Larcher, Jérôme (2011). Masters of Cinema: Charlie Chaplin. London: Cahiers du Cinéma. ISBN 978-2866426064. In September 1898, Hannah was committed to Cane Hill mental asylum; she had developed a psychosis seemingly brought on by an infection of syphilis and malnutrition. [22] For the two months she was there, Chaplin and his brother Sydney were sent to live with their father, whom the young boys scarcely knew. [23] Charles Sr. was by then severely alcoholic, and life there was bad enough to provoke a visit from the National Society for the Prevention of Cruelty to Children. [24] Chaplin's father died two years later, at 38 years old, from cirrhosis of the liver. [25]

The Story". Charlie Chaplin Comedy Film Festival. Archived from the original on 24 August 2012 . Retrieved 3 March 2023. In his autobiography, Chaplin recalled that on his return to Los Angeles, "I was confused and without plan, restless and conscious of an extreme loneliness". He briefly considered retiring and moving to China. [211] Chaplin's loneliness was relieved when he met 21-year-old actress Paulette Goddard in July 1932, and the pair began a relationship. [212] He was not ready to commit to a film, however, and focused on writing a serial about his travels (published in Woman's Home Companion). [213] The trip had been a stimulating experience for Chaplin, including meetings with several prominent thinkers, and he became increasingly interested in world affairs. [214] The state of labour in America troubled him, and he feared that capitalism and machinery in the workplace would increase unemployment levels. It was these concerns that stimulated Chaplin to develop his new film. [215]

Trivia

Chaplin asserted a high level of control over his pictures and started to put more time and care into each film. [86] There was a month-long interval between the release of his second production, A Night Out, and his third, The Champion. [87] The final seven of Chaplin's 14 Essanay films were all produced at this slower pace. [88] Chaplin also began to alter his screen persona, which had attracted some criticism at Keystone for its "mean, crude, and brutish" nature. [89] The character became more gentle and romantic; [90] The Tramp (April 1915) was considered a particular turning point in his development. [91] The use of pathos was developed further with The Bank, in which Chaplin created a sad ending. Robinson notes that this was an innovation in comedy films, and marked the time when serious critics began to appreciate Chaplin's work. [92] At Essanay, writes film scholar Simon Louvish, Chaplin "found the themes and the settings that would define the Tramp's world". [93] Charlie Chaplins gather in their hundreds to set world record – video". The Guardian. 17 April 2017. Balio, Tino (1979). "Charles Chaplin, Entrepreneur: A United Artist". Journal of the University Film Association. 31 (1): 11–21.

Chaplin, Lita Grey; Vance, Jeffrey (1998). Wife of the Life of the Party. Lanham, MD: Scarecrow Press. ISBN 978-0810834323. E. Segal, Martin (30 March 2012). "40 Years Ago – The Birth of the Chaplin Award". Lincoln Center Film Society. Archived from the original on 2 May 2012 . Retrieved 25 June 2012.Although Chaplin remained politically active in the years following the failure of Monsieur Verdoux, [af] his next film, about a forgotten music hall comedian and a young ballerina in Edwardian London, was devoid of political themes. Limelight was heavily autobiographical, alluding not only to Chaplin's childhood and the lives of his parents, but also to his loss of popularity in the United States. [295] The cast included various members of his family, including his five oldest children and his half-brother, Wheeler Dryden. [296] Kuriyama, Constance B. (1992). "Chaplin's Impure Comedy: The Art of Survival". Film Quarterly. 45 (3): 26–38. doi: 10.2307/1213221. JSTOR 1213221. Chaplin's childhood was fraught with poverty and hardship, making his eventual trajectory "the most dramatic of all the rags to riches stories ever told" according to his authorised biographer David Robinson. [16] Chaplin's early years were spent with his mother and brother Sydney in the London district of Kennington. Hannah had no means of income, other than occasional nursing and dressmaking, and Chaplin Sr. provided no financial support. [17] As the situation deteriorated, Chaplin was sent to Lambeth Workhouse when he was seven years old. [c] The council housed him at the Central London District School for paupers, which Chaplin remembered as "a forlorn existence". [19] He was briefly reunited with his mother 18 months later, but Hannah was forced to readmit her family to the workhouse in July 1898. The boys were promptly sent to Norwood Schools, another institution for destitute children. [20] Marriot, A. J. (2005). Chaplin: Stage by Stage. Hitchin, Herts: Marriot Publishing. ISBN 978-0952130819. a b Pfeiffer, Lee. "The Circus – Film by Chaplin [1928]". Encyclopædia Britannica. Archived from the original on 5 September 2015 . Retrieved 9 August 2015.