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Charlie, “The Contender” |
As Glenn Mitchell writes in The Chaplin Encyclopedia, fighting
in some
form or other made its way into Charlie’s films from the beginning.
Most of the Keystones saw Charlie in some sort of scrap or scuffle
and as the Little Tramp character evolved, his ability to vanquish an
unlikely opponent or at least recover from a humbling defeat with
honor and energy became well-known and beloved aspects of his
personality. It’s not surprising, then, that the sport of boxing found
its way into several of Charlie’s films, beginning with Keystone’s
The
Knockout (1914) in which he played a referee. By the time he
had
expanded on this theme the next year in his Essanay film The
Champion and then perfected it in City Lights (1931), the
connection
between the Little Tramp and boxing seemed a natural one.
This connection, in fact, was nicely reinforced by Charlie’s activities off-
screen as well. He relates in his autobiography, for instance, that
while working for Karno in Paris in 1909, Charlie had a sparring match
with an ex-lightweight prize fighter named Ernie Stone, one that he
claims was his last (“I have never fought anyone since”):
It started in a restaurant, and after the waiters and the
police had separated us he said, “I’ll see you at the hotel,” where we
were both staying. He had the room above me, and at four in the
morning I rolled home and knocked at his door. “Come in,” he said
briskly, ‘and take off your shoes so we won’t make a noise.” Quietly
we stripped to the waist, then faced each other. We hit and ducked
for what seemed an interminable length of time. Several times he hit
me square on the chin, but to no effect. “I thought you could punch,”
I sneered. He made a lunge, missed and smashed his head against
the wall, almost knocking himself out. I tried to finish him off, but my
punches were weak . . . Suddenly, I received a blow full in the mouth
which shook my front teeth, and that sobered me up. “Enough,” I
said. “I don’t want to lose my teeth.” He came over and embraced
me, then looked in the mirror: I had cut his face to ribbons. My
hands were swollen like boxing gloves, and blood was on the ceiling,
on the curtains and the walls. How it got there, I do not know. (My
Autobiography, pp. 113-4)
Roscoe Arbuckle’s biographer, David Yallop (The Day the Laughter
Stopped), claims that both Charlie and Roscoe routinely acted as
seconds for matches held at the Los Angeles Athletic Club where
Charlie was living at the time. |
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