Mabel normand
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The Dream That Came True by Pearl Gaddis All of you who have for years been laughing with Mabel Normand, talking gaily of her funny exploits, would never believe that those long, silky, black curls covered anything more than a brain devoted to creating laughs. That she could be serious; that she could have keen ambitions; that she could cherish for years a thrilling and eminently sober dream, would never occur to those who know her only from her screen frolics. But she has guarded that dream, and every moment has been in effort towards making that dream come true. And it has. She has a studio all her own, on which her name, in four foot letters, smiles at the passerby on all four sides. The studio has been built as she wanted it built, and it has ever so many pretty little feminine touches that make it artistic as well as businesslike, comfortable as well as efficient. We were talking one morning, on the tiny, vine-hung balcony outside of her dressing room, where we could look down on the busy scene below. She sat in a big, wicker chintz-cushioned chair, and sighed blissfully as she looked up at the backs of one of the signs that spells her name. “At last,” she breathed, “I am almost thru with the first picture of the new series, a second play chosen and being prepared for production, and still I can hardly realize that my dream has come true. If I hadn’t worked so hard and planned so hard these years to attain just this end, I’m afraid I would have my head turned by it all. But I know a cure for that -- hard work! There’s plenty of that ahead for me too.” “What is the next play?” I asked as she stopped and looked contemplatively over the little balcony. She whirled instantly, all enthusiasm. “What do you suppose?” she cried, her big brown eyes aglow with enthusiasm. “The Little Minister.”138 At last I am to play Lady Babbie. It’s a part I’ve always longed to play, and it’s going to be the second of my series. Oh, I’m so happy over it all.” “I should think you would be,” I answered, responding involuntarily to her magnetic enthusiasm. “What are you doing now?” “Here in the studio we are calling it ‘Mountain Bred’139 In it I have the lovable part of a daughter of a mining camp, brought up by the men in their funny, clumsy way. When they realize that I’m almost a woman, they decide that I need a woman’s care. So I am sent to New York to live with my aunt. When she finds that I am not as so rich as she expected and hope, she puts me to work in the kitchen and treats me very badly. But that doesn’t prevent my falling in love and the story ending unexpectedly but happy. It’s a most lovable part.” And just between ourselves, it’s a most lovable girl who will play the part, too. “And what about your studio plans, Miss Normand?” “About my coming plays? We are going to make only eight a year; that will give us plenty of time to do our very best on them, allowing about six weeks to each five-reel picture, you see.” She turned to me suddenly. “Have you seen my dressing room? No? Then come with me,” and she jumped up and almost ran to the apartment that, by old-fashioned tradition and lack of a proper name must still be called a dressing room. It was a big, cozy, comfortable room, opening off a balcony, with two big windows. There were rose-chintz curtains, cushions, comfy chairs -- in fact, it was as dainty as its small mistress -- a perfect setting for one of the loveliest girls in the Land of Make-Believe. “The men tease me -- or try -- to about the ‘woman’s touch’ that I have given the studio,” she laughed, as she seated herself at the dressing shelf and began that mysterious process known as making up, “But I know that it is good, and that they really like it even if they do try to tease. So I just tease back about their being unwilling to leave the studio at night and their eagerness to get here in the morning.” I didn’t in the least wonder about their eagerness, for, you see, the small star is there from early morning until late in the evening, which rather explains their love for the studio, doesn’t it? “You see,” she went on, “I have a hobby that dovetails beautifully with my work here. It’s studio housekeeping, or rather studio homekeeping. I was allowed to plan a great many of the details of the studio here, and it has been my ambition to make it in its own small way a model plant. Efficiency comes first, of course, but I didn’t see why a studio should be a huge, unlovely barn of a place, just because it was built of wood. So I planned for comfort and beauty, as well as efficiency. That explains the rugs downstairs, the adorable balcony and the attractive dressing rooms.” “No wonder you have great hopes and can promise much from your coming plays. “I said sympathetically, with another glance around the rose-and-cream walls. She turned quickly, a “lip-stick” poised just above her pretty lips. “Not promises, nor even prophecies,” she cried gaily, “but hopes -- lots of them -- and a feeling, away deep down deep in my heart, that in this métier – somewhere -- I shall find and give the best that is in me.” She has her own stock company, headed by Wheeler Oakman, late of Selig, and in the picking of this company Supervising Director Mack Sennett allowed Miss Normand almost complete authority; and the arrangement with Mr. Sennett is that the “baby company” may call on the parent organization of Keystone for anything it needs in the way of props, costumes or technical assistance, or in fact, anything at all that is needed. Her plays are chosen in co-operation with Mr. Sennett and the Keystone scenario staff. And now for some facts about the girl who has worked so courageously to make her dream come true. She was born in Atlanta, Georgia,140 and educated there. When she was about sixteen, her parents moved to New York, where she first began her way in an art as an artist’s model. It was while she was living on Staten Island that she took to the water and laid the foundation for the fame she has acquired in aquatic sports. Her stage beginning was as a member of the “merry-merry” in a musical comedy. There came an off season in musical comedy, and the chorus girl had a friend who suggested the movies. Mabel was game, and she went over to Vitagraph, where she was given employment almost immediately. From Vitagraph she graduated to Biograph, under the direction of D. W. Griffith, where her most celebrated picture was “The Diving Girl.” She worked in comedies, under the direction of Mack Sennett, as well as in a number of strong dramatic subjects for Mr. Griffith. When Mr. Sennett went to California to make Keystone comedies for the New York Motion Picture Corporation, Miss Normand went with him as leading woman. “There was a long hard struggle when we were never sure that there would be a pay-envelope on Saturday,” she confessed to me in a reticent mood. “There were just four of us then -- Mr. Sennett, Fred Mace, and Roscoe Arbuckle -- and me! But we worked hard, and hoped hard, and just trusted in luck. And better days soon came.” As they always do, backed up by that. Right after Christmas, Miss Normand came to New York with Roscoe Arbuckle‘s company to do “pie comedies,” but her heart was set on a company of her own, and Mack Sennett, remembering the days when she had held the highest hope of them all, even though there seemed nothing in sight but hard work and no reward, remembering her unfailing enthusiasm and courage, determined to surprise her with the realization of her dream. Sennett (in appreciation of her hard work and hopes) purchased a four-acre tract and ground broken for building of the studio. Then a telegram was sent to New York ordering prompt return of Miss Normand. She expected of course to return to work at Keystone, but Mr. Sennett met her at the train and told her that he wanted to show her something. Curious, but accepting his leadership, she allowed herself to be bundled into his machine and driven to the place where the studio was to stand. Mr. Sennett stopped the car, pointed to the workmen and said: “What do you suppose they are building there?” “I don’t know,” she answered a little crossly, for she was tired out from her long trip -- “an addition to Keystone?” “Well hardly,” answered Mr. Sennett grinning. “They are breaking ground for the erection of the -- Mabel Normand Studio!” Miss Normand stared, unable to believe her eyes or ears. When Mr. Sennett had made it clear to her that she was really to have her own studio, she insisted on climbing out of the car and examining every square inch of the ground. For a woman to watch the building of her home and not to have a finger in the pie is an aggravation indeed. So it wasn’t long before the busy comedienne set to work planning studio and home comforts with the architect. And during the days when the studio was being rushed to completion, she was on hand almost as much as the workmen. “Here comes the little boss,” they got into the habit of saying, and hardly a brick, board or tile was laid without first undergoing her critical inspection. And she was the first one to set foot in the newly completed building. Surprise followed surprise, until tears of mixed joy and gratitude stood in Miss Mabel’s eyes. Then came a wonderful Oriental rug for her dressing room, the gift of Mack Sennett and a canary in a gilded bird cage, from Los Angeles friends, besides pretty furnishings and nick-nacks, that gave the studio opening the air of a festive wedding. The fair Mabel can spring a surprise or two herself, and during the strenuous days of studio building, an idea frisked about under her chestnut curls that took shape on the opening day. Her company of players and her friends were led, figuratively, hand-in-hand, from room to room, from glass covered stage to “prop” rooms, and finally assembled in the star’s dressing room. And just here came her own little surprise. Under the chefship [sic] of a nimble Jap, a dainty luncheon was served to her guests, concocted and cooked in a tiny kitchenette adjoining her dressing-room. Hit No.1 for Miss Mabel! The finest work of Mabel Normand’s career is blossoming forth under the stimulus of her own company. What she has given us before has been merely the promise. Now we may hope for the fruition.
Mabel Normand took a one-day vacation recently by appearing at the San Diego Exposition. Mabel took in all the sights; delivered two orations; wrote nearly three thousand autographs; posed with the Mayor for a news picture, and was flashlighted at a banquet. Her day of rest! * from Motion Picture Magazine, January 1917 Roberta Courtlandt ….Mabel Norman loves her horse and the long, glorious rides she has on him when work at the Mabel Normand Feature Film Company does not demand the attention of its mistress. Mabel scares Director- General Mack Sennett almost into spasms by her long rides. With a box of lunch swung over one shoulder, a folding kodak over the other, Mabel rides away “into the misty distance,” or “over the horizon,” leaving the studio folks wondering whether she’ll forget to come back. Mabel admits. Albeit reluctantly, that sometimes she is afraid she wouldn’t, if it wasn’t for her “hobby horse”; he has a habit of hearing the call of supper, along about six o’clock, and no amount of urging can dissuade him from promptly heeding that call. I imagine it’s a pretty good thing that he has acquired that habit, or he would be of little assistance to a pretty mistress, who has become lost in thought, and, without his aid, is likely to become lost, in fact, as well!….
Film fans are tired of vampires; tired of moving picture cannon and charging soldiers. There is too much real war and too much real sorrow in the world just now to need heart pangs that are made to order. Mickey will be as refreshing as a breeze from the mountains on a hot summer day. There are no vampires and no battles.
[Mabel described as great favorite in Japan. Letters from two college boys:] Our dearest Miss Mabel Beautiful lady: We are two Japanese boys. If you can understand such a broken English letter please read this. Joe saw you in films which acted by you so many times and pleased by your nice eyes, mouth, hairs and other ones. Your reports are best in our country among all another foreign players. We wish to meet you very much, but we are several thousand miles apart and can’t do as we wish. Editor of Japanese movie magazine writes: In Japan, the films featuring you are always popular. Many audiences go to see your figure on the movie theater. So when the productions featuring you are running the houses are always crowded. When I publish your portrait in my magazine, our readers are very contented. * from Mack Sennett Weekly, January 22, 1917 From a fan letter written to Mabel Normand by a Japanese fan How nicely you express your emotions. Truly in your acting there is floating the nobleness, steadiness and activity. That’s your life, your power and it’s impossible to hide the voice of admiration in my mind so that I miss you at that point....In Japan your name is very famous and everyone knows your fair name even a young folks. Therefore when you will appear on the screen your name is called out with a loud voice. [Mabel also received letters from soldiers in France, particularly Canadians.]141 Sennett: “There is a wonderful future in the movies for a girl with beauty and brains who is willing to discard all sentimental nonsense and work like a slave.” * from New York Morning Telegraph, January 28, 1917 E. V. Durling A special preview of the long-awaited Mabel Normand photo-play “Mickey,” will be given in Los Angeles this week. Mack Sennett deserves much credit for his dogged determination not to release this initial Normand picture until it was up to the high standard he desired.
Mabel Normand gave Arizona a treat during the state fair at Phoenix in November. She and her company of 17 attended that function at Phoenix and filmed many scenes for her new play in that city. * from Motion Picture Magazine, February 1917 Popular Player Contest Mary Pickford..............462,190 Francis Bushman.........411,800 Marguerite Clark..........410,820 Pearl White...................310,690 Theda Bara...................294,035 (listed 36 in list of 104) Charles Chaplin...........105,325 (listed 86 in list of 104) Mabel Normand............35,730 (others listed:) Maurice Costello...........34,005 Mae Murray..................26,805 Louise Glaum................20,920 * from Mack Sennett Weekly, vol. I, February 12, 1917 Indian Woman Tells History142 She answers to the name of Minnie now, for she has long since learned and adopted the ways of the white man, and her teepee is now a bungalow close to the Mabel Normand studio at which she is earning her daily bread as an important character in the forthcoming production of “Mickey,” but back in the red days of American history when the young men of the Sioux and the Cheyenne nations fought and lost to the whites the battle for their very existence, Minnie was “Earth Woman,” daughter of Chief Plenty Horses, head of his tribe. Turn back the pages of your history and you will find many a gory page on which the name of Chief Plenty Horses appears more than once. Minnie has read them herself, but for the most part turns up her nose at the printed pages. “White man’s history. They do not tell the truth,” she scorns, and when she is in the mood she will tell you about the Custer Massacre, for she was there, and helped loot the bodies of the dead after “great chief Yellow Hair” passed into the great beyond. “Can’t remember because I was only eight years old?” Minnie snorts. “You forget I was an Indian then, and an Indian does not forget. I remember the happenings of those days better than the things of yesterday, for the white man has taught me how to forget. You write things on paper, you lose the paper and then is gone. We did not write down our thoughts but stored them away in memory. “Custer!” and she spits viciously on the floor. “How we hated him. Your history is all wrong. He did not stumble into a trap. He was doomed before he ever started. For eight years the death sentence had been placed upon him, but he was too alert. Not till 1876 did we catch him asleep. “And it was what he did to my mother that sealed his fate. My mother, wife of Chief Plenty Horses. I was three days old when Custer raided the Cheyennes. Of course I don’t remember, but I have seen the scar on my mother’s wrist, left when in the blackness of night, Custer and his men raided the Cheyennes and the Osages. “I was strapped on a board and as my mother swung me onto her back, ready to flee, a bullet fanned my face and grazed the wrist to the hand that she held over my mouth to keep me from squawking. “We fled, all that was left of the tribe; fled south, even into old Mexico, and then gradually worked back north, in the far west and circled back to the Dakotas. “But long before the grand circle was complete -- it took eight years, the grand pow wow of the nations had set the seal of death on Custer. We tried time and again to get him, but without avail until ‘76. “Well, do I remember when the courier came to us in the far west and told us in the far west and told us Custer was coming. To all parts of the land the word was sent and we began to gather. “Near the ground we had selected for the great battle the pitfall was laid. The women, the children and the old men went one way. The young men went another, but they left no trail. It was our trail, the trail of the old men, and the women, that Custer followed, and we led him to his doom. “After it was over I played on the battle ground, and looked into the faces of the dead white men; I played among their dead dressed in a pair of their high boots and a soldier cap and a coat with brass buttons on it. “Do you know, some of them were dead without a scratch on them? Just dead from fright. “Custer didn’t die that way. We hated him, but he was brave. My father was within arms length of Yellow Hair when he fell. He told me. “No Sioux and no Cheyenne would kill him and he was the last to die. He fought like a tiger, even after all the powder was gone. It was a Ute who slew him; an undersized, grizzled faced Ute. He hit him on the side of the head and shot after he fell. “That night my mother made me take off the soldier’s boots and hat and coat. ‘His ghost will come,’ she said. “Not long after that the great treaty was signed and after we had been disarmed my father was sent to prison near St. Augustine. When he was released he met General Sherman and together they planned the regeneration of the Indian. They made me go to school, but that is another story.” * from Moving Picture World, February 17, 1917 Bob Doman Paris as Seen by a New Yorker ...Charlot (Charlie Chaplin), Lolot (Mabel Normand), and Marie Dressler have the cinema audiences of the Grand Boulevards at their mercy. The French want what they want when they want it, and in a cinema in the Boulevard des Italiens the other night a near-riot was precipitated when the management delayed presenting Charlot, Lolot and Miss “Dresslaire” on the screen. * from Los Angeles Times, March 3, 1917 Those who are interested in viewing themselves in motion pictures will be interested to learn that the racing scenes of “Mickey,” the Mabel Normand feature now nearly completed are to be staged at Exposition Park here Sunday. * from New York Morning Telegraph, March 4, 1917 E. V. Durling (Los Angeles)--H. B. Rosen of the Harriman National Bank of New York gave a party to Adolph Zukor coincident with that gentleman’s return to New York City. A special orchestra provided the music, and in order to make things harmonize with the quality of the gathering the dinner was served on the Alexandria gold plate. The list of guests included Mary Pickford, Mr. and Mrs. Cecil de Mille, Mr. and Mrs. Wm. C. De Mille, Marco Hellman, Carl Paige, Fannie Ward, Jack Dean, Margaret Illington, Mae Murray, Mrs. Beatrice De Mille, Marian Selby, Mme. Aldrich, Mabel Normand, Olive Thomas, Jeanie MacPherson, Blanche Sweet, Dorothy Gish, Elliott Dexter, Jack Pickford, Antonio Moreno and Marshall Neilan.
Production of Keystone pictures began on July 4, 1912, on which date Mack Sennett took a small party of players including Mabel Normand and Ford Sterling, to Fort Lee, N.J...The first day they started out in grand style in a hired automobile. They found a good-natured man over at Fort Lee who loaned them his house. The interior of the house was too dark to take pictures and there were no lights available. As he simply had to have an interior, Sennett moved his friend’s furniture out on the lawn and took the “interior” there. When he came to settle the automobile bill that first day Sennett had to dig up twenty dollars. As the whole payroll of the company only amounted to fifteen dollars at that time, they decided they would have to cut out the automobile. Thereafter the little Keystone company plodded out to work every day in the street cars. And when the actors got to the end of the street car line they went on the human hoof. The cameraman carried the camera over his shoulder and the actors packed the props on their backs. Being very husky by nature, Sennett took to himself the honor and distinction of carrying most of the scenery on his own back.... In September, 1912, Mack Sennett and his players came to Los Angeles and took possession of the studio that had been the original site of the Bison company. The older division of the New York Motion Picture Corporation had removed to Santa Ynez Canyon near the end of 1911. It wasn’t much of a studio. A vacant lot, a couple of dilapidated sheds and a rickety stage were about all. Mack Sennett did most of the work himself. He wrote all the scenarios, lent a hand with the scenery, acted as telephone girl and gateman most of the time. After the day’s work as an actor, he came back at night and cut film until early morning. When Sennett’s first California comedy was sent east the verdict was quick and positive. It was punk [i.e. terrible]. Nobody would buy it. With bulldog tenacity he struggled on. Finally he landed with a comedy in which he had no faith and which was a careless makeshift affair. A Grand Army of the Republic convention happened to be in Los Angeles. Without any very definite idea in mind, Sennett had his cameraman take pictures of this parade. From another company he bought some cast-off battle pictures. He rigged up one of his comedians as a soldier, had him dash in and out of some smoke from a smudge pot and make up a ramshackle comedy out of it. For some reason or other, this was an instant hit. The East demanded more like it. The Keystone found itself all of a sudden on the map. The demand for Keystone comedies soon became so great that the one little company couldn’t meet the demand. Another company became absolutely necessary. Where were they to get a director and how were they to pay for a director? Mabel Normand threw herself into the breach. She offered to direct a company herself. Miss Normand, accordingly, became the first woman director of comedies. The actors who worked in her first company say there were occasionally some wild scenes. She was not what you call a phlegmatic director, but she was a good one...
Grace Kingsley Mabel’s Pink Thoughts. Mabel Normand may be best noted for her limberness in doing picture “stunts” but those who know her best also give the young woman credit for being not only a great reader, of the world’s best literature, but for a whole lot of native astuteness of judgment. Everybody has had a try at guessing why pictures on ancient subjects didn’t specially interest the picture fans. Many picture directors have wrung their hands and torn their hair because their favorite pictures depicting Horatius holding the bridge, or the sorrows of some ancient lady of Greece, didn’t get over, while the fact that the picture fans refused to get in a welter over the exciting things that happened in old Rome, has caused the loss of many a penny to fatuous producers. Miss Normand has hit the nail on the head. “Tell you what it is,” said Miss Normand, the other day, as she put on her make-up preparatory to some retakes in “Mickey.” “The whole secret of public appeal of a picture is that the spectator may be able to put himself or herself into the role of the hero or heroine. This trick of the public imagination is one that must be taken into account. When a young man sees a man on the screen, he can’t visualize himself in the role of the hero, if that hero wears queer looking clothes, and lives in a funny looking house and he can’t imagine being in love with a lady in Judas all out of fashion. Same way with the girl. Her hero must be all dressed up with some place to go that she knows all about, and she herself must be able and willing to visualize herself in the part of the picture queen, who not only has curly hair and large, expressive eyes, but who wears clothes right up to the minute, too. * from Mack Sennett papers, Academy of Motion Picture Arts and Sciences From contract between Harry Aitken, representing Triangle Film Corporation and Sennett: ) [main points briefly] Sennett severs ties with Triangle and enters into contract with Paramount for manufacture of Mack Sennett comedies. Sennett engages Charles O. Bauman[n] for period of three years as his Eastern representative starting Sept. 1, 1917 Paramount procures exclusive rights of distribution 29 June 1917 Paramount-Mack Sennett comedies
He assigns/transfers to Triangle ) all right and title to photoplay “Mickey“ Sept. 29, for 200,000 June 25, 1917 Triangle gets rights to Mickey. Sennett gets release from employment with Keystone, N.Y. Motion Picture Co., and Triangle and from obligation to pay salaries. Harry Aitken signs. Sennett then enters into agreement with Paramount -- 29 June 1917
Excerpt from Court deposition fragment of John O’Donnell, June 30, 1917)143 John O’Donnell -- 19 years old -- assembler of positive strips (F. Richard) Jones told O’Donnell to get four reels of assembled story, conceal it in coat, tell nobody and take it out to his car parked in the alley.144 * from Motion Picture Magazine, April 1917 ....Mabel Normand, who is next in line, having not only beauty but a charming smile, demonstrates quite charmingly that it is easy to smile and be happy. Mabel has big brown eyes that, in spite of her merriment, never lose their little air of wistfulness, and just lots of black curls. So Mabel smiles and smiles, remembering the Mabel Normand Feature Film Company, and that she doesn’t have to bother with making any more slapstick comedies, and be hit over the head with bricks dropped out of aeroplanes, and be ducked in the ocean. Mabel, be it known, is a velvety red dahlia, that queen of the August garden who flaunts her charms so gaily when the other flowers have wilted and faded. Even in the hot sun of slapstick, Mabel was fresh and blooming and radiantly pretty. Therefore the dahlia title! * from Variety, May 18, 1917 Mabel Normand in N.Y. Mabel Normand arrived in New York Monday and Wednesday evening it was stated she had come East for the purpose of signing up with Goldwyn Pictures. * from New York Morning Telegraph, June 24, 1917 Spike Robinson, the old-time British fighter, and Stella Dominguez, the beautiful daughter of Ramon Dominguez, wealthy cattle king, were married in Los Angeles recently. Bull Montana, the Italian wrestler, was best man, and Bennie Zeidman and Ed Durling guests. Spike and Bull are in Douglas Fairbanks’s company, and the film star presented Spike with a beautiful silver dinner set after the wedding supper. Many well known film personages, including Mabel Normand, Wally Reid, Eileen Percy, Charles Murray, Charlie Chaplin, Ford Sterling, Herbert Rawlinson, James Cruz, Jack Mulhall, Louise Fazenda, Tom Mix, Tom Santschi, Nat Goodwin and others, went to the cafe where the supper was given and danced until the wee small hours to help celebrate. * from New York Morning Telegraph, July 8, 1917 Goldwyn Sues Mabel Normand Goldwyn Pictures Corporation has gone to law to uphold the integrity of a contract entered into between a motion picture producing firm and one of it’s stars. Suit has been instituted by Goldwyn through Gabriel L. Bess, general counsel for and secretary of the company, and John B. Stanchfield, of Stanchfield & Levy, has been retained as counsel to obtain an injunction preventing Mabel Normand, screen comedienne, from working for any other concern or individual. Miss Normand entered into a contract and on September 16, 1916, with Samuel Goldfish, according to Goldwyn‘s contention, whereby she was engaged to be starred in motion pictures under his management for two years at a weekly salary of $1,000. Under this contract she was to act exclusively for Mr. Goldfish. Upon the formulation of Goldwyn Picture Corporation by Mr. Goldfish,145 Edgar Selwyn, Archibald Selwyn, Arthur Hopkins and their associates, Miss Normand’s contract was assigned to Goldwyn, Miss Normand was scheduled to begin working for Goldwyn in its studios May 1 and arrived in New York soon after that date, manifesting an immediate intention of not entering upon her contract. Her response to notification as the date of beginning work providing to be evasive, Goldwyn came into possession of information that Miss Normand planned to work elsewhere and for other individuals. Injunction is sought for two reasons -- first, that she made a valid contract in good faith and should be made to live up to it, and the other that Goldwyn has determined in its own behalf and in behalf of all other production organizations to test through the medium of the courts, the so-called star contracts. It is alleged in the Goldwyn complaint that Miss Normand, in violating her contract in this or any other similar matter, will inflict upon Goldwyn a monetary loss of $500,000, and that investments already have been made by the company in costly literary materials fitted to the personality of this particular star and not at all suited to the personality and capacities of any other star because of Miss Normand’s specialized type of work on the screen.
Telegram dated July 12, 1917 from Sennett to his and Mabel’s lawyer, Arthur Butler Graham: Arthur Butler Graham Care of Sam E. Rork Friars Club, NYC
Mack Sennett Graham has read and discussed your telegram with me this A.M. Client absolutely unmanageable and unalterable she refused absolutely to have anything to do with me or yourself in connection with any business proposition Moreover she is determined to go through with the contract the terms of which Graham has telegraphed you under all circumstances and with out any further delay and moreover threatens unless Graham had contract signed along the lines explained to you that she will without further notice engage other counsel there is no way that Graham can show her your telegram as suggested because of his pledge not to communicate with you nor anyone else in connection with her business affairs However Graham will use every effort to have Rork connected with her to protect her interests as suggested in your telegram it would even work out badly if you wired her of the information that you have gotten perhaps this is all for the best Who knows Best Wishes C.O.B. Telegram to Sennett from Arthur Butler Graham, July 13, 1917
No other possibilities for client except Goldwyn and she would refuse any other offers feeling that Goldwyn gives her the best opportunity from every point of view. She was in my office yesterday afternoon and suggested changes in my draft of contract which I then in her presence and under instructions sent to Goldfish He agrees to it today without substantial change and will sign next Tuesday on return from Chicago I have been in touch with Motion Picture business for nearly ten years in negotiations and matching of wits with such judgment as I have acquired I am positive that one year contract could not be made at any price and that I have procured best figure But if this is not true I am nevertheless unable to stall or bargain because client will not permit it Will suggest Rork for employment I will call corporation MS Films and not EMess Arthur Graham Butler
Mack Sennett Signed today got Duyn [sic] one year and option. Graham very satisfied said much better than expected start work Sept. 1 company said I didn’t look well must rest and go away Until then winter studio Florida So I won’t be able to peep at you ever again wanted you to know I signed although you never wire me. M[abel].
Goldwyn Gets Normand Mabel Normand, noted comedienne and the Goldwyn Pictures Corporation last week resumed their briefly interrupted friendship and found the things that kept them apart were, after all, not of sufficient gravity to interrupt their future associations. This resumption of friendly business relations between one of the biggest stars of the screen and her new employers means that Miss Normand will be at work in Goldwyn‘s Fort Lee studios within a fortnight. Mabel Normand signed a contract with Goldwyn last Fall and came East in May to begin work. Temporary differences now adjudicated by Gabriel L. Hess, general counsel for Goldwyn, and Arthur Butler Graham, counsel for Miss Normand, delayed the beginning of her work, but during the intervening time Goldwyn did not hold up its plans for the star. A large amount of literary material had been purchased from well-known authors and the scenario department of Goldwyn buckled now into the preparation of her first two pictures. Everything that this big new organization can do for a star of Miss Normand’s magnitude will be done at once, they say, and henceforth Miss Normand shares in the publicity and promotional campaigns Goldwyn has devised for its artists. Mabel Normand is one of the greatest comedy stars ever developed in the screen world. She is the pioneer in her field and her work has been distinctive and distinguished. Goldwyn‘s plans for Miss Normand contemplate giving her even more distinctive comedies than she has done in the past and the technical and artistic facilities which Goldwyn contributes to all of the productions mean much more for this exceptional artist, whose Vogue is as great in foreign lands as it is here at home. “I have had a splendid vacation, and I am delighted to resume work with Goldwyn Pictures,” said Miss Normand. Announcement will be made soon of the director and staff who are to make Miss Normand’s first Goldwyn picture. * from Motography, August 11, 1917 Mabel Normand and Goldwyn Pictures Corporation have resumed friendly relations again and it is expected the little star will be at work in the Fort Lee studios within a fortnight. Miss Normand signed a contract with Goldwyn last fall and came East in May to begin work. Temporary differences, now fortunately adjusted by Gabriel L. Hess, general counsel for Goldwyn and Arthur Butler Graham, counsel for Miss Normand, delayed the beginning of her work, but during the intervening time plans for the star were not held up. A great amount of literary material had been purchased from famous authors and the scenario department buckled down to the preparation of her first two pictures. Goldwyn‘s plans for Miss Normand contemplate giving her even more distinctive comedies than she has done in the past and the technical and artistic facilities which Goldwyn contributes to all its productions mean much more for this exceptional artists whose vogue is as great in foreign lands as it is here at home. * from Motography, August 18, 1917 A deluge of congratulatory letters and telegrams has followed the announcement that Mabel Normand, comedienne, will begin production under the direction of Goldwyn pictures. In answer to the question of the kind of literary materials that are to be furnished for Miss Normand, Samuel Goldfish says: “The Goldwyn Advisory Board has now under consideration a half dozen light comedies by well known authors that are suited to Miss Normand’s expression. It is the opinion of our board that Miss Normand can do comedy plays that convey an interesting story in contra-distinction to the comedies that are built upon an unusual situation alone. She is a typical American girl and as such she has built up not only a huge American but an international following as well. We want to star her in a typical American comedies. And these comedies must tell a story.” * from Motography, August 18, 1917 Exhibitors throughout the country will be interested to receive herewith the first complete announcement of Goldwyn‘s accomplished production work. Thus far the completed Goldwyn Pictures are: Mae Marsh in “Polly of the Circus,” by Margaret Mayo Madge Kennedy in “Baby Mine,” by Margaret Mayo Maxine Elliott in “The Eternal Magdalene,” by Robert McLaughlin Jane Cowl in “The Spreading Dawn,” by Basil King Mae Marsh in “Sunshine Alley” by Mary Rider Maxine Elliott in “Fighting Odds,” by Roi Cooper Megrue and Irvin S. Cobb Mae Marsh in “Fields of Honor,” by Irvin S. Cobb
Mabel Normand in “Joan of Flatbush,” by Porter Emerson Madge Kennedy in “Nearly Married,” by Edgar Selwyn Mae Marsh in “The Cinderella Man,” by Edward Childs Carpenter And, early in September, Mary Garden, just returning from France, will begin work in “Thais,” by Anatole France.
By Agnes Smith. “Glad to get back? Indeed, I am. Did you ever hear of anyone who has been on a long vacation who wasn’t anxious to get back and who wasn’t filled with all sorts of new ambitions and resolutions? I have been working since I was 15 years old and I don’t think that I shall ever be content to stop.” So spoke Mabel Normand concerning her new affiliation with the Goldwyn company. And she promptly proved her words by beginning last week on “Joan of Flatbush,” her first picture with the company. “As for working in New York,” she went on to say, “I am going to like it. Naturally I miss Los Angeles, especially when I wake up in the morning and look out my window and see nothing around me but bricks. Los Angeles is just like a small town -- you live pleasantly, and easily there. But New York is different. You’ve got to accomplish something to let people know you are alive. So I feel all on my mettle: I have never been more eager to do good work.” Mabel Normand is even prettier and in better spirits than she was when she worked in the East a few years ago. Off the screen she is a surprising person. She is smaller than she appears in pictures and her eyes are two sizes larger than they look in close-ups. Her looks are demure, but chic. Her tastes in books and plays are serious and she doesn’t look as though she would venture to cross a street without being duly escorted by a traffic policeman. There is a fascinating air of solemnity about her; even when she smiles her eyes remain quite grave. She is charmingly sincere and so modest about her work that she will go on extended conversational pilgrimages rather than talk about it at all. “I am not sure what I am going to do at Goldwyn studio. All that I know is that it will be my best. Porter Emerson Browne wrote a story for my first and it suits me exactly. You know the Goldwyn studio isn’t like any place I have worked in before. They have methods of their own and it is like stepping into a new occupation. You can’t imagine how curious I am. “And have you seen their pictures? Isn’t Madge Kennedy wonderful? You’d never think that it was her first screen appearance, would you? I wonder how we picture stars would feel if we were to be judged by the first film we ever made. “It seems strange to me that stage people ever want to go into pictures for good. I can imagine nothing more wonderful than playing to an audience. Think of feeling yourself in direct contact with so many people! All we picture players can do is to sneak into the back row of a theatre and watch the audience look at the shadow of ourselves on the screen. They like your acting and are curious about you, but there is no personal feeling between you.” And there is another mystery of the films that Miss Normand cannot fathom and that is why the craze for eternal youth? “Do you see why some girls want to stay eternally at the age of 14? Can you understand their objection in growing up? Personally, I don’t think that girls are most attractive when they are 14. I shudder to think how little I knew then and how much I thought I knew. Yet there are actresses who would stop the clock at 14. They are limiting their emotional and mental range. And you can’t play great music in one octave.” She spoke with all the seriousness of Browning’s Rabbi Ben Ezra. And when I looked at the seaside color in her cheeks and the corners of her eyes where the wrinkles might be but aren’t, I suddenly realized that this star is somewhere in her early twenties and therefore quite unbiased in her opinion on the disadvantages of youth. “It’s nice to stay young looking,” she concluded, “and it’s better yet to have a youthful heart. But can you imagine going through life with a 14 year-old brain?”
DO YOU REMEMBER? When Mabel Normand was known only as the diving girl and Charles Murray was Hogan in a series of their comedy releases?….
The thousands of body-weary student officers in the second training camp at Plattsburg, who know little but reveille, beans, drill, beans, drill, beans and taps, were treated to a palatable morsel of diversion this week. Mabel Normand is in camp. Work driven rookies -- especially those whose lady-folk are far away and to whom weekends mean nothing but Saturday to Monday -- stood about with a pleasantly stunned expression on their countenances and gasped. Mabel Normand’s first comedy for Goldwyn Pictures, “Joan of Flatbush,” by Porter Emerson Browne, calls for many martial scenes. In company with Director Charles T. Horan, Mr. Browne, Lawrence McCloskey, of the scenario staff, George Bertholon, Mr. Horan’s assistant, and a headquarters staff, the comedienne will spend two weeks on the shores of Lake Champlain. * from New York Morning Telegraph, October 24, 1917 Mabel Normand Talks For Loan Mabel Normand made a whirlwind speaking tour to eight New York theatres Monday night, October 22, in behalf of the Liberty Loan, being one of the first screen stars in New York to aid the Government in its drive to raise five billion dollars. Miss Normand, in full truth, could have begun by saying “unaccustomed as I am to public speaking,” for despite her multitude of exploits and film adventures, the star had never before in her life addressed an audience in or out of the theatre. So when eight house managers prefaced their introductions with this statement they were not guilty of press angentry. There is no violation of confidence on the part of one who accompanied Miss Normand to say that in the beginning she was visibly frightened at the prospect of facing audiences, and it was not mock fear that she displayed when she grabbed her various introducers by the hand and held them near while delivering her speech. Beginning at 6:30 in the evening at Marcus Loew‘s American Theatre, Miss Normand made a two minute talk first to an audience on the roof-top theatre and a few minutes later met the audience in the main ground floor theatre. Thereafter she averaged one theatre every fifteen minutes, appearing at Mitchell H. Mark’s Strand Theatre at 9 o’clock. Miss Normand was welcomed to the Strand by Mr. Mark, Managing Director Harold Edel and house manager Alfred Jones and received a tumultuous ovation from a house capacity audience. Marcus Loew‘s New York Theatre came next, at 9:15, and was followed by trips to Loew’s Circle, Loew’s Lincoln and Loew’s New York roof. The last stop of the evening was at A. L. Shakman’s Eighty-first Street Theatre. Here Miss Normand was introduced to the audience by Mr. Gerald, the house manager, and again the enthusiastic reception given her at other houses was duplicated. If there was any need of proof of the affection in which Mabel Normand is held by the public this Liberty Loan speaking tour was all that was required. In the course of the evening she faced a total audience from 18,000 to 20,000 persons and the greeting they gave Goldwyn‘s star showed that her power is as great as ever and that she has retained her place with the public during a year’s absence from the screen.
Mae Marsh and Mabel Normand, Goldwyn stars, were twin attractions at the recent Army and Navy bazaar in Grand Central Palace. For the edification of thousands who thronged the great amusement place, Miss Marsh and Miss Normand posed for the making of a special film so that the crowd might see the actual process of the making of a photo-play. For several hours the spectators were alternately inquisitive, excited and amused. The stars were accompanied to the bazaar by Samuel Goldfish, president of Goldwyn. * from Mack Sennett papers, Academy of Motion Picture Arts and Sciences Telegram from H. Winnik to Sennett, November 14, 1917, New York, NY Trying to make deal with Davis for Mickey. Davis insists Mickey must be released before Jan. 1st (1918) and asks 200,000 inside six months refusing to consider any other terms because of Triangle contract with you - stop - I want to handle picture but cannot meet his terms - first because time is too short to give picture proper exploitation and with conditions as they are in the country I would not guarantee to get sum he asks and consider it impossible to get anywhere near that sum inside 6 months Will you sell me your claim of 200,000 for 150,000 cash and I can then do business with Davis Please wire me - Broadway NYC. I am sending this wire with Davis permission
Keeping step with the times, Director George Loane Tucker has decreed that Mabel Normand’s newest picture, “Dodging a Million,” by Edgar Selwyn and Aubrey M. Kennedy, shall play upon the ice-skating rather than the dance craze. In a supper grotto set for the new picture an ice rink will replace the customary waxed floor. Mabel Normand and Tom Moore, her leading man, will do the skating. * from Motography, January 26, 1918 (Mabel Normand’s) unique personality, long familiar to “fans” through her pioneer work in screen comedy, will be seen once more in motion picture theaters on January 28, through a vehicle supplied by Edgar Selwyn, playwright and manager, and A. M. Kennedy, director of productions at Goldwyn studio. It is called “Dodging a Million“ and it displays a Mabel Normand clad in silks and ermine. As a maid in a modiste’s shop, Miss Normand learns of a heritage of untold millions which is hers through the death of an unknown Spanish relative. The maid promptly blossoms forth in the richest of Hickson gowns and moves to the Ritz, where a wealthy young man, in the person of Tom Moore, makes her acquaintance. With the addition of a mysterious stranger, who insists on edging his way into all the heroine’s daily comings and goings, the two pursue an eventful career involving a bottle of poison, the cat of a millionaire corset maker, irate bill collectors and the threat of death. The settings provided by the story include a fashionable restaurant where ice skating is the vogue, a glimpse of the Russian Ballet at the Metropolitan Opera House, a complete Fifth Avenue modiste’s shop with mannequins and frocks galore, and a battery of express elevators. The director is George Loane Tucker. * from Picture-Play, February 1918 |