Mabel normand
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A Six-Reel Keystone Comedy Reviewed by Charles R. Condon Up to the present time multiple reel comedies of three reels or more have been more or less experiments, and, in the majority of cases, absolute failures as far as preserving purely comedy situations and atmosphere is concerned. In order to sustain interest and continuity, and prevent the picture’s becoming a mere jumble of funny complications it has been generally been found necessary to sacrifice humor, in places, to allow the plot to be seen and felt. In view of the tremendous success which the New York Motion Picture Corporation has made of its six-reel Keystone comedy, “Tillie’s Punctured Romance,” it marks an epoch in this most popular department of photoplay. It is the “Cabiria“ of comedy. Genuine humor is the dominating note in every scene, and its effect on the spectator ranges from giggles and snickers to paroxysms of laughter, according to the length of the scene. Viewing a picture of this kind is true recreation. One becomes so absorbed in it that, for the time being, everything fades from his mind except the fact that Marie Dressler, Mabel Normand, and Charles Chaplin are enmeshed in a ludicrous tangle and are becoming funnier with each reel. The picture is being released on a state-rights basis. The plot is a substantial one, and if emphasized would become a good comedy-drama, but in its treatment here it merely furnishes a background for individual action, a frame-work upon which the members of the cast, hang innumerable laugh-provoking mannerisms and carelessly accomplished, but exceedingly clever, feats. The picture is typically Keystone, which fact in itself speaks for its quick action and cyclonic developments, and was produced by Mack Sennett without a scenario being made on it. Marie Dressler, universally known as Tillie, is featured and re-enacts on the screen the droll expressions and queer actions which made her famous on the stage in “Tillie’s Nightmare.” She is supported by the well-known Keystone pair, Mabel Normand and Charles Chaplin. To the latter falls the greater part of the action, and there is probably no one on the screen better able to give it a comedy twist than this inimitable comedian. * from Motography, November 28, 1914 [The] Sea Nymphs -- Keystone (Two Reels) November 23. -- Fatty neglects his wife, and even his mother-in-law, when he spies the attractive Mabel. The girl’s father takes a dislike to her stout friend, and introduces Ambrose into the love race. Fatty manages to have his mother-in-law and Ambrose locked in a dressing-room while he and Mabel give a diving exhibition. Mabel’s father enlists the muscles of Ambrose, and together they attack Fatty but without making any impression on him. Had the angry parent been wise he would have sought the aid of Fatty‘s wife and her mother who grow impatient at his flirtation, and demonstrate to the crowd how big men should be whipped. * from Motography, November 31, 1914 The Cinema Camera Club made of its invitation party dance on the night of October 10 a well-managed and pleasant affair. Pabst Coliseum, where the dancing party was held, was gayly decorated in tissue paper streamers of many colors and the lights turned up on the dancers were of many hues...There was a grand march which began at midnight, and had as its head Clara Kimball Young and the new president of the Screen Club, James D. Kirkwood...In her hand Miss Young held a Chinese lantern in which a candle gleamed during the march-figures in which other lights were momentarily extinguished. Mabel Normand, on from the west on her eastern rest-trip, was one of the marchers and there were many others of screen note, among whom were Edward Earl,...Alec Francis,...Jack Pickford,...Mary Pickford enjoyed the march from the Famous Players box and afterward joined the dancers. Adam Kessel and C. O. Baumann were in attendance, as also were Mr. and Mrs. Adolph Zukor.... * from Motion Picture Magazine, December, 1914 Mabel Normand, known as Keystone Mabel, has dropped everything at the New York Motion Picture Company plant to come East... (she) is enjoying a short vacation in New York, it is her first visit to the metropolis in two years.
At a big Thanksgiving dance held at Venice, Barney Sherry, of Inceville, and Mabel Normand, of the Keystone, led the grand march. It was a great evening and a number of motion picture stars were present. *from Moving Picture World, December 19, 1914 The first annual ball to be given under the auspices of the Screen Club of San Francisco took place on Saturday, November 28, at the Coliseum, 200 Baker street. The Screen Club was organized on October 19 of the present year and the holding of such a successful ball so shortly after its formation is not only an evidence of the desires of its members to make it a success, but of their energy and ability to work in harmony, as well, Sid Grauman, president of the club and one of its organizers, was chairman of the floor committee and also head of the reception committee, and stood at the main entrance during the first part of the evening welcoming the distinguished guests, of which there were a large number. Some idea of the size of the assemblage may be judged from the fact that approximately six thousand tickets were sold at the door, in addition to many that were sold at the box office of the theaters and by various exchanges. It is estimated that the total attendance was between eight and nine thousand persons. The regular reception committee consisted of sixty members of the club, while twenty of the leading city and state officials made up the honorary reception committee. The grand march was scheduled to start at nine o’clock and it was just a few minutes after this hour when the march, led by Mayor and Mrs. James Rolph, Jr., commenced its circuit of the immense hall. Following the leaders were a galaxy of moving picture stars brought from the studios around the Bay and from the southern part of the State, together with the officials of the club. By this time the crowd had become so dense that it was impossible to keep it from encroaching on the floor, and the grand march became a triumphal procession through a populace anxious to catch a glimpse of their screen favorites in person. When the floor was partly cleared dancing was indulged in, the numbers being interspersed with singing, the enactment of moving picture roles and feature acts from downtown theaters. An event of the evening was a short address by Mayor James Rolph, Jr., from the balcony of the hall. He pronounced the ball the greatest event of its kind in the history of the city and declared that it eclipsed anything he had ever seen in the line of a hall gathering. He said: “The moving picture business is here to stay, and the immense interest that is taken in screen productions can be judged by this assemblage. Much credit is due the Screen Club for the unqualified success of this event and I wish to thank it for bringing so many player folks here that we might meet them personally.” He then read a list of those present and these were brought to the front of the balcony and introduced, amid great enthusiasm. Among those who were presented were: Mr. and Mrs. Roscoe Arbuckle, Mabel Normand and Charles Chaplin, of the Keystone, Mr. and Mrs. Victor Potel, Harry H. Todd, Margaret Joslin Todd, Evelyn Selbie, Ernest Van Pelt and wife, of the Western Essanay Company, Max Asher, of the Universal; Lee Willard, True Boardman, Fritz Wintermeier, Lila McClemmon and Miss Ruth Hedington. Ford Sterling planned to be present but was taken ill with pneumonia and could not come. Lillian [Dorothy] Gish was injured in an automobile accident and was compelled to send regrets. Another star who was prevented from attending through an accident was Margaret Clayton, of the Western Essanay Company, one of the first to respond to the invitation of the Screen Club. She recently suffered a fractured leg in a stage accident. The attendance at the ball steadily increased until midnight, and tickets were sold as late as two o’clock. The Screen Club expects to net a neat profit from the affair and this money is to be expended in fitting up the club rooms in some convenient location in the downtown district. A portion of the funds secured is to be donated to the Associated Charities. The remarkable success of the monster ball, as it is now known, was due in a large measure to the great publicity that was given it. For weeks before the event it was advertised in all the moving picture houses by means of attractive slides, the fact being emphasized that the leading players were to be present in person. Billboard advertising was used extensively and a real old-time circus stunt was used during the week preceding the event, this being the handing of colored banners on the span wires of the downtown trolley system. A very attractive program of fifty-six pages was distributed, but, owing to the unlooked for attendance, this was given only to the fair sex and was much in demand. This contained pictures of the officers of the Screen Club and of some of the leading actors and actresses in the moving picture profession. It was well filled with announcements from Western producers, exchanges and the local theaters. An interesting feature was the dance program, consisting of fifty-five numbers, each of which bore some distinctive name of general interest. A few of these selected at random were: Keystone Rag, Sterling Two-Step, Chaplin Three-Step, Dorothy Gish Dip, Bronco Billy Gallop, Arbuckle Walk, Slippery Slim Two-Step, General Hesitation, Tivoli Three-Step, Dahnken Glide, Mary Pickford Waltz, Kleine Two-Step, Bunny Hug, Crone Rag, Lesser Two-Step and Kohn Lame Duck...
Mabel Normand --”Keystone Mabel”-- whose portrait appears on our cover, recently acquired a racing motor-car. As might be expected, this clever comedienne put as much ginger in managing her car as she does into her funmaking before the camera. To keep a moderate pace in anything she does is a temperamental impossibility for Miss Normand, and it is rumored that she finds it a constant strain upon both her patience and amiability to stay within the speed limit. When she gets out beyond Los Angeles it is—Open up and go. Though she has confided in no one, her friends at the studio all suspect that Miss Normand is getting to training for the next road race at Santa Monica. * from Reno Evening Gazette, Monday, March 15,1915 Mabel Normand, vivacious comedienne with the Keystone Moving Picture company, is an ardent boxing fan, one of the many women of the West who take a deep interest in the events of fistiana and its heroes. A sportswoman through and through, this plucky film star admits she’d rather witness a clean-cut sparring exhibition than hear Caruso sing, for instance. “Of course, I can’t see many bouts,” Mabel explained, “but recently we had one of the cleverest boxers in our studio here in the person of Frankie Dolan. I just doted on him while he was in training. And I certainly felt disappointed when Frankie left the company’s employ.” Dolan participated in many four-round amateur bouts here and in San Francisco. When Charlie Chaplin left the Keystone service he took Dolan with him. In addition to her interest in boxing and boxers, Miss Normand is an experienced horsewoman, loves automobile racing and owns three cars. * from Photo-Play Review, March 23, 1915 The Lady on the Cover Miss Mabel Normand, the charming leading lady of the Keystone Film Company, is considered one of the most beautiful as well as capable artists on screen. Before her present connection with the Keystone Company, Miss Normand was well and favorably known as a clever performer, both with the Vitagraph and later with the Biograph Company. Her work with these two organizations attracted considerable attention and praise, and when the keystone Film Company was formed, Miss Normand was taken over, together with Mack Sennett, Fred Mace and Ford Sterling. This famous company of funmakers made an enviable reputation for themselves while with the Biograph Company, and the Keystone Company is to be complimented on their business in securing these prominent players. Miss Normand, besides her personal charm and beauty, has an original style all her own while working in pictures, and in the particular style of comedy which the above company is now making a specialty of, Miss Normand has attracted attention by her work from the photo-play fans all over the country. She is an accomplished horsewoman and a champion swimmer and high diver, and before entering picture work was recognized as one of the best women swimmers in the world. She is athletic to a degree and fond of outdoor sports of all kinds, in many of which she excels her male competitors. Miss Normand is at present directing all the comedies in which she works. She is reputed to be the only actress director in the country today. * from Motion Picture Magazine, April 1915 The Great Cast (contest) -- Standing of the Leading Players up to Feb. 13
* from Motion Picture Magazine, April 1915 Letters to the editor: E.Z. Mark.--Mabel Normand in “The Knockout“(Keystone). Your letter has been referred to our clearing house.123 P.F. Leahy, 325 Sutter Street, San Francisco, sends us a candid criticism and continues some of our interesting discussions…. ...[in a lengthy letter, the writer, after commenting on various film companies, reaches to consideration of Keystone]… …And where do the people come from who will laugh at the absolutely humorless capers of Mabel Normand, Roscoe Arbuckle and the rest of the Keystone Company? I will have to admit that Charles Chaplin is amusing at times, but the remainder of the company is in my opinion away below par. Even Mack Sennett, who used to be so funny in the old Biographs, has either lost his art or else is playing inferior scenarios. I understand that he is directing too, and cannot say that I appreciate his style in the least. There are many who agree with me, tho [sic] I regret to say that we are in the minority, at least in most audiences… * from Motion Picture Magazine, April 1915 Musings of “The Photoplay Philosopher” The readers of this magazine have been locking horns on the merits of the Keystone comedies and their many imitators, and I have been asked to express an opinion. If memory serves me well, this class of comedy was introduced by the Biograph Company, a few years ago, at the time when Messrs. Fred Mace and Mack Sennett were with that company. Later, these Photoplayers left that company and went to the Pacific Coast, and either one or the other, or both, began to produce a similar style of comedy which afterwards became identified with and known as “slapstick” or Keystone comedy. It must also be admitted that, for this style of screen humor, the Keystone Company has many imitators and no equals. As these comedies gradually gained international popularity, nearly all the other companies began to copy them, and some with commendable success, adding various deviations of an original nature. And there is no gainsaying the fact that these comedies, whether Keystone or otherwise, are immensely popular to this day, and doubtless will continue to be so for some time to come. The latest and most pretentious photoplay of this class of work is “Tillie’s Punctured Romance,” with Marie Dressler and Charles Chaplin, which was ably directed by Mr. Sennett. This farce was admirably done, perhaps overdone. The familiar Keystone hallmarks, such as the throwing of pies into people’s faces and the kicking and throwing of persons into every ludicrous position conceivable, were predominant thruout [sic], and these items never failed to raise a laugh from the average audience. The “flash” and the “cut back” are also made good use of in this comedy, as when one person pushes another, and we are then suddenly shown the next scene where the pushed person lands into a crowd of policemen or other bystander and knocks them into a heap or into the water. Another feature of these comedies is the frequent, imaginary injuring of the characters by such means as causing a heavy stone to fall on a person’s toes, or being struck on the head with a brick. It is not clear why people are amused at the misfortunes or mishaps of others, but the fact remains that these catastrophes never fail to arouse a laugh. Again, these mirth foundries usually have one or more grotesque characters in them, such as we could never see in real life; and these curious persons are often made the husbands or the loves of unusually charming girls. Some time ago the Vitagraph Company announced that they would not accept any scenario that introduced situations or characters that could not exits and be seen in real life, and this gave that company the idea of calling their productions “Life Portrayals.” A most excellent policy was this, in my judgment, but it has not been strictly adhered to. Some of their recent comedies have possessed all the elements of the standard Keystone comedies. There are several angles or standpoints from which we can view this class of comedy. First, we may inquire, Do they amuse a majority of photoplay patrons, or enough of them to warrant their continuance? Second, Do they do the Motion Picture business good or harm? Third, Is their influence for good or for evil? Fourth, Do they help to place the industry on that most high plane which we all hope for it, and to raise the standard, or do they hinder? Let me take your minds back to the old days when the Punch and Judy shows were so popular. These were primarily intended for children, it is true, but even we older folk use to enjoy them. Next, let me take you back to the circus of out boyhood days and recall to your minds the well-remembered clown. Next, let me call your attention to the more modern form of entertainment known as vaudeville, on every program of which we have the Irish team, or the German team, who delight their audiences with what is commonly called “horseplay” and with a rapid-fire of indifferent jokes. Now, we never ask ourselves, when viewing these antics of clown or vaudeville performer, “Is it natural -- is it true to life?” We see life exaggerated in them. We see only a slight resemblance to real life. Everything is grotesque. It amuses and entertains because it is something different. It brings the laugh, and anything that promotes laughter is usually a good thing. As is well known, it is easier to make a child laugh than a grown-up. A child will laugh and be amused with a toy jumping-jack; so will an idiot. A child loves the grotesque antics of the circus clown, and so do some of the most intellectual of us older people. All children enjoy the Keystone type of comedy. Whether it is elevating to them or harmful, is another matter. And I have carefully noted the effect of these comedies on various assemblages of older people. Invariably they arouse laughter. While it is true that a dozen people in a large audience can make a great deal of noise and commotion, giving the impression that the number is much larger than it really is, the fact is indisputable that a fair majority of people take kindly to this class of comedy. But I wonder how many of these laughers would enjoy Shaw’s “Pygmalion,” Wilde’s “Lady Windemere’s Fan,” Sheridan’s “School for Scandal,” “Rivals,” Goldsmith’s “She Stoops to Conquer,” etc. How many of these would appreciate the fine, delicious wit of Swift, Thackeray, Stern, Addison, Steele, Oliver Wendell Holmes, Washington Irving, and all the great humorists whose art has survived the rust of time? There are two ways of arousing our risibilities: with a clumsy butcher’s axe and with the keen blade of a stiletti as it were. The funny sheets of the Sunday newspapers is one form of wit, and the plays and works just mentioned are another. I wish to make it clear that I do not mean that he who enjoys a Keystone comedy is either a child or an idiot, and that it does not necessarily follow that he is deficient in intellect. Some of the greatest men who ever lived have had a penchant for the light, the ludicrous and frivolous. The circus clown often pleases the philosopher as well as he does the small boy who can neither read nor write. At the same time, it must be admitted that it is a low form of humor, and that its strongest appeal is to the lower order of the intellect. Not that it does not also appeal to the highest, in some cases, but that it is not made to appeal to that kind. One person enjoys the opera, another prefers ragtime music rendered by a street band or hand-organ. One person prefers the five-cent novel, another prefers Macaulay, Addison and Washington Irving. One person prefers the circus clown, another prefers John Drew in “A Scrap of Paper” or in “The Taming of the Shrew.” There is no accounting for people’s taste. Perhaps it is not for me, nor for anybody else, to say that he who enjoys Keystone comedies is deficient in the higher intellectual attainments, but the fact remains that there are degrees of quality in tobacco, in wines and in paintings, altho [sic] not all of us are able to detect the difference between the good and the poor ones. I would conclude, therefore, that while the “slapstick” comedy has its place and its mission, it will never do the Motion Picture Business any good. We have altogether too many of them. They are absolutely repulsive and obnoxious to some persons, and they are merely a repetition of the old stage burlesque shows that have long since been relegated to the low-class theaters. We certainly can envy those who are able to laugh and enjoy themselves on such slight provocation, but we might hope for them that they could be educated up to that standard of intelligence where they could appreciate the higher flights of fancy as well. All education adds to our culture and refinement, and as we advance intellectually we get more enjoyment out of life. The lower animals are content when they have food and shelter, and their pleasures are limited. As we ascend the scale of intelligence, the sphere of enjoyment expands and widens. The more intelligence, the greater our discernment and capacity for enjoyment. * from Los Angeles Times, April 1, 1915 Wedding Bells Ringing For Favorite of Films? By Grace Kingsley Bert Levey and Mabel Normand married secretly in San Francisco! There’s a rumor on the Rialto that’s pretty nearly a noise to this effect. The story is that there has been a growing romance between the pair, which culminated in a wedding the day before yesterday in the Bay City. The story comes as a complete surprise to the many friends of both. It is further reported that Miss Normand will desert the films for the fireside. Mr. Levey is the manager of a big block of vaudeville houses in the West, as everybody knows, and although less than 25 years of age, he has made a big success of his business. Miss Normand is one of the best known and most popular film actresses in the country, and her lovely face and figure have long adorned the Keystone comedy films for the New York Motion Picture Corporation. Miss Normand has been appearing in a large feature film for the Keystone, and it was ostensibly for this purpose of doing some scenes in this screen play that she went to San Francisco last Saturday.
Mabel Normand, “Queen of the Movies,” left last Saturday for San Francisco, where she will play the leading role in several Keystone pictures. With Miss Normand were Adam Kessel, Jr., President of the Keystone Film Company and the following members of the company which will support Miss Normand in the releases made in the Exposition City: Roscoe Arbuckle, Alice Davenport, Joe Bordeau, Glen Cavender, Billy Gilbert, Eddie Kennedy and James Leslie. Mr. Kessel returned to Los Angeles on Monday. * from Lancaster Daily Eagle [Pennsylvania], April 16, 1915 |