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Olga [1] [note 1] Edna Purviance (/ p ɜːr ˈ v aɪ. n s /; [2] October 21, 1895 – January 13, 1958) was an American actress of the silent film era. She was the leading lady in many of Charlie Chaplin's early films and in a span of eight years, she appeared in over 30 films with him.
The Vagabond is a 1916 American silent romantic comedy film by Charlie Chaplin and his third film with Mutual Films. Released to theaters on July 10, 1916, it co-starred Edna Purviance, Eric Campbell, Leo White and Lloyd Bacon. This film echoed Chaplin's work on The Tramp, with more drama and pathos mixed in with the comedy.
A Jitney Elopement was Charlie Chaplin's fifth film for Essanay Films. It starred Chaplin and Edna Purviance as lovers, with Purviance wanting Chaplin to take her away from an arranged marriage her father (played by Fred Goodwins) had planned for her. Chaplin does take her away in a jitney, a type of share taxi popular in the US between 1914 ...
The film marks the last time Edna Purviance co-starred with Chaplin and the last film he made for First National. Purviance also starred in Chaplin's A Woman of Paris (1923), in which Chaplin had a brief cameo. It was Chaplin's second-shortest feature film, constructed more like a two-reeler from earlier in his career.
The Champion is a 1915 American silent comedy film released by Essanay Studios, starring Charlie Chaplin alongside Edna Purviance and Leo White. Essanay co-owner and star, Broncho Billy Anderson can be seen as an enthusiastic audience member in the boxing match scene.
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Shoulder Arms is Charlie Chaplin's second film for First National Pictures. Released in 1918, it is a silent comedy film set in France during World War I, the first of three films he made on the subject of war. [2] It co-starred Edna Purviance and Sydney Chaplin, Chaplin's elder brother. In this film, Chaplin is never in his Little Tramp outfit.
This was Purviance's final American film, followed by a French feature film, Education of a Prince (1927), after which she retired from movies. Von Sternberg held a preview in Beverly Hills in early July 1926 against Chaplin's wishes. [7] The general impression from the few that saw it was that it was a beautiful film, but with little substance.