S8 Ep617: 6. Guest Author: James Shapiro James Shapiro discusses "Living Newspapers," such as *One-Third of a Nation*, which used fact-based accounts to tackle social issues like the housing crisis. These productions angered powerful real estate interests and senat
The John Batchelor Show
John Batchelor
4.5 • 2.8K Ratings
🗓️ 22 March 2026
⏱️ 7 minutes
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Summary
6. Guest Author: James Shapiro James Shapiro discusses "Living Newspapers," such as *One-Third of a Nation*, which used fact-based accounts to tackle social issues like the housing crisis. These productions angered powerful real estate interests and senators whose own words were often mocked on stage. Shapiro also highlights *Liberty Deferred*, a sardonic play about the history of American racism and lynching. Despite its brilliance and factual basis, white supervisors "slow-walked" the script for years. Consequently, the play was never staged before the Federal Theater was shuttered by the government in 1939. (6)
1921
Transcript
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| 0:00.0 | I'm John Batchel with Scott Eamon. |
| 0:03.5 | The book is Charlie Chaplin versus America when arts, sex, and politics collided. |
| 0:08.6 | Hugh Act, the FBI, eventually the Truman administration pursuing Charlie Chaplin, but he's got a studio at La Brea and Sunset in L.A. |
| 0:17.6 | And he's making a movie that will be called Limelight. |
| 0:23.4 | It's a brilliant piece of construction having to do with his life. It's based on a story that he writes up as a novel, Calavero. |
| 0:30.9 | What's in the novel? You've studied it I haven't, Scott. What's in there that he makes a movie |
| 0:35.9 | out of? Because you can't use everything in a novel. |
| 0:39.0 | No, a lot of it is not, he never put it in the screenplay. |
| 0:43.4 | A lot of the novel was never he put in the screenplay. |
| 0:45.4 | It was, it's a very atmospheric memoir slash novel about the Edwardian theater as |
| 0:52.8 | Chaplin found it as a young man, and what the life like, |
| 0:57.1 | what was life, life was like, what the bars were like, what the backstage life and the theaters |
| 1:02.5 | was like. It's very rich and very nostalgic. And I think what he was trying to do was |
| 1:08.1 | immerse himself in his memories by constructing a fictional |
| 1:11.8 | narrative, which he then took and transposed by cutting a lot of the atmosphere and sticking with |
| 1:19.9 | the plot, but injecting as much atmosphere as he could get into the screenplay. Because he's recapitulating |
| 1:25.9 | his life. He's in a sense recapitulating his father's life. It's the story of an old musical comic who became an alcoholic and drank his career away. Well, that's not Chaplin. That's his father, you know. But on this on the same token, by the same token, it's also, he also injects his compulsive narrative about saving a |
| 1:46.3 | helpless young woman, which is, recurs over and over again in his films. Whether it's, |
| 1:53.5 | it's the kid or, or the gold rush, or the circus, city lights, modern times, they're all about the tramp rescuing a helpless young |
| 2:04.3 | woman. In this way, he's able to process his grief over being unable to save his mother. |
| 2:11.6 | He couldn't save her in his life because she was too far gone and he was a child. But by fictionally recreating it with him as being an activist adult, |
| 2:23.6 | he could save this attractive, loving young woman that he'd love so much as a child. |
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