Charlie Chaplin Mutual Comedies (1916-17) 
What follows is a study that I have compiled what we are left with the 12 that Charlie Chaplin Mutual comedies made between 1916 and 1917. I consider the most creative period of Chaplin's Mutual, one in which he knew to be fun, carefree, sometimes cynical, sometimes melancholic strings in anticipation of its future work (as in The Vagabond, The Immigrant), but the common denominator with its main captivating comedy.
Chaplin made his bones at Keystone with thirty-five films in one year (1914), he perfected his style in Essanay (1915-early 1916), reached peaks of perfection of the Mutual (1916-1917), which then continued in the rest of his career in silent seamless, as we all know that saw it produce less and less film on the floor number but more artistically beautiful.
as mere clowns, some works of the Mutual remains its creative peak. Today, these comedies were released on DVD in the issues that we have returned in their purity and visibility, restored to the levels of his most mature. Unfortunately, what remains is the result of work of cutting and re-release of these films that history has unfortunately had to know, because Chaplin had the rights of its short, long and medium-length films from 1918 onwards, that his independent production. This does not apply to the Mutuals.
In short, to sum up:
- In 1922, CORNELIUS-CLARK CORPORATION-which had acquired the rights to comic by the same three years earlier-MUTUAL redistribute these movies in theaters, however, make some changes. Usually, it aimed to eliminate what seemed superfluous, such as characters' movements from one area of \u200b\u200bthe visual field, which was shortened to gain speed of action, or scissor kick away the scenes that seemed less funny and useless. This was the original sin in charge of everything. These films were changed arbitrarily and are still copies with which we deal.
-In 1925 KODASCOPE by Eastman Kodak bought the rights of Mutuals and distributed them still in theaters. Some of these copies still survive and, in the incompleteness general, were the most reliable for many films and is a Blackhawk source from which the film has long used in their editions of 8 and 16mm home movie.
-In 1932, the Mutuals were sold to the Van Beuren Corporation, RKO distribution. This gave the coup de grace. The shorts were sound, the intertitles removed and worked there more cuts. This is the lowest point in the history of the Mutuals.
-In 1941 COMMONWEALTH / date acquired films and reissued them individually cha through three anthologies of four titles each.
-Mutuals in 1945 finally became public knowledge.
Summarizing the other phases, I can say that the mid-seventies began a real reconstruction of these films, made by various scholars in the field, including David Shepard. The Blackhawk movie captions reinstated to its copies for sale, were searched for the best elements to create new duplicate negative from the public.
-In 1984, David Shepard bought the exclusive rights on its editions, and these copies are still the primary source of that during the nineties and the years of this decade has been released on home video, first on VHS, laser disc, then After on DVD.
In my study I have tested dozens of different versions of that short film. I started from the VHS editions published in the early nineties (in Italy and LegoCart Cinehollywood of all), the anthology film (the compilation of the fifties and sixties), the DVD releases published since 1999 in Italy and abroad, Super8 material, 8, 9.5, or 16mm, found evidence of copies available and best suited to the original edition of each film.
For the sake of synthesis and clarity, the issues that I compare explicitly in each paragraph are the following:
-IMAGE ENTERTAINMENT 90th ANNIVERSARY Y EDITION box set DVD, which came out in the region 0 in the United States in 2006 and today remains the best edition on the market on comic Mutuals. This edition will be cited in paragraphs simply as "IMAGE".
-ERMITAGE/D-CULT video DVD, "Chaplin's Life" in its original edition (2003) and later reprinted several times under the brand even today EXA DVD and D-CULT. It 's the best edition produced in Italy on Mutuals, taken from the old American edition IMAGE nineties.
-Edition RAI (Italian Radio and Television) for each short, which I quote at the end of each paragraph. These comedies were sent all twelve in the series "ALL CHAPLIN IN CHRONOLOGICAL ORDER" by Giancarlo Governments aired on RAIUNO in 1989. The music of these courts were entrusted to the master Lino Patruno and Italian television continued to broadcast with a continuity until the end of the nineties. I chose to add a comment to these issues because this is what we Italians for more than ten years we have seen on TV and are the versions with which I grew personally as a child.
for each film is analyzed to date that has been found different or more complete and not incorporated into the American novantennale IMAGE previously mentioned plus a hint of the difference (out-takes) found by Kevin Brownlow and David Gill in the early eighty via Raymond Rohauer and base of the first episode of their UNKNOWN CHAPLIN and now archived in the British Film Institute in England.
Good reading, are at your disposal for questions is clear, even within my portal / forum on Charlie Chaplin: http://www.littlefellow.it/public/Forum/index.php
Thanks.
The films are placed in chronological order:
THE IMAGE FLOORWALKER
's edition of the film does not differ at all from the Hermitage. Musical accompaniment excluded, and also excluding the introductory caption that is different and more faithful to the original.
The film is cut and there are still those who saw him in a much longer version in a different editing. There is talk of more minutes, absolutely non-trivial things, or trifles. The beginning is more elaborate, there are other variations in scenes and gag the escalator. No copying or circulating easily traced, you can take as an example, but the film-like all of those series that there are eyewitnesses still alive or not-is the son of the shortened re-release made in the early twenties.
Out-takes from THE FLOORWALKER have been used by Kevin Brownlow and David Gill for UNKNOWN CHAPLIN but some still remains unused deposited at the British Film Institute. In the documentary "CHAPLIN'S GOLIATH" (1996), fortunately included as extras in the same set of DVD IMAGE one of these unusual residues has been inserted. It 's really a pearl: a brief recovery on the set of Charlie, who directs Eric Campbell.
copying RAI (titrated Charlot order) is cut at the beginning and also at the point where it appears for the first time Charlie: An important part, which is the scene of the feminine intrigues Charlie fake leg, the one near the fountain The brief greeting to a customer of the store. About a minute.
THE FIREMAN
edition IMAGE is better defined than ERMITAGE, regardless of the musical, wonderful in IMAGE, just enough in the second edition.
Both editions, however, lack a scene. When Leo White seek help, a point on the original version of the film is sitting next to Charlie and the two were yelling "Fire!" each other. I hope that sooner or later, this small addition can be incorporated into the film.
On The Fireman are not many survivors refuse. The small portion of out-takes is still preserved at the British Film Institute, as for the other comic Mutuals.
copying entire RAI is voiced but badly so annoying when Leo White yelling "Fire, help, fire!" Repeatedly and without the aid of intertitles. Glenn Mitchell in his "CHAPLIN ENCYCLOPEDIA" about a French edition with this annoying flaw. Obviously the person that made the series RAI had in mind this version, entirely dissimilar to the original spirit of the film and probably born at the time of the first soundtracks.
THE VAGABOND
IMAGE edition is identical to that restored via laser disc several years before and therefore compliant in all respects (including graphic signs) to the Italian ERMITAGE.
A different camera angle and different camera angles for the first sequence in the saloon can be noticed in a Blackhawk Super 8 film, as well as the disappearance of Charlie is more complete in this copy. Charlie has time to completely exit the field without being blurred before.
few out-takes on this film survived, many of which are high because of decomposition. The funny appearance (sudden) Edna near his portrait in front of the terrified mother (probably a game between the actors on the set) was included in UNKNOWN CHAPLIN. Unfortunately it is not even left the alternate ending of the film, which according to legend was completely different. Edna did not come back, and Charlie was thrown into the river in despair. Saved by a very ugly woman, is rejected in the river again. The RAI
copy of this film derives from the old editions shortened and missing at various points. The presentation of Edna, the Cinderella Gypsy mistreated there. Edition restored shortly after there is a scene where Charlie walks on country road. Something different is still present in the version RAI (and in the editions from which it is): Charlie is in the dusty road in the country, takes some 'ground, throws it into the air and stretches. This scene is not present in today's edition DVD and it is a little gem that shows the issue RAI.
The Vagabond is still tormented by the RAI cuts. There are Saving Edna-during which wrongly included the insertion of the countess his mother, in fact, immediately after the original scene of much of the saloon-bodied, and most importantly it is absent the entire sequence of the painter who stops dinner from Charlie and Edna, a long cut-minute film, painful narrative economy.
ONE AM
The IMAGE
edition is much more complete than ERMITAGE that instead conforms to the vast majority of copies in circulation.
One. AM is the only short novantennale of the box "Image Entertaiment" to be substantially different from other DVD copies available and toned in blue for night scenes.
The beginning of the film in a taxi is more elaborate, longer and with more shots. Inside the apartment Charlie has several additional scenes, even more difficult to climb the stairs leading upstairs, there are more ideas, the ballet on the table is much more prolonged. Charlie dresses as a mountain to climb stairs, how he should make a superhuman effort. From the moment Charlie rooms upstairs but there is no known variations of continuity, except that the ending seems a few seconds longer.
David Shepard, the editor of this edition, she found this print in 35mm, 1919, and perfect with all the variations listed quickly.
Originally a part of this material was contained in the old copy Blackhawk silent films in 16mm and another part was available with a copy of the National Film Archive in London. Since the material appeared in lesser-known conditions to lower quality than the rest, it was thought they were out-takes. The discovery of Shepard shows us instead that it is not so and that the film was released much longer than you thought and then when it was reissued three years later still retains its original shape. The Clark Cornelius had not yet had time to do damage.
ONE AM survived on a limited number of out-takes, obviously preserved at the BFI. The RAI
copy of the film is consistent with how the film was distributed for years (cut).
said, Lino Patruno's music is as nice as the other courts.
COUNT THE IMAGE
The box contains the usual known copy of this film, the sister of that output in the set ERMITAGE in Italy.
have yet to jump out complete editions of this film. For now, as noted by Glenn Mitchell in his "Charlie Chaplin Encyclopedia", is to report an intriguing curiosity. In his famous compilation funniest THE MAN IN THE WORLD (1967) the football towards the end of the film settles down to the cop Charlie does a very good sign indeed hitting on her face. The most popular items is confined to touch him in the chest area.
historian Frank Scheide has finished cataloging-a little over ten years ago-of waste material of the Mutual film that finally ended in the archives of the British Institute after some delays have postdated the final restoration. As an extra on the DVD published by the Film Library of Bologna on the same Scheide UNKNOWN CHAPLIN is proposing a study of the making The Count, starting from the first scenes in the kitchen-that were shot. The surviving material is also notable for this movie. In addition to very tasty variations on the various scenes, we have the opportunity to see Leo White in the shoes of the role then given to Eric Campbell in the first scene of the shooting of their being in the house of the lady who wants to conquer. Three quarters of the short scene we see a completely deleted by Chaplin, Charlie, in which you drop the ice cream into his shirt as he sat in the garden with Edna.
As said, the opening sequence in the film, in tailoring, was shot last. By CHAPLIN: The life and art of David Robinson is reported twice the presence of a very funny scene. Chaplin is sewing a garment only to realize it's firmly attached to their pants. Of this scene in the documentary UNKNOWN CHAPLIN there is no trace, in extra care by Scheide only partially: it appears for a few seconds of tailoring Charlie sitting on the table with his legs crossed, shot taken from the scene just discarded, that aspect just to be published in DVD in its complete form, sooner or later. The RAI
copy of THE COUNT is perfectly complete and enjoyable.
The Pawnshop
IMAGE ERMITAGE and no different even in the graphic signs.
Fat usurer (Henry Bergman) who's walking around the chest and opens her arms waiting for Charlie is the original beginning of the film. Then Edna prepares the cake. Both copies of DVD and video versions quoted-circulating-open instead with Edna intent on making the cake, the beginning is not there. Then there is another take usurer who waits impatiently, and finally entered the scene of Charlie. Several copies in 8 and 16mm can claim this part of the film intact.
Another small change occurs in three quarters of the short, while Charlie handles the wake of Albert Austin. When Charlie uses the opener to force the alarm there is a different camera angle that was cut off along with the subsequent close-up of his hands. In the old copy Standard 8mm Blackhawk Films of this missing piece could be easily found and restored to DVD.
Brownlow and Gill have used very little of the many out-takes that have been preserved, have focused mostly on the qualities of Sydney Chaplin as a juggler on the set of the kitchen. There are entire sequences discarded like other films, but more interesting material, as different types of tests and tests on many scenes. I hope that sooner or later, the BFI is decided to publish at least part of this material.
copying RAI makes it even more incomplete the beginning of the comic. Cut off the whole prologue, the first shot that appears is that of Charlie come at a brisk pace in the shop. The remainder of the film is complete, although a caption (as Charlie is at the counter to take money to give to the customer of the ring) accounts for a few seconds of film.
The Rink IMAGE
edition is more complete than ERMITAGE. There are many more intertitles that make clear the action. One among them is located at the beginning of the film, before Charlie started to prepare the cocktail. He stops at a table and you approach a lady. The caption reads, ordering the drink and soon after Charlie strives to blend. In the copy ERMITAGE and I would say in almost all copies in circulation, quell'intertitolo there and the scene is nothing short of confusing. It is not the only intertitles in addition, there are other, more faithful to the original.
Then there is a very important restoration in one of the most confusing film. In almost all copies of this short, there is a clear cut at the time of the battle between Charlie and another waiter at the local (John Rand). Charlie receives the cook (Albert Austin) of the foods that are pulled through the air and he manages to fall gently into the pot. ERMITAGE edition is only the food that falls on the plate but not the one who throws it. There are few frames that IMAGE edition has been slow due to enabling the viewer to see as well as the scene develops. Albert Austin and Charlie throws the food it receives. These frames are not just ERMITAGE edition.
The final cut on the DVD ERMITAGE. It does not appear the last shot of the car who attacked Charlie smiles and raises his hat. Shot that closes the issue instead of the IMAGE film.
At a broader level, including the edition IMAGE is not entirely complete. Said of the possibility that more fragments are missing can be identified, the end of the film is still not as extensive as would have been possible. If he had found a copy of the short Kodascope would have been possible to complete the final THE RINK. After Eric Campbell and the other pursuers stumble and fall into the street, Chaplin picks up the cylinder and smiled but then he falls to the ground. This drop is not working in any edition on DVD.
The Rink is the only short film series Mutual of which have not survived out-takes.
copying RAI (Charlot Caliper ") begins with this caption" Mr. Trenton, the daughter of Louise and Esmeralda the cat. " The beginning of the film is intact and that in itself should not be underestimated because many home video editions of the past years it was not. However, there is a clear cut at the point where the owner of the restaurant is to blame the cook because the fat client (Henry Bergman) had found a bar of soap and a brush into the pot. There is a substantial jump leads Action now at the point of the meeting between Mr. and Mrs. Stout.
The finish is even more incomplete copy of the Hermitage. Does not appear even the shot of the pursuers that fall, is closed directly when the first shot of Charlie attacked the car in motion.
Note: The old edition of the Blackhawk Super 8mm film has a different camera angle in the scene where Charlie takes Edna out of the hall rink. EASY STREET
edition IMAGE is equal to the Hermitage. There are variations.
Both copies of missing dots in other editions of the film, none of which, unfortunately, out on DVD:
-In the scene of the anesthetic, Eric Campbell had more shots in different camera angles. The scene of fainting was therefore more elaborate. The anthology of the 1967 Funniest THE MAN IN THE WORLD contains all of this. In addition, in prints of the film from Europe the angle of the first floor is still different. Then there is no gag-
when Charlie calls in the police station and while trampling the body of Campbell walking. Copies Kodascope contain the scene.
-At the end of the first roll, the police chief greets Charlie, but on two occasions and not one as it appears in these issues.
completely cut-off (at the beginning of the second roll) is a scene that comes out of Edna from the mission along with the pastor and his assistant.
-The film is also cut at the point where Eric Campbell returns home to his wife: the doormat had remained glued to the feet and is also the reason why he was so nervous with his wife.
Notes: From an archivist was found in a copy Pathé 9.5 mm containing different camera angles start to finish. It also contains the last close-up of Eric Campbell asphyxiated previously mentioned and the next gag Charlie. The other variants that I have written before-tracked in other copies, are absent in this one.
Among the many survivors of out-takes of the film, not as numerous as those of other Mutuals segnalo:
- Charlie and Edna are inside the house Loyal Underwood with his wife and children. Charlie steals the policeman before the sausages with a hook and rope and then other foods by the seller in the house and Edna seems happy. (The scene was discarded because Edna probably would not have been happy if Charlie had stolen).
This scene also appears in the variation of the wife of Campbell who buys fruit and vegetables, while Charlie fed fish from above the window. The camera is mounted about half way to a corner of the building.
-A variation of the arrival scene in the mission, with some throat lozenges to retrieve voice, Charlie begins to whistle while the drunk sings. At the end of the stage sit Charlie and everyone applauds. A scene-
discarded, in which Chaplin does not appear. There is a bar with tables and two people playing cards. The bartender smiles behind the counter. A group of men enter from the right and beat everyone except the bartender.
The RAI is full version, except the opening and the final, shortened a few seconds, and I accept the coverage of the captions that sometimes "steal" space in some frames.
THE CURE
edition IMAGE is equal in all respects to that ERMITAGE (even if accompanied by Carl Davis is an entirely different caliber), but corrects the senseless repetition of the same scene that place in the sauna when John Rand gets burned on a radiator.
The Cure was still found by an American collector a copy in English that despite 9.5mm is cut in several places and reduced to its mere length of a roll, contains material not found in other copies of this film. It 's a further demonstration that jumped out if other versions of this nature on other courts, we realize how really any comic Mutual is nothing but the result of a shortening made by Chaplin but not by the companies which have developed hands on the film after the Mutual has sold the rights.
I try to summarize what would be obtained if the Image Entertainment edition Output in 2006 had incorporated the missing pieces of 9.5mm UK:
-Shortly after the beginning of the film, Charlie Campbell and Eric are trapped in the revolving door. Here are missing about three seconds, shot in close-up of Charlie squirms and pushes the door again.
-A few minutes later, the scene of Albert Austin accompanying Charlie out of his room is shortened by a few seconds.
-When Charlie discovers the drunken porter in his room by striking him out with a football. The recovery of the bellboy walking drunk in the lobby is longer than about two seconds as now appears in the film.
-cut much larger (almost ten seconds) occurs when Albert throws Austin Charlie away all the bottles out the window and they end up in the well. The bottles are so many and there are more shots of Austin that throws down and those who end up in the water unpolluted. Edition of diffused, as do we understand it to Austin empty all the cash in so little time.
-After Charlie gets wet in the pool surface is a resumption of the three ladies who are sitting outside and drinking well water. Missing a few seconds here because all the ladies fill their cup and not only one of them. In the next scene-
are absent about two seconds at a time when Charlie sits waiting for the massage of the other early Henry Bergman clients, massage is rather shorter (a total of six or seven seconds, scattered in various parts of the scene) and without another close-up of Charlie surprised by the vehemence of the massager. After-
intertitles "water has a strange effect, there are six seconds of film that were cut in the common editions. The two ladies that Charlie will meet in the next scene become tipsy and this fact is noted because it starts to falter when they get up from the bench, heading towards the hotel in long shot. Charlie comes out
-down menu and note the two lovers, sitting: when you put the hat he expands his eyes in amazement. This is not the only first floor of Charlie in the scene. There was another cut, which he shakes his head in bewilderment. A follow-
there is the scene of the rescue of Edna. Charlie gets rid of the two and walks out to the courtyard along with Edna. Huge cut, something like 12 seconds there is a shot of the lobby where all the customers drunk and dancing scene from Charlie and Edna who come to the bench.
-Towards the end of the film, after the intertitles "The next morning, Charlie usual edition appears in the opening fade. In fact, the sequence begins with Eric Campbell sat down and suffering more than ever and with a close-up of two women dying for a hangover. For close-
to report another small cut on a shot of the ladies after Charlie has passed the ice on the forehead. Two seconds more blown away.
The Cure have survived a large number of scraps, discarded or entire sequences of the same scene several times. Part of what has been included in UNKNOWN CHAPLIN, another part remains unpublished in the archives of the British Film Institute. The RAI
copy of The Cure (entitled "Charlot and CARE") complies with the copies in circulation, therefore, can be defined as complete nell'accezione relative term.
THE IMAGE IMMIGRANT
THE IMMIGRANT reported the same as always. The edition ERMITAGE is the same. This is one of the biggest disappointments of the box IMAGE. Several minutes
-tracked in multiple copies in the world-are missing in this film. Let's start with what seems to be lost forever. Please read the original copyright (dated July 1917) it is aware of this scene in the version released in theaters at that time. And 'situated immediately after the meeting with the Russian emigrant (Albert Austin) who suffers from seasickness. Charlie walks away from him in disgust. It happens near him a young man who despite the roll continues to eat pork. Frightening because a strong shock wave and the young man comes to the sick. The mother helps in the process of rejecting food, but Charlie makes it more or less because the cost is in its path. Also avoid this obstacle, but once again finds himself having to deal with the Russian immigrant and his travails. The scenes just described not seem to survive in any copy.
E 'instead traced to some source the next stage yet: Charlie goes away again and this time it happens next to the tiny passenger Loyal Underwood, who was also struggling with seasickness and his fat wife, played by Henry Bergman in a of his female disguise. Glenn Mitchell talks about this scene in his "Chaplin Encyclopedia", arguing it's viewed in "Chaplin SuperClown" of the BBC.
bothered once the copyright of the film, there comes a description of an additional scene that was cut off from the copies available: the scene immediately after the meal and meeting with Edna, Charlie watches her and then covers her mouth because of impending nausea. The remaining copies then cuts immediately to the scene of playing cards. In the copyright instead pointed out that Charlie is going to get some fresh air on deck to broad, a little 'as it did at the beginning of the film.
back instead to the material that could be reinserted into the box IMAGE taken from untraceable sources, which unfortunately has not been done points out: During the scene of the
-poker Frank J. Coleman leaves for rob Edna. E 'was cut off this footage: Loyal Underwood is bent on itself because it tries to tie his shoes and the Coleman kicks off disrespectful. After making the theft Coleman goes back to his area but this time the poor man is scared away looking for a little 'air (perhaps to a vent pipe).
-All 'sequence in the interior of the restaurant there is another small cut, when Charlie is working to look under the sole currency which has just covered with his shoe. Shortly after there is something
-second. Charlie laughs to Eric Campbell, but seriously as soon as they turn back toward him.
said that, it's required added that the European version of the film (daughters of the first issue of '17 of course), there are several different camera angles and shots narrative scenes of mass.
UNKNOWN CHAPLIN devotes a large part of the first episode to the genesis of this short film. Many differences are proposed to explain how he arrived at the Chaplin films made as it was distributed. Many more of these scraps (they are really a flood) may be published if the BFI wanted to, as for the other shorts. In "CHAPLIN'S GOLIATH" is already a very nice treat not present UNKNOWN CHAPLIN: Charlie, Edna and Eric Campbell burst out laughing during the filming of a scenes highlight of the restaurant.
The copy of THE IMMIGRANT RAI is equal (in content) than the standard circulating via home video and television circuits. So "full", although as we have seen it is really to say.
THE ADVENTURER
ERMITAGE and IMAGE-except the musical accompaniment-are identical. On
THE ADVENTURER survived a huge number of scraps, many of which are still not made public. UNKNOWN CHAPLIN, however, contains the most significant ones, devoting much space to this film. Moreover, even
THE ADVENTURER, like all other comic Mutual, is not the same as today as it was during the time of its release in theaters. For example, it may be that the entire sequence of the English dancer, present and reconstructed with the out-takes in UNKNOWN CHAPLIN, was present in the original version of the film, cut in 1919 by CLARK CORNELIUS, as a poster stated that these issues the film was remounted retitration (captions).
version RAI is complete, although the sign "you are looking for the escapee is with us" (the point where Eric Campbell called the police) should be inserted before and can be confusing to viewers.
I apologize for any errors or inaccuracies. If there are new reports or clarifications, please write to tremarellilorenzo@yahoo.it or contact us via the website / forum on littlefellow.it.
Thank you for your cooperation.
Copyright © 2011 by Lorenzo jitters
Spain, Costa Blanca. The sun is still hot even though it is already September. On the streets there is none, and the air is permeated with a scent of lemon that reaches the sea. It is here that Sandra, in his thirties crisis, sought refuge not have a job, is at odds with their parents, is pregnant with a man who is sure to love. It is lonely and confused, and desperate for a compass for her life. Until the day when he meets his eyes sympathetic and kind: it is Fredrik and Karen Christensen, a couple of lovely old men. They're like the grandparents never had. Moment by moment, gave her a tender friendship, the people are charming as Albert, and welcome in the large villa surrounded by beautiful flowers. A paradise. But in reality it is hell. Why are Karin and Fredrik Nazi criminals. Were known for their ferocity and now, behind their eyes peacefully, hatch a dream to start over. Julian knows, survivor of the concentration camp at Mathausen, which for days following their movements step by step. Now, perhaps, may expose and Sandra is the only one able to help. It is not easy to convince of the truth. Yet, after an initial moment of disbelief, the woman begins to look with different eyes. Sandra now has understood: she and her very small risk. But no matter. Why everyone should know. Because what has happened does not fall into oblivion. 
