perform to smaller and smaller crowds. In time, theaters began to show films, and the few vaudevillians left took what work they could get performing between reels.

Ironically, it is through the movie and TV industry that vaudeville eventually left its greatest mark. Nearly every actor in the beginning of the century either performed or visited vaudeville. The silent movies, with former vaudevillians such as Burt Williams, Buster Keaton and Charlie Chaplin, incorporated the animated physical comedy of the vaudeville stage. Many of the big names in vaudeville went on to be movie and TV stars, such as Will Rogers, Bob Hope, Burns &Allen, and Fanny Brice. Even today, shows such as Late Night with David Letterman and Saturday Night Live continue the traditions of popular variety entertainment.