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Library of Congress Prints and Photographs Division, 1915 (photographer not credited in LOC record) · Library of Congress, Prints and Photographs Division (digital ID cph.3b11417), via Wikimedia Commons · Public Domain (PD-old-70-expired / CC-PD-Mark; no known copyright restrictions)
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- Charlie Chaplin
- Open Culture, "Watch Charlie Chaplin Demand 342 Takes of One Scene from City Lights" (2013) -- opened and read in full. Reproduces Chaplin's own 1968 interview description of Virginia Cherrill ("amateur"; "a contour hurts me if it's not right"), sourced from David Robinson's biography, plus film critic Richard Brody's (The New Yorker) independent analysis of Chaplin's working method as results-driven rather than template-driven.
- David Robinson, Chaplin: His Life and Art (1985; rev. 2001) -- the definitive, extensively archive-sourced independent scholarly biography (written with access to the Chaplin archive, not an authorized-hagiography or estate-commissioned text). Content accessed and read via John Walters' two-part book review (johnwalterswriter.com, 2020), which quotes and summarizes Robinson's own documented findings: Chaplin "spent years on [his films] as writer, director, composer, and star, shooting take after take until he got them right," and "could be sometimes encouraging and sometimes extremely harsh on his costars and technicians."
- No Film School, "95 Years Later, Charlie Chaplin's City Lights Still Holds the Record for Most Retakes of a Single Scene" -- opened and read in full. Cites Guinness World Records for the verified 342-take figure (blind flower-girl scene); documents that Chaplin's retakes were targeted problem-solving ("a specific problem, a logic gap in his story... kept shooting and brainstorming until he found the mechanism that solved it"), not aimless repetition; and notes City Lights (1931) was Chaplin's final fully silent film, released after sound had already taken over Hollywood.
- Kevin Brownlow & David Gill, Unknown Chaplin (1983 documentary series) -- independent film historians' examination of Chaplin's own surviving outtake archive (released to them by his widow Oona O'Neill Chaplin) plus the Raymond Rohauer collection of pirated Mutual-period outtakes. Non-self, archive-based, behavioral: shows Chaplin building sets and reworking scenes through repeated, revised takes rather than fixed pre-scripting (e.g. alternate takes documenting how the storyline of The Immigrant was progressively developed on camera), and includes Virginia Cherrill's own on-camera account of the City Lights retake ordeal. Content read via the Wikipedia article on the documentary, which summarizes its content and sourcing.
- Pamela Hutchinson, "City Lights (1931): the course of true love never did run smooth," Silent London (2019) -- opened and read in full. Independent film-history journalism carrying two named, non-self, behavioral accounts: film editor/actor Robert Parrish, who took a bit part as a newsboy ("I and Miss Cherrill watched while Charlie did his show. Finally, he had it all worked out and reluctantly gave us back our parts. I felt that he would much rather have played all of them himself"), and lead actress Virginia Cherrill herself ("Still doing that damned first scene, and we had a whole year of filming to go... Charlie was such a perfectionist. He couldn't let it alone until it was just exactly what he wanted").
- Dark Skies Film, "Charlie Chaplin's Silent Stand: Modern Times and the Resistance to Talkies" -- opened and read in full. Documents the specific, dated decision to release City Lights (1931, four years after The Jazz Singer/1927) and Modern Times (1936, nine years after) as silent films against the industry-wide conversion to sound, describing it as "a calculated artistic decision" made at real commercial risk, and notes Chaplin fully embraced sound only with The Great Dictator (1940).
- American Songwriter, "Legends of Songwriting: David Raksin" -- opened and read in full. Composer/orchestrator David Raksin's own, independent, non-self account of scoring Modern Times with Chaplin: Chaplin could not transcribe or write music himself and worked by humming melodies for Raksin to develop and score; the two clashed over creative credit (Chaplin fired Raksin, then rehired him after Raksin refused to be a musical "stooge"); Raksin states he wrote much of the score and of the song "Smile" without credit. Read for completeness and NOT used to score any row -- see provenance.notes for why.