no tip whatsoever and is upset at this supposed action. Afterward, outside a marriage license office in the rain, the Tramp proposes marriage to the woman, who is coy and reluctant until the Tramp physically carries her into the office while she waves her arms and kicks her feet in protest. Cast Charles Chaplin - Immigrant Edna Purviance - Immigrant Eric Campbell - The head waiter Albert Austin - Seasick immigrant / A diner Henry Bergman - The artist Kitty Bradbury - The Mother Frank J. Coleman - The cheater on the boat / Restaurant Owner Tom Harrington - Marriage Registrar James T. Kelley - Shabby Man in Restaurant John Rand - Tipsy Diner Who Cannot Pay Production Episode 1 of the 1983 documentary series Unknown Chaplin reveals that Chaplin developed the storyline for The Immigrant as filming progressed. Initially, the movie began as a comedy set in an artists' cafe, with Purviance as a brightly dressed patron. This plot was abandoned almost immediately, before Chaplin's character was introduced, the documentary states, and Chaplin began again, with a story, still set in a cafe, about a man who has never been in a restaurant before displaying terrible table manners before meeting a lovely girl (Purviance) and shaping up. Initially, Henry Bergman played the bully-ish head waiter, but Chaplin eventually replaced him with Eric Campbell. According to Unknown Chaplin, Chaplin developed the idea of the tramp and Purviance's character being immigrants when he realized he needed more plot to justify the restaurant scenes. After filming the film's opening sequences of the arrival in America, he reshot parts of the restaurant scene to be consistent with the new plot (bringing Bergman back in a new role as an artist who resolves the subplot of Charlie being unable to pay for dinner), and added the epilogue in which the Tramp and Purviance are married. Sound version In 1932, Amedee Van Beuren of Van Beuren Studios, purchased Chaplin's Mutual comedies for $10,000 each, added music by Gene Rodemich and Winston Sharples and sound effects, and re-released them through RKO Radio Pictures. Chaplin had no legal recourse to stop the RKO release. Reception Like many American films of the time, The Immigrant was subjected to some cuts by city and state film censorship boards. The Chicago Board of Censors required two cuts to the film, the first being the closeup showing the stealing of a