Scott Detrow

The two films he made after he moved to Switzerland are grossly inferior to the films he'd made amongst all the tumult and controversy in Hollywood in the 30s, 40s, and even into limelight in 1952. Was Switzerland responsible or was age catching up with him? He wasn't that old. He was 63 when he got kicked out of the country.

The two films he made after he moved to Switzerland are grossly inferior to the films he'd made amongst all the tumult and controversy in Hollywood in the 30s, 40s, and even into limelight in 1952. Was Switzerland responsible or was age catching up with him? He wasn't that old. He was 63 when he got kicked out of the country.

And he was 68 when he made a King of New York and 78 when he made Counts from Hong Kong. So that's getting up there. But good films have been made by directors in their 60s and 70s.

And he was 68 when he made a King of New York and 78 when he made Counts from Hong Kong. So that's getting up there. But good films have been made by directors in their 60s and 70s.

And he was 68 when he made a King of New York and 78 when he made Counts from Hong Kong. So that's getting up there. But good films have been made by directors in their 60s and 70s.

So whether it was just a lessening of stimulus, a certain passivity in the environment that he found in Switzerland, all of his letters from this period, he talks about how restful it is and how serene it is and blah, blah, blah, blah. In one of Una's letters, she says quite the opposite, that he would get claustrophobic with all the snow.

So whether it was just a lessening of stimulus, a certain passivity in the environment that he found in Switzerland, all of his letters from this period, he talks about how restful it is and how serene it is and blah, blah, blah, blah. In one of Una's letters, she says quite the opposite, that he would get claustrophobic with all the snow.

So whether it was just a lessening of stimulus, a certain passivity in the environment that he found in Switzerland, all of his letters from this period, he talks about how restful it is and how serene it is and blah, blah, blah, blah. In one of Una's letters, she says quite the opposite, that he would get claustrophobic with all the snow.

And he'd talk about going to Marrakesh just to get to see the sun again. So I think it was a double-edged sword. I think on one end, Switzerland gave him the serenity that he probably needed after 15 years of enduring character assassination. On the other hand, it put him out of touch with what was going on in the world around him and what was going on in America.

And he'd talk about going to Marrakesh just to get to see the sun again. So I think it was a double-edged sword. I think on one end, Switzerland gave him the serenity that he probably needed after 15 years of enduring character assassination. On the other hand, it put him out of touch with what was going on in the world around him and what was going on in America.

And he'd talk about going to Marrakesh just to get to see the sun again. So I think it was a double-edged sword. I think on one end, Switzerland gave him the serenity that he probably needed after 15 years of enduring character assassination. On the other hand, it put him out of touch with what was going on in the world around him and what was going on in America.

And there's only so much you can get by reading newspapers.

And there's only so much you can get by reading newspapers.

And there's only so much you can get by reading newspapers.

A workhouse was basically a state-run orphanage for children whose parents were either dead or rendered insane or institutionalized themselves or in jail. And they had no other adult supervision, so the state took them over. And Chaplin remembered it as a period not so much of thought. abuse as utter humiliation. He was there for about two years. His brother was also there for a while.

A workhouse was basically a state-run orphanage for children whose parents were either dead or rendered insane or institutionalized themselves or in jail. And they had no other adult supervision, so the state took them over. And Chaplin remembered it as a period not so much of thought. abuse as utter humiliation. He was there for about two years. His brother was also there for a while.

A workhouse was basically a state-run orphanage for children whose parents were either dead or rendered insane or institutionalized themselves or in jail. And they had no other adult supervision, so the state took them over. And Chaplin remembered it as a period not so much of thought. abuse as utter humiliation. He was there for about two years. His brother was also there for a while.

Sidney was older by two years. And Sidney was very, very close with Charlie and vice versa. Chaplin allowed very few people in intimately. He was not a man who glad-handed. He was not a man who had a lot of people close to him. He kept himself for himself. And I think that was a function of his childhood.

Sidney was older by two years. And Sidney was very, very close with Charlie and vice versa. Chaplin allowed very few people in intimately. He was not a man who glad-handed. He was not a man who had a lot of people close to him. He kept himself for himself. And I think that was a function of his childhood.

Sidney was older by two years. And Sidney was very, very close with Charlie and vice versa. Chaplin allowed very few people in intimately. He was not a man who glad-handed. He was not a man who had a lot of people close to him. He kept himself for himself. And I think that was a function of his childhood.