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10 Enduring Facts About Charlie Chaplin

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Topical Press Agency/Getty Images

Best known for his tragicomic character "The Little Tramp," Charlie Chaplin revolutionized cinema, both during the silent era and the talkies. Almost a century later, The Gold Rush, Modern Times, The Kid, and The Great Dictator are still considered essential cinematic works. His writing, producing, directing, acting, and scoring of his own films received just as much attention as his controversial personal life. The London-born Chaplin had a penchant for marrying teenage women, and ended up fathering 11 children. Though his outspoken political views would eventually force him out of America for good in 1952, Chaplin’s Hollywood legacy still burns brightly. Here are 10 facts about the legendary filmmaker, who was born on this day in 1889.

1. HE COLLABORATED WITH A FEMALE FILMMAKER (WHICH WAS A RARITY IN THOSE DAYS).

Mabel Normand was a silent film actress as well as a writer, producer, and director—which was unusual for the mid-1900s. She starred in 12 films with Charlie Chaplin, including 1914’s Mabel’s Strange Predicament, which marked the onscreen debut of Chaplin’s The Tramp character (though Mabel’s Strange Predicament was filmed first and technically was his first Tramp appearance, it was released two days after Kid Auto Races at Venice, the actual film debut of the character). She also directed Chaplin in 1914’s Caught in a Cabaret and the pair co-directed and starred in Her Friend the Bandit, which was released the same year.

2. HE CO-FOUNDED A BIG-TIME MOVIE STUDIO.

In 1919, Chaplin and fellow filmmakers Douglas Fairbanks, Mary Pickford, and D.W. Griffith formed United Artists as a means to finance their own movies so that they could retain creative control. The first film released under the new studio was 1919’s His Majesty, the American, starring Fairbanks. The studio took off and eventually branched out to build a chain of movie theaters. But in 1955, with movie attendance at a new low, Chaplin sold his shares. UA released the first James Bond movie in 1963. Today, MGM is UA’s parent company.

3. HE COMPOSED THE MUSIC FOR MANY OF HIS FILMS.

Beginning with 1931’s City Lights, Chaplin composed scores for his films’ soundtracks. His song “Smile,” used in Modern Times, became a classic. In 1954, Nat King Cole’s version—now with lyrics—peaked at number 10 on the Billboard charts. Michael Jackson also recorded a cover. Chaplin won his only competitive Oscar in 1973 for composing the theme to his 1952 film Limelight (the film wasn’t released in the U.S. until 1972).

4. HE WAS A PERFECTIONIST.

There was a reason Chaplin did everything himself: perfectionism. When he worked on his short film The Immigrant, Chaplin shot 40,000 feet of film, which was a lot for a 20-minute short. Chaplin cast actress Virginia Cherrill in City Lights to say just two words, “Flower, sir,” but he forced her to repeat them for 342 takes. “He knew exactly what he wanted and he would have preferred not to have any other actors in his films—he even tried making a film once where he was the only person in it,” Hooman Mehran, author of Chaplin's Limelight and the Music Hall Tradition, told CNN.

5. HE WAS EMBROILED IN A NASTY—AND GROUNDBREAKING—PATERNITY SUIT.

In the 1940s, actress Joan Berry was allegedly having an affair with Chaplin. At one point, he invited Berry to travel from L.A. to New York City. While in New York, she spent time with Chaplin and claimed that the director “made her available to other individuals for immoral purposes.” This violated the Mann Act, in which a person isn’t allowed to cross state lines for depraved behavior.

When, in 1943, Berry gave birth to a daughter, she stated that Chaplin was the father—a charge he adamantly denied. Though blood tests confirmed that Chaplin was not the father, because the tests weren’t admissible in California courts, he had to endure two separate trials. Despite the blood evidence saying otherwise, the jury concluded that Chaplin was the father. Not only was his reputation ruined, but he also had to pay child support. On the bright side, the ruling helped reform state paternity laws.

6. HE ACCEPTED HIS 1972 HONORARY OSCAR IN PERSON.

In 1952, because of his alleged Communist politics, the U.S. denied Chaplin re-entry to the United States after he traveled to London for the premiere of his film Limelight. Incensed, he moved his family to Switzerland and vowed he’d never return to Hollywood. But 20 years later, possibly to make up for his exile, the Academy of Motion Picture Arts and Sciences honored the 82-year-old Chaplin with an honorary Oscar (his second of three). Chaplin attended the ceremony and received an enthusiastic standing ovation. When he finally spoke, he said, “Thank you for the honor of inviting me here. You’re all wonderful, sweet people.”

7. A RUSSIAN NAMED A MINOR PLANET AFTER HIM.

In 1981, Russian astronomer Lyudmila Georgievna Karachkina, who has discovered more than 100 minor planets, named one of them after the legendary director: 3623 Chaplin.

8. THERE’S AN ANNUAL CHARLIE CHAPLIN FILM FESTIVAL.

In the 1960s, Chaplin and his family enjoyed spending summers in the village of Waterville, located on the Ring of Kerry in Ireland. In 2011 the town founded the Charlie Chaplin Comedy Film Festival, which is held each August. (A bronze statue of him resides in town.) The festival features a short film competition with categories like Chaplins of the Future. Last year the fest tried to break the Guinness World Record of the largest gathering of people dressed as Chaplin.

9. HIS FORMER HOME IN SWITZERLAND WAS CONVERTED INTO A MUSEUM.


FABRICE COFFRINI/AFP/Getty Images

On April 16, 2016—what would’ve been his 127th birthday—Chaplin’s World, a museum dedicated to the filmmaker’s life and work, opened in his former home in Switzerland. The museum has welcomed around 300,000 visitors in its first year. Visitors can see his home, the Manoir de Ban, at Corsier-sur-Vevey, by Lake Geneva. The estate also houses a studio where his movies are screened, wax figures, recreations of some of his film set pieces, and a restaurant named The Tramp.

10. THIEVES GRAVE-ROBBED CHAPLIN’S BODY AND HELD IT FOR RANSOM.

Even in death, Chaplin created controversy. Chaplin died on Christmas Day 1977 and was interred near his home in Corsier-sur-Vevey, Switzerland. Almost three months after his death, on March 2, 1978, his widow, Oona Chaplin, received a call from the police saying, “somebody dug up the grave and he’s gone,” Eugene Chaplin told The Independent.

The thieves demanded $600,000 to return the body. Oona tapped the phone lines, which led authorities to the two men, Roman Wardas and Gantscho Ganev. They confessed to the crime and showed the police Chaplin’s body, which they buried in a cornfield near his original gravesite. The men went to jail, but not before writing “I’m sorry” letters to Oona, who forgave them.

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The Star Trek Theme Song Has Lyrics
Hulton Archive/Getty Images
Hulton Archive/Getty Images

The Star Trek theme song is familiar to pretty much anyone who lived in the free world (and probably elsewhere, too) in the late 20th century. The tune is played during the show's opening credits; a slightly longer version is played, accompanied by stills from various episodes, during the closing credits. The opening song is preceded by William Shatner (as Captain Kirk) doing his now-legendary monologue recitation, which begins: "Space, the final frontier ..."

The show's familiar melody was written by respected film and TV composer Alexander Courage, who said the Star Trek theme's main inspiration was the Richard Whiting song "Beyond the Blue Horizon." In Courage's contract it was stipulated that, as the composer, he would receive royalties every time the show was aired and the theme song played. If, somehow, Star Trek made it into syndication—which, of course, it ultimately did—Courage stood to make a lot of money. And so did the person who wrote the lyrics.

WAIT... THERE WERE LYRICS?

Gene Roddenberry, the show's creator, wrote lyrics to the theme song.

"Beyond the rim of the star-light,
my love is wand'ring in star-flight!"

Why would Roddenberry even bother?

The lyrics were never even meant to be heard on the show, but not because the network (NBC) nixed them. Roddenberry nixed them himself. Roddenberry wanted a piece of the composing profits, so he wrote the hokey lyrics solely to receive a "co-writer" credit.

"I know he'll find in star-clustered reaches
Love, strange love a star woman teaches."

As one of the composers, Roddenberry received 50 percent of the royalties ... cutting Alexander Courage's share in half. Not surprisingly, Courage was furious about the deal. Though it was legal, he admitted, it was unethical because Roddenberry had contributed nothing to why the music was successful.

Roddenberry was unapologetic. According to Snopes, he once declared, "I have to get some money somewhere. I'm sure not gonna get it out of the profits of Star Trek."

In 1969, after Star Trek officially got the ax, no one (Courage and Roddenberry included) could possibly have imagined the show's great popularity and staying power.

Courage, who only worked on two shows in Star Trek's opening season because he was busy working on the 1967 Dr. Doolittle movie, vowed he would never return to Star Trek.

He never did.

THE WORDS

If you're looking for an offbeat karaoke number, here are Roddenberry's lyrics, as provided by Snopes:

Beyond
The rim of the star-light
My love
Is wand'ring in star-flight
I know
He'll find in star-clustered reaches
Love,
Strange love a star woman teaches.
I know
His journey ends never
His star trek
Will go on forever.
But tell him
While he wanders his starry sea
Remember, remember me.

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Universal Pictures Home Entertainment
The 10 Wildest Movie Plot Twists
Laura Harring in Mulholland Drive (2001)
Laura Harring in Mulholland Drive (2001)
Universal Pictures Home Entertainment

An ending often makes or breaks a movie. There’s nothing quite as satisfying as having the rug pulled out from under you, particularly in a thriller. But too many flicks that try to shock can’t stick the landing—they’re outlandish and illogical, or signal where the plot is headed. Not all of these films are entirely successful, but they have one important attribute in common: From the classic to the cultishly beloved, they involve hard-to-predict twists that really do blow viewers’ minds, then linger there for days, if not life. (Warning: Massive spoilers below.)

1. PSYCHO (1960)

Alfred Hitchcock often constructed his movies like neat games that manipulated the audience. The Master of Suspense delved headfirst into horror with Psycho, which follows a secretary (Janet Leigh) who sneaks off with $40,000 and hides in a motel. The ensuing jolt depends on Leigh’s fame at the time: No one expected the ostensible star and protagonist to die in a gory (for the time) shower butchering only a third of the way into the running time. Hitchcock outdid that feat with the last-act revelation that Anthony Perkins’s supremely creepy Norman Bates is embodying his dead mother.

2. PLANET OF THE APES (1968)

No, not the botched Tim Burton remake that tweaked the original movie’s famous reveal in a way that left everyone scratching their heads. The Charlton Heston-starring sci-fi gem continues to stupefy anyone who comes into its orbit. Heston, of course, plays an astronaut who travels to a strange land where advanced apes lord over human slaves. It becomes clear once he finds the decrepit remains of the Statue of Liberty that he’s in fact on a future Earth. The anti-violence message, especially during the political tumult of 1968, shook people up as much as the time warp.

3. DEEP RED (1975)

It’s not rare for a horror movie to flip the script when it comes to unmasking its killer, but it’s much rarer that such a film causes a viewer to question their own perception of the world around them. Such is the case for Deep Red, Italian director Dario Argento’s (Suspiria) slasher masterpiece. A pianist living in Rome (David Hemmings) comes upon the murder of a woman in her apartment and teams up with a female reporter to find the person responsible. Argento’s whodunit is filled to the brim with gorgeous photography, ghastly sights, and delirious twists. But best of all is the final sequence, in which the pianist retraces his steps to discover that the killer had been hiding in plain sight all along. Rewind to the beginning and you’ll discover that you caught an unknowing glimpse, too.

4. SLEEPAWAY CAMP (1983)

Sleepaway Camp is notorious among horror fans for a number of reasons: the bizarre, stilted acting and dialogue; hilariously amateurish special effects; and ‘80s-to-their-core fashions. But it’s best known for the mind-bending ending, which—full disclosure—reads as possibly transphobic today, though it’s really hard to say what writer-director Robert Hiltzik had in mind. Years after a boating accident that leaves one of two siblings dead, Angela is raised by her aunt and sent to a summer camp with her cousin, where a killer wreaks havoc. In the lurid climax, we see that moody Angela is not only the murderer—she’s actually a boy. Her aunt, who always wanted a daughter, raised her as if she were her late brother. The final animalistic shot prompts as many gasps as cackles.

5. THE USUAL SUSPECTS (1995)

The Usual Suspects has left everyone who watches it breathless by the time they get to the fakeout conclusion. Roger "Verbal" Kint (Kevin Spacey), a criminal with cerebral palsy, regales an interrogator in the stories of his exploits with a band of fellow crooks, seen in flashback. Hovering over this is the mysterious villainous figure Keyser Söze. It’s not until Verbal leaves and jumps into a car that customs agent David Kujan realizes that the man fabricated details, tricking the law and the viewer into his fake reality, and is in fact the fabled Söze.

6. PRIMAL FEAR (1996)

No courtroom movie can surpass Primal Fear’s discombobulating effect. Richard Gere’s defense attorney becomes strongly convinced that his altar boy client Aaron (Edward Norton) didn’t commit the murder of an archbishop with which he’s charged. The meek, stuttering Aaron has sudden violent outbursts in which he becomes "Roy" and is diagnosed with dissociative identity disorder, leading to a not guilty ruling. Gere’s lawyer visits Aaron about the news, and as he’s leaving, a wonderfully maniacal Norton reveals that he faked the multiple personalities.

7. FIGHT CLUB (1999)

Edward Norton is no stranger to taking on extremely disparate personalities in his roles, from Primal Fear to American History X. The unassuming actor can quickly turn vicious, which led to ideal casting for Fight Club, director David Fincher’s adaptation of the Chuck Palahniuk novel. Fincher cleverly keeps the audience in the dark about the connections between Norton’s timid, unnamed narrator and Brad Pitt’s hunky, aggressive Tyler Durden. After the two start the titular bruising group, the plot significantly increases the stakes, with the club turning into a sort of anarchist terrorist organization. The narrator eventually comes to grips with the fact that he is Tyler and has caused all the destruction around him.

8. THE SIXTH SENSE (1999)

Early in his career, M. Night Shyamalan was frequently (perhaps a little too frequently) compared to Hitchcock for his ability to ratchet up tension while misdirecting his audience. He hasn’t always earned stellar reviews since, but The Sixth Sense remains deservedly legendary for its final twist. At the end of the ghost story, in which little Haley Joel Osment can see dead people, it turns out that the psychologist (Bruce Willis) who’s been working with the boy is no longer living himself, the result of a gunshot wound witnessed in the opening sequence.

9. THE OTHERS (2001)

The Sixth Sense’s climax was spooky, but not nearly as unnerving as Nicole Kidman’s similarly themed ghost movie The Others, released just a couple years later. Kidman gives a superb performance in the elegantly styled film from the Spanish writer-director Alejandro Amenábar, playing a mother in a country house after World War II protecting her photosensitive children from light and, eventually, dead spirits occupying the place. Only by the end does it become clear that she’s in denial about the fact that she’s a ghost, having killed her children in a psychotic break before committing suicide. It’s a bleak capper to a genuinely haunting yarn.

10. MULHOLLAND DRIVE (2001)

David Lynch’s surrealist movies may follow dream logic, but that doesn’t mean their plots can’t be readily discerned. Mulholland Drive is his most striking work precisely because, in spite of its more wacko moments, it adds up to a coherent, tragic story. The mystery starts innocently enough with the dark-haired Rita (Laura Elena Harring) waking up with amnesia from a car accident in Los Angeles and piecing together her identity alongside the plucky aspiring actress Betty (Naomi Watts). It takes a blue box to unlock the secret that Betty is in fact Diane, who is in love with and envious of Camilla (also played by Harring) and has concocted a fantasy version of their lives. The real Diane arranges for Camilla to be killed, leading to her intense guilt and suicide. Only Lynch can go from Nancy Drew to nihilism so swiftly and deftly.

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