The Rounders (1914 film)
The Rounders is a 1914 comedy short starring Charles Chaplin and Roscoe Arbuckle. The film involves two drunks who get into trouble with their wives, was written and directed by Chaplin. A drunk reveller returns home to a scolding from his wife, his inebriated neighbor goes home to a cold reception from his wife. When the first couple hear the physical altercation across the hall, the reveller's wife sends him to investigate; the two men flee together and end up in a cafe, where they cause trouble. When their spouses track them down, they escape, this time to a leaky rowboat. Safely out of reach of their wives, they fall asleep, oblivious to the rising water into which they disappear. Moving Picture World wrote, "It is a rough picture for rough people, that people, whether rough or gentle, will have to laugh over while it is on the screen. Chas. Chapman and the Fat Boy appear in this as a couple of genial jags." Charles Chaplin as Reveller Roscoe Arbuckle as Charlie's Neighbor Phyllis Allen as Charlie's Wife Minta Durfee as Roscoe's Wife Al St. John as Bellhop/Waiter Jess Dandy as Diner Wallace MacDonald as Diner Charley Chase as Diner Billy Gilbert as Doorman in blackface Cecile Arnold as Hotel Guest Dixie Chene as Diner Edward F. Cline as Hotel Guest in Lobby Ted Edwards as Cop William Hauber as Waiter Edgar Kennedy in Bit Part Charlie Chaplin filmography Fatty Arbuckle filmography The Rounders on IMDb The Rounders is available for free download at the Internet Archive
The Face on the Bar Room Floor (1914 film)
The Face on the Bar Room Floor is a short film written and directed by Charles Chaplin in 1914. Chaplin stars in this film, loosely based on the poem of the same name by Hugh Antoine d'Arcy. A painter turned tramp, devastated by losing the woman he was courting as a wealthy man, finds himself drunk and getting drunker by the minute with some sailors at a bar until he collapses, he keeps futilely trying to draw the woman's picture on the floor with a piece of chalk until he passes out cold at the end of the film. According to Chaplin expert Gerald D. McDonald, "The subtitles of the film were lines from the poem, but the original verses were altered to match the Keystone credo that life is a funny game at best." A reviewer for Moving Picture World wrote. Chaplain wins new laurels in the leading part." Charles Chaplin - Artist/Tramp Cecile Arnold - Madeleine Fritz Schade - Drinker Vivian Edwards - Model Chester Conklin - Drinker Harry McCoy - Drinker Hank Mann - Drinker Wallace MacDonald - Drinker The Face on the Barroom Floor List of American films of 1914 Charlie Chaplin filmography The Face on the Bar Room Floor on IMDb The Face on the Bar Room Floor is available for free download at the Internet Archive
Mabel Ethelreid Normand was an American silent-film actress, screenwriter and producer. She was a popular star and collaborator of Mack Sennett in his Keystone Studios films, at the height of her career in the late 1910s and early 1920s, had her own movie studio and production company. Onscreen, she appeared in 12 successful films with Charlie Chaplin and 17 with Roscoe "Fatty" Arbuckle, sometimes writing and directing movies featuring Chaplin as her leading man. Throughout the 1920s, her name was linked with publicized scandals, including the 1922 murder of William Desmond Taylor and the 1924 shooting of Courtland S. Dines, shot by Normand's chauffeur using her pistol, she was not a suspect in either crime. Her film career declined, she suffered a recurrence of tuberculosis in 1923, which led to a decline in her health, retirement from films, her death in 1930 at age 37. Born Mabel Ethelreid Normand in New Brighton, Richmond County, New York, she grew up in a working-class family, her mother, Mary "Minne" Drury, of Providence, Rhode Island, was of Irish heritage, while her father was French Canadian.
Her father, Claude Normand, was employed as a cabinetmaker and stage carpenter at Sailors' Snug Harbor home for elderly seamen. Before she entered films at age 16 in 1909, Normand worked as an artist's model, which included posing for postcards illustrated by Charles Dana Gibson, creator of the Gibson Girl image, as well as for Butterick's clothing pattern manufacturers in lower Manhattan. For a short time, she worked for Vitagraph Studios in New York City for $25 per week, but Vitagraph founder Albert E. Smith admitted she was one of several actresses about whom he made a mistake in estimating their "potential for future stardom."Her lead performance, directed by D. W. Griffith in the dramatic 1911 short film Her Awakening, drew attention and she met director Mack Sennett while at Griffith's Biograph Company, she embarked on a topsy-turvy relationship with him. Her earlier Keystone films portrayed her as a bathing beauty, but Normand demonstrated a flair for comedy and became a major star of Sennett's short films.
Normand appeared with Charles Chaplin and "Fatty" Arbuckle in many short films, as well as with Oliver Hardy and Boris Karloff, in the Stan Laurel-directed "Raggedy Rose". She is credited as being the first film star to receive a pie thrown in the face, she played a key role in starting Chaplin's film career and acted as his leading lady and mentor in a string of films in 1914, sometimes co-writing and directing or co-directing films with him. Chaplin had considerable initial difficulty adjusting to the demands of film acting, his performance suffered for it. After his first film appearance in Making a Living, Sennett felt. Most historians agree Normand persuaded Sennett to give Chaplin another chance, she and Chaplin appeared together in a dozen subsequent films always as a couple in the lead roles. In 1914, she starred with Marie Dressler and Chaplin in Tillie's Punctured Romance, the first feature-length comedy. Earlier that same year, in January/February, Chaplin first played his Tramp character in Mabel's Strange Predicament, although it wound up being the second Tramp film released.
She opened her own company in partnership with Mack Sennett 1916. It was a subsidiary of the Triangle Film Corporation, she lost the company in 1918 when Triangle experienced a massive shake up which had Sennett lose Keystone and establish his own independent studio. In 1918, as her relationship with Sennett came to an end, Normand signed a $3,500-per-week contract with Samuel Goldwyn. Director William Desmond Taylor shared her interest in books, the two formed a close relationship. Author Robert Giroux claims that Taylor was in love with Normand, who had approached him for help in curing her cocaine dependency. According to Normand's subsequent statements to investigators, her repeated relapses were devastating for Taylor. Giroux says that Taylor met with federal prosecutors shortly before his death and offered to assist them in filing charges against Normand's cocaine suppliers. Giroux expresses a belief that Normand's suppliers learned of this meeting and hired a contract killer to murder the director.
According to Giroux, Normand suspected the reasons for Taylor's murder, but did not know the identity of the man who killed him. According to Kevin Brownlow and John Kobal in their book Hollywood: The Pioneers, the idea that Taylor was murdered by drug dealers was invented by the studio for publicity purposes. No evidence indicates Normand was an addict, despite the fact this is repeated as if it were established fact. On the night of his murder, February 1, 1922, Normand left Taylor's bungalow at 7:45 pm in a happy mood, carrying a book he had lent her, they blew kisses to each other. Normand was the last person known to have seen Taylor alive; the Los Angeles Police Department subjected Normand to a grueling interrogation, but ruled her out as a suspect. Most subsequent writers have done the same. However, Normand's career had slowed, her reputation was tarnished. According to George Hopkins, who sat next to her at Taylor's funeral, Normand wept inconsolably. In 1924, Normand's chauffeur Joe Kelly shot and wounded millionaire oil broker and amateur golfer Courtland S. Dines with her pistol.
Normand's co-star in many films, Roscoe Arbuckle was the defendant in three publicized trials for the rape and manslaughter of ac
Those Love Pangs
Those Love Pangs known as The Rival Mashers, is an American silent comedy film. It was released in 1914 produced by Keystone Studios starring Charlie Chaplin and Chester Conklin with the participation of Cecile Arnold, Vivian Edwards and Helen Carruthers; the Masher played by Charlie Chaplin fights for the attention of the landlady with the Rival played by Chester Conklin at the beginning of the film. The Rival makes his attempt first. While he is talking to the Landlady played by Helen Carruthers the Masher pokes him with a fork from behind a curtain; the Rival gets upset and returns to the table. The Masher goes on to talk to the landlady; as the Masher sweet talks the Landlady, the Rival does the same thing. The Landlady walks away from the Masher. Upset, the Masher takes the Rival outside by his tie, they go their separate ways when the Masher goes into a bar and the Rival keeps walking toward the park. Before the Masher goes into the bar, he is distracted by a blonde girl; the girl turns and the Masher follows her until her tall boyfriend appears.
The Masher runs away. Once at the park the Masher finds the Rival with a Brunette girl; the girl the Masher had encountered before ends up at the park as well with her boyfriend. The Masher becomes jealous, he follows the two girls to a theater. He has the attention of both girls and zones off; the boyfriend and the Rival come into the theater to find the Masher with their respected girlfriends. The girls run out of the theater; the Masher is in his own world and did not realized the girls had been replaced by the tall boyfriend and the Rival. He realizes what is happening, he jumps up and the two upset men fight him. The Masher gets thrown into the screen. Charles Chaplin - Masher Chester Conklin - Rival Cecile Arnold - Blonde girl Vivian Edwards - Brunette girl Helen Carruthers - Landlady Harry A. Grace published the article Charlie Chaplin's Films and American Culture Patterns in the Journal of Aesthetics and Art Criticism in which he analyzes Chaplin's films, he categorizes each of Chaplin's films under a category that corresponds to an era of the United States.
According to Grace, seventy-nine percent of the themes in Chaplin's films are about relationships between the sexes. ‘’’Those Love Pangs’’’ was place under this category. There is the some kind of battle between the two sexes. Chaplin’s character the masher flights for girls with other gentlemen in the film. A reviewer from Motion Picture World wrote, "Charles Chaplin and Chester Conklin disport themselves in further love affairs in this number." A reviewer from Bioscope wrote "The volatile Charlie succeeds in making himself agreeable to two ladies at a picture show, but his rivals succeed as usual in reducing him to a state of mental and physical collapse." List of American films of 1914 Charlie Chaplin filmography Making a Living Neibaur, James L. “Chaplin at Keystone.” Cineaste 36, no. 2: 65–67. Those Love Pangs on YouTube Those Love Pangs on IMDb Those Love Pangs is available for free download at the Internet Archive Those Love Pangs at Rotten Tomatoes
A silent film is a film with no synchronized recorded sound. In silent films for entertainment, the plot may be conveyed by the use of title cards, written indications of the plot and key dialogue lines; the idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, the introduction of synchronized dialogue became practical only in the late 1920s with the perfection of the Audion amplifier tube and the advent of the Vitaphone system. During the silent-film era that existed from the mid-1890s to the late 1920s, a pianist, theater organist—or in large cities, a small orchestra—would play music to accompany the films. Pianists and organists would play either from improvisation; the term silent film is a retronym—a term created to retroactively distinguish something. Early sound films, starting with The Jazz Singer in 1927, were variously referred to as the "talkies," "sound films," or "talking pictures." Within a decade, the widespread production of silent films for popular entertainment had ceased, the industry had moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue and sound effects.
Most early motion pictures are considered lost because the nitrate film used in that era was unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video, it has been claimed that around 75 percent of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data. The earliest precursors to film began with image projection through the use of a device known as the magic lantern, which utilized a glass lens, a shutter, a persistent light source to project images from glass slides onto a wall; these slides were hand-painted, after the advent of photography in the 19th century, still photographs were sometimes used. Thus the invention of a practical photography apparatus preceded cinema by only fifty years; the next significant step toward the invention of cinema was the development of an understanding of image movement. Simulations of movement date as far back as to 1828—only four years after Paul Roget discovered the phenomenon he called "Persistence of Vision."
Roget showed that when a series of still images is shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement. This is an optical illusion, since the image is not moving; this experience was further demonstrated through Roget's introduction of the thaumatrope, a device that spun at a high speed a disk with an image on its surface. The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, means of projecting the developed images on a screen." The first projected proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop; the oldest surviving film was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, titled Roundhay Garden Scene.
The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, his Kinetoscope, a device for viewing those images, allowed for the creation and exhibition of short films. Edison made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production. Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. In France, for example and Louis Lumière created the Cinématographe, which proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor, projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people, their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture. The invention of celluloid film, strong and flexible facilitated the making of motion pictures.
This film was 35 mm wide and was pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph; the art of motion pictures grew into full maturity in the "silent era". The height of the silent era was a fruitful period, full of artistic innovation; the film movements of Classical Hollywood as well as French Impressionism, German Expressionism, Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that every style and genre of film-making of the 20th and 21st centuries has its artistic roots in the silent era; the silent era was a pioneering one from a technical point of view. Three-point lighting, the close-up, long shot and continuity editing all became prevalent long before silent films were replaced by "talking pictures" or "talkies" in the late 1920s; some scholars claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors and production staff adapted to the new "talkies" around the late 1930s.
The Oregonian is a daily newspaper based in Portland, United States, owned by Advance Publications. It is the oldest continuously published newspaper on the U. S. west coast, founded as a weekly by Thomas J. Dryer on December 4, 1850, published daily since 1861, it is the largest newspaper in Oregon and the second largest in the Pacific Northwest by circulation. It is one of the few newspapers with a statewide focus in the United States; the Sunday edition is published under the title The Sunday Oregonian. The regular edition was published under the title The Morning Oregonian from 1861 until 1937; the Oregonian received the 2001 Pulitzer Prize for Public Service, the only gold medal annually awarded by the organization. The paper's staff or individual writers have received seven other Pulitzer Prizes, most the award for Editorial Writing in 2014; the Oregonian is home-delivered throughout Multnomah, Washington and Yamhill counties in Oregon and Clark County, Washington four days a week. Although some independent dealers do deliver the newspaper outside that area, in 2006 it ceased to be available in far eastern Oregon and the southern Oregon Coast and, starting in December 2008, "increasing newsprint and distribution costs" caused the paper to stop delivery to all areas south of Albany.
One year prior to the incorporation of the tiny town of Portland, Oregon, in 1851, prospective leaders of the new community determined to establish a local newspaper—an institution, seen as a prerequisite for urban growth. Chief among these pioneer community organizers seeking establishment of a Portland press were Col. W. W. Chapman and prominent local businessman Henry W. Corbett. In the fall of 1850 Chapman and Corbett traveled to San Francisco, at the time far and away the largest city on the West Coast of the United States, in search of an editor interested in and capable of producing a weekly newspaper in Portland. There the pair met Thomas J. Dryer, a transplanted New Yorker, an energetic writer with both printing equipment and previous experience in the production of a small circulation community newspaper in his native Ulster County, New York. Dryer's press was transported to Portland and it was there on December 4, 1850 that the first issue of The Weekly Oregonian found its readers.
Each weekly issue consisted of four pages, printed six columns wide. Little attention was paid to current news events, with the bulk of the paper's content devoted to political themes and biographical commentary; the paper took a staunch political line supportive of the Whig Party—an orientation which soon brought it into conflict with The Statesman, a Democratic paper launched at Oregon City not long after The Weekly Oregonian's debut. A loud and bitter rivalry between the competing news organs ensued. Henry Pittock became the owner in 1861 as compensation for unpaid wages, he began publishing the paper daily, except Sundays. Pittock's goal was to focus more on news than the bully pulpit established by Dryer, he ordered a new press in December 1860 and arranged for the news to be sent by telegraph to Redding, California by stagecoach to Jacksonville, by pony express to Portland. From 1866 to 1872 Harvey W. Scott was the editor. Henry W. Corbett bought the paper from a cash-poor Pittock in October 1872 and placed William Lair Hill as editor.
Scott, fired by Corbett for supporting Ben Holladay's candidates, became editor of Holladay's rival Bulletin newspaper. The paper went bankrupt around 1874. Corbett sold The Oregonian back to Pittock in 1877, marking a return of Scott to the paper's editorial helm. A part-owner of the paper, Scott would remain as editor-in-chief until shortly before his death in 1910. One of the journalists who began his career on The Oregonian during this time period was James J. Montague who took over and wrote the column "Slings & Arrows" until he was hired away by William Randolph Hearst in 1902. In 1881, the first Sunday Oregonian was published; the paper became known as the voice of business-oriented Republicans, as evidenced by consistent endorsement of Republican candidates for president in every federal election before 1992. The paper's offices and presses were housed in a two-story building at the intersection of First Street and Morrison Street, but in 1892 the paper moved into a new nine-story building at 6th and Alder streets.
The new building was, the same as its predecessor, called the Oregonian Building. It included a clock tower at one corner, the building's overall height of 194 to 196 feet made it the tallest structure in Portland, a distinction it retained until the completion of the Yeon Building in 1911, it contained about 100,000 square feet of floor space, including the basement but not the tower. The newspaper did not move again until 1948; the 1892 building was demolished in 1950. Following the death of Harvey Scott in 1910, the paper's editor-in-chief was Edgar B. Piper, managing editor. Piper remained editor until his death in 1928. In 1922, The Morning Oregonian launched Oregon's first commercial radio station. Five years KGW affiliated with NBC; the newspaper purchased a second station, KEX, in 1933, from NBC subsidiary Northwest Broadcasting Co. In 1944, KEX was sold to Inc.. The Oregonian launched KGW-FM, the Northwest's first FM station, in 1946, known today as KKRZ. KGW and KGW-FM were sold to King Broadcasting Co in 1953.
In 1937, The Morning Oregonian shortened its name to The Oregonian. Two years associate editor Ronald G. Callvert rec