theatre, 129
Morrison, Herbert, 459
Mosley, Sir Oswald, 350–51
Mountbatten, Lord, 470
Mumming Birds(Karno sketch), 92; C. in, 103, 116
Munnings, Sir Alfred, 331–2
Murray, Philip, 404 music,
‘I had great ambitions’, 125; as creator of C.’s moods and themes, 209 > C. composes for his films, 325 musicians, C. on, 389–90
Mutual Film Corporation, C. joins, 177–9; his films for, 187, 479
Nast, Condé, 243
National Society for the Prevention of Cruelty to Children, C.’s plight reported to, 39
Nazism, C.’s hatred for, 398–9, 406–7, 411
Negri, Pola, C. and 274, 295–8
Nehru, Pandit Jawaharlal, 470–71
New Janitor, The (C.’s Keystone film), 154
New York, C. in, 119–24; ‘this is where I belong!’ 121; 177, 178, 191, 306, 327; ‘stepping on air in’, 243
Nichols, ‘Pop’ (Keystone film director): ‘had but one gag’, 149
Night at the Club, A (Karno sketch), C. plays the ‘drunk’ in, 139; Ellsworth says ‘very funny’, 147
Night In an English Musk Hall, A (Karno sketch): ‘tremendous success’ in U.S.A., 129
Nijinsky, Vaslav, 191–3
Niles (California), C. at Essanay studios at, 161, 167–70
Noailles, Countess, 352
Normand, Mabel, 138, 141, 143, 145, 146; C. rebels against direction by, 149–51; ‘we remained only good friends’, 155
Norn’s. Kathleen, 200
Odets, Clifford, 428
Old Testament, C. on ‘horrific cruelty’ of the, 134
Olivier, Laurence, Shakespeare in ‘white tie and tails’, 254
Olympic, s.s., C.’s voyages in, 134, 260–61, 329
O’Neill, Eugene, 245
O’Neill, Oona (‘a luminous beauty’), 413–14; C.’s marriage to, 415–16, 425–6, 452; gives up American citizenship, 466
opera’s emotional effect on C, 136–7
Oppenheimer, Dr Robert, 460 orientation, importance of, in acting
technique, 256
Orpen, Sir William, 277
Our America(Waldo Frank), 245 outside location: ‘I loathe working on’, 219
Oxford Music Hall (London), C. plays at the, 114–15
Paderewski, Ignacy, 191
pain as source of humour, 210
Painful Predicament of-Sherlock
Holmes, The(Wm Gillette’s curtain-raiser),
C.’s part hi, 88–90
painters, C. on, 389
palaces: ‘all are preposterous’, 353
panache type of acting, C.’s dislike
of, 253
Pantages Theatre Circuits (U.S.A.),
121
Paris,
C.’s first impressions of, 108; adventures
in, 109–14; C.’s welcome in,
119–120, 272
Parker, Sir Gilbert, 200
Parsons, Louella, 165, 312, 415
paternity suit, Joan Barry’s, 415ff.;
the trials, 419–24
patriotism, C. and, 349–50
Pavlova, Anna, 184, 185, 191, 193–4
Pebble Beach (California), 382–5
personality,
‘nothing transcended’, 143;
indefinable… shines through’,
255
Philadelphia, C.’s spending spree in
135–7
philosophizing: ‘1 often indulged
in’, 199
philosophy, C. and, 244, 287
Picasso, Pablo, 464
Pickfair (home of D. Fairbanks and
Mary Pickford), 288
Pickford, Mary, 156; and Douglas
Fairbanks, 198, 199, 288–90, 372; and Elinor Glyn, 201 ; and Liberty Bond Drives, 213–17 passim; and film companies’ mergers, 221 ; her legal and business acumen, 222; and United Artists, 221–3, 292; at Monsieur Verdoux première, 443
Pierce, Peggy (‘xwe ignited’), 156–7
Pilgrim, The(C’s film), 291
Pinnie (C.’s children’s nurse), 466
Poe, Edgar Allan, C. and works of, 135
poetó end poetry, C. on, 245, 389
’pom-pom’ dance, 113
Post Office, The(Karno sketch), 122
Postance, Mr (Wm Gillette’s stage manager), 89–90
poverty, C. on, 50, 267
‘Poverty Row’ films, 183
Prélude à l’Après-midi d’un Faune (Debussy), 114, 192–3
press, C. and the, 353; antagonism of, 400–401, 415 ff., 440 ff.
Priestley, J. B., 467
Provincetown Players, 244
psychic phenomena, C’s experiment in, 344–6
psychology as ingredient of silent films, 294–5
Purviance, Edna, ‘she was beautiful’, 169; ‘we were inseparable’, 203–5; and Thomas Meighan, 204–5; on
C.’s wedding, 228; C. considers parts for, 293;
in 0A Woman of Paris, 294–5; her last letters,
476; death, 477
Rachmaninov, Sergei, 390
Rain(W. Somerset Maugham), 127;
‘a model play’, 200
récitations, C.’s childhood, 41
‘red-light’ districts of America, 127
Reeve, Ada, 257
Reeves, Alf (C.’s manager), 117, 138, 259, 327–8, 372
Reeves, Mrs Alf, 282–3
Reeves, Billie (comedian), 92
Reinhardt, Max (publisher), 467 Reinhardt, Max (theatrical impresario), 180; his school of acting, 409
Relativity, Einstein’s reactions to the emergence of his theory of, 317 religion, C’s first introduction to, 19, 21–2; his views on, 134, 287, 449
Reshevsky, Samuel (boy champion chess-player), 234–5
Reynolds, Dr Cecil, 247–9, 297–8
Rhetoric (Kellogg), C. and, 123
Ringling Brothers’ Circus, 46
Ritz Hotel (London), 264; treacle pudding at the, 268
Roach, Hal, 171
Robbins, Jess (of Essanay Co.), 160
Robin Hood (Fairbanks’ film), 198
Robinson, Carlisle (‘Carl’), 231, 259
Rock, Charles (Eng. actor), 81
Rockefeller, John D., 306
Rocksavage, Lady, 273, 276
Rocksavage, Lord, 276
Roget’s Thesaurus, Negro truck-driver introduces C. to, 244
‘Roman Senator’, the: see Elliott, Maxine
romance and adventure, C.’s longing for, 93, 102
Roosevelt, Franklin D., 214, 373,
399
Rossier, Emile, 472
Rossier, Michel, 472
Royal Aquarium (London), 14
Royal Command Performance, C. declines request to appear at, 349
Russell, Jimmy, 279
Russia, C. and, 271, 314, speeches in support of ‘second front’, 401 ff.
Sage, Russell, 304
Saintsbury, H. A. C.’s stage engagement with, 77–9; ‘the best Sherlock Holmes’, 81–2
Salt Lake City, C. in, 130, 237
San Francisco, C. in, 128–9, 161, 169
San Simeon, W. R. Hearst’s ranch
at, 307–9
Sanders, George and Benita, 473
Santa Barbara, C. and Oona at, 416
Santa Monica, 156; C.’s house at, 174; Marion Davies’ beach-house at, 306, 311
Sartre, Jean-Paul, 464
Sassoon, Sir Philip, 268, 273–4, 315, 330, 346–7; his hospitality
‘something out of the Arabian Nights’, 276–7
Schenck, Joe, 291–2, 322–3, 326, 350, 375
Schoenberg, Arnold, 391–2, 428
schools and schooldays, 27–33, 40–42
Schopenhauer, Arthur, C. and writings of, 134–5
Schwartz, Charles, C.’s lawyer, 452
scientists, C. on389
Scottie, Death Valley, 185–6 ‘scratch crowd’ (vaudeville term), 116
sea, C.’s first sight of the, 24
sea-voyages, C.’s views on, 379
Second World War, C. and the, 386 ff
Seers, Grad, 445
self-analysis, C.’s, 267
Sennett, Mack, 129, 138; engages C. for Keystone Co., 139, 141–5; ‘enthusiasm his secret of success’, 146; working with C, 147, 148–53, 154, 155, 157–9
sex,
‘I do not believe it is the most
important element’, 206; C.’s sex-life, 206–8; ‘I can add
nothing new’, 354; H. G.
Wells on, 354; see also love
affairs
Shadow and Substance, C.considers as film project, 408–9; abandoned, 426
Shakespeare, William, 253; ‘I hardly think’ he wrote the works, 358–9
Shamus O’Brien (Irish melodrama),
C.’s parents in, 17
Shaw, George Bernard, 93, 269, 331–2, 337
Shaw, Mrs G. B., 332
Sheridan, Clare, 285–6; Sheridan, Mark, (comedian), 46
Sherlock Holmes (Wm Gillette’s
play), C.’s part in, 77
ff., 90–92 Shoulder Arms, 218–19
Shubert, Lee, 121
shyness, C.’s, 91, 196, 303, 399, 452
silent films, C.’s determination to
continue making, 322
Silverman, Sime (of Variety), 124, 304–5
Simenon, Georges, 384
sin, C.’s views on, 437
Sinclair, Upton, 343
Singapore, C.’s recollections of, 362–3
Sing-Sing prison, C. visits, 280–81
Skating
as Karno sketch, 117, 122; C.’s
film, 152
slapstick comedy, C. on, 208;
its transition to sentiment, 233–4
Smith, Gerald K. (America Firster), 411
Smith, Kate (C.’s aunt), 16
Smith, W. H. and Son (stationers),
C.’s job at, 61
Social Credit, C.’s interest in, 324, 350
socialism, C. and, 342, 343
Sorel, Cécile, 275
South London Music Hall, C. sees
Karno sketch at, 73, 74
Southend-on-Sea, C.’s childhood
memories of, and return to, 24
Spender, Stephen, 428
Spies, Walter, 364–5
spiritualism in Hollywood, 318
Spoor, George
