Milano, dicembre 1928. Non si tratta di un’interpretazione sostenuta in tempi lontani, quando (pare impossibile!) Charlot era ancora pressochè ignoto, ma di un’interpretazione recente, anzi recentissima, fatta nel 1928, non più di tre mesi fa!

E in un film serio, drammatico: ne La donna contesa, di Norma Talmadge.

Vero è dunque, che l’illustre comico non appare in questo lavoro nella sua qualità di «star» e neppure in una parte di rilievo (esse son toccate a Lido Manetti e a Gilbert Roland), ma in quella di un’umile comparsa che ricevette in compenso del suo lavoro sette dollari e cinquanta centesimi!

Andò così: Henry King, il direttore del film, istruiva un giorno alcune comparse che dai vari portoni aperti su una strada, dovevano osservare il passaggio di Norma Talmadge. King cercava un omino da intabarrare in un ampio soprabito per situarlo in uno dei portoni e dar vivacità alla scena. Ed ecco giungere nel teatro di posa Charlie Chaplin, in visita. King gli domanda: «Vuoi farla tu questa parte?»

«Certo, risponde senz’esitare Chaplin, dammi il soprabito, farò un’improvvisata a Norma!»

E l’improvvisata non solo non fu fatale alla scena, ma le diede una maggiore spontaneità, per lo stupore reale che si dipinse in faccia all’attrice, quando transitando per la strada si trovò improvvisamente faccia a faccia con il suo amico che spiava con due occhietti insidiosi e beffardi i sintomi della grande meraviglia.
(La Cinematografia, dicembre 1928)

Ho controllato nelle diverse filmografie di Chaplin disponibili in rete (e fuori dalla rete), ma non ho trovato il minimo accenno a questo “cameo”. Secondo il sito Silent Era una copia, positivo 35mm versione muta, di La donna contesa (The Woman Disputed) è conservata nell’archivio della Library of Congress. Rimane soltanto trovare Chaplin fra le comparse. Buon lavoro!

November 9, 1918. William A. Brady announces the completion of his picturization of “Little Women” and the bringing to life on the screen of four of the most famous characters in American literature — the four little women — Meg, Jo, Beth and Amy. For forty years Louisa M. Alcott’s famous story has been read and loved the world over. “Little Women” has been translated into more languages than the works Of Dickens, and its appeal continues as strong to-day as it was when first published.

“Little Women” was filmed in and about the actual house in Concord, occupied by the Alcott family, and which has been preserved and stands to-day exactly as it was when “Little Women” was written, thanks to the Alcott Memorial Committee. Every one of the famous characters which will appear on the screen in “Little Women” was passed upon by the surviving members of the Alcott family before a foot of film was taken. The players selected for the various roles met with unqualified approval also of several of the residents of Concord who knew Louisa M. Alcott and the little women of whom she wrote.

The four “Little Women,” Meg, Jo, Beth and Amy. are portrayed respectively by Isabel Lamon, Dorothy Bernard, Lillian and Florence Flinn. Henry Hull is John Brooke and Conrad Nagel is Laurie.

Harley Knoles directed “Little Women.”

The picture is in six reels and is announced for release on a territorial basis.
(Moving Picture World)

Louisa May Alcott’s Site: Orchand House: Home of Little Women

March 25, 1925. Frank Borzage and John Gilbert left for the Coast Saturday, following a short vacation here. Gilbert’s next part will be in “The Big Parade,” to be directed by King Vidor.

June 7, 1925. King Vidor’s “The Big Parade” — Although I hesitate to answer directly for several reasons, I really believe that this is my best picture. Here is a combination of a gripping story, sterling actors and  a producing organization that stops at no expense in providing realistic settings and the other physical requisites of picture making.

Vidor Starts on Interiors. Hollywood — King Vidor has completed war scenes for “The Big Parade” and has commence shooting interiors.

August 24, 1925. Exteriors Filmed in Texas

King Vidor, wih a staff of cameramen and assistants, is in Ft. Houston, Texas, where he is photographing final scenes for “The Big Parade,” for Metro-Goldwyn-Mayer.

August 31, 1925. Talk of Road Show

Metro-Goldwyn-Mayer Considering Special Presentations for “The Big Parade”

Metro – Goldwyn – Mayer officials have under advisement a road show plan for “The Big Parade” a war picture directed by King Vidor from a story by Lawrence Stallings.

If advance reports are to be credited the picture is big. John Gilbert has the title role. The history of the production is interesting. Stallings who wrote “What Price Glory?” was engaged by Metro-Goldwyn-Mayer to do special work at the studio. This led to reports that M.-G.-M. had purchased the latter play which had been frowned upon by the Hays office.

Later Stallings wrote “The Big Parade” as an original. It contains much of the same atmosphere as “What Price Glory?”

September 24, 1925. A Sensation

Hollywood — “The Big Parade” now being completed by King Vidor. For Metro-Goldwyn-Mayer. “Will be the sensation of the year. When released. It will probably be some time before it reaches picture houses. For it will be roadshown first.

The first day I was in Hollywood Sol Lesser of West Coast Theaters met me. “You will see the greatest motion picture ever made,” he said, “if you are lucky — ‘The Big Parade.’

A few days later talking to Joe Schenck. Rambling along about various matters. Schenck always an interesting talker. Quite incidentally he said : “I just saw the greatest picture ever made — ‘The Big Parade’. It is marvelous. You must see it.

William Randolph Hearst who saw it at the same time I did declared it is the greatest picture he has ever seen. Norma (Talmadge) says the same thing. It is wonderful.

Talking to Norma an hour later. Asked her if she liked “The Big Parade.” “Did I?” she asked, “Well, it knocked me out. It is perfectly marvelous. I think it is the greatest picture ever made.” And Sid Grauman says : “It is a marvelous picture. A showman’s delight.”

If five people of the importance of Joe Schenck, William jR. Hearst, Norma Talmadge, Sol Lesser and Sid Grauman told you such a thing what i would you do? Would you try to see it? I’ll tell the world you would. But when the idea was suggested to Louis B. Mayer and his aides, Irving Thalberg and Harry Rapf it was another story. A very different sort of story, indeed. There was much shaking of heads; many negatives. “You see,” said Mayer, “we haven’t really completed it yet. We are still shooting. Yes ; it is practically ready for showing, but — ” And that ‘but’ was ominous.

It took a long time to argue them out of their position. But two days ago I saw it. “The Big Parade” is a marvelous picture. A very great picture indeed. It may be the greatest of all pictures ever made. If it isn’t, it is so close to it that I don’t want to be on the jury deciding the point. And “The Big Parade” makes King Vidor a place way on top. Way up front. Among the greatest of picture directors.

And while Vidor is entitled to a tremendous amount of credit much is also due. To Laurence Stallings, the author, to the M.-G.-M. organization and Thalberg personally. Who deserves the most is incidental. There is glory enough for all. And still some to spare.

November 6, 1925. “Big Parade” Opens on Coast

Los Angeles — “The Big Parade” had its world’s premiere at the Egyptian last night. The opening was handled in usual Coast style.