Mabel normand

How would you like to stage a snowballing party in Southern California? Ridiculous, you say.

You’re all wrong, and if you don’t believe it write to Mrs. Charlie Chaplin (Mildred Harris) and ask her about one she and Mabel Normand staged.

It was on the top of Mount Lowe, the famous peak of the Golden State, and the two screen queens and a party of friends had a royal time battling with each other. Mrs. Chaplin was captain of one of them and Mabel Normand led the other.

Mabel Normand was responsible for one of the floats in Pasadena’s annual Tournament of Roses on New Year’s Day. Hearing that some of her juvenile admirers in California’ Crown City had been saving their money all year to participate in the tourna­ment, Miss Normand sent word that she would have an entire float decorated with violets for them. It was one of the most beautiful there.

Mabel Normand passed through Chicago a few weeks ago, en­route to her first field of glory, California. I recalled two other transits of Chicago by la Normand. The first seems centuries ago, yet it is only a few years. Then the poor and unknown little Biograph girl, bubbling with enthusiasm, traveled unno­ticed, unheard-of, to the stages on which she was to become the greatest of Keystone comediennes. With fame that she scarcely realized she came back -- presently. Reporters clustered about her almost-private car. Waxen from a recent illness, shrouded like a doll in a wonderful gown, her hands glittering with jewels, she saw them for a few moments, enroute to New York and a fabulous stellar salary. Now she’s going to do “Sis Hopkins“ on the Goldwyn-Triangle lot. It has been done, once by Rose Melville, but let us hope the revised version brings back to us the long-gone inimitable Normand of old.

 Grace Kingsley

Mabel Normand is still somewhat weak from the severe attack of influenza which she suffered a few weeks ago. She is compelled occasionally to rest a day, and last Friday took a day off from labor.
* excerpt from New York Morning Telegraph, February 9, 1919

Mabel Normand’s Alarming Symptoms¹⁵¹

Mabel Normand, Goldwyn star, is still somewhat weak from her recent attack of influenza, and is compelled to take an occasional day’s rest. During her illness Miss Normand became something of a reader...

Mabel Normand has been very ill, more seriously ill than any one outside of her close friends knew. She had double pneumonia, and for days her life hung by a thread, with everyone almost breathless in fear Mabel wouldn’t get well. She is now convalescing rapidly, and everyone is spoiling her and letting her have pretty much her own way. Miss Normand’s brother, Claude, is due from overseas this month, and Miss Normand at once decided she had come to New York and see him when he arrived.

Now, the Goldwyn Company didn’t want to make the nearly well Mabel worse, nor did they feel the could afford to have her lose any more time at the studio. A consultation took place and it was finally decided that it would be cheaper to send Claude to California, so that’s the way the whole thing rests. Claude goes to California as soon as he is mustered out.
* from New York Morning Telegraph, February 23, 1919

Miss Normand’s Memory

For all of Mabel Normand’s capriciousness, she is a veritable Gibraltar of steadfastness when her heart is touched. She is apt to pass over lightly an enthusiastic review of her newest Goldwyn picture and treasure the remembrance of a personal kind­ness.

Such an incident is fresh in the minds of those who know her best. It happened the first day she rode out after her recent illness. Her big maroon automobile stopped at a market. Hurrying inside she recognized the pale face under the big hat, no one, that is, except a man behind one of the stalls. No sooner did he get a look than he began hastily slice tongue, salami, and other delicacies to proffer them on a sheet of wax paper when Miss Normand stopped. It was Bert -- but let her tell it in her own way.

“He hadn’t seen me for two years, not since I signed my Goldwyn contract and went to New York. But he remembered me. Think of that! Always in the old days I used to go down to the market on Saturday afternoons to get plump chickens and things Bert saved for me, and always gave me what they call in New Orleans lagniappe -- slices of the most appetizing bolognas and things of that sort. He remembered how ravenously I used to gobble them and -- oh, he just remembered that and me! Wasn’t it wonderful, after two years? I hope he hears how grateful I am because I’d much rather he knew than to read absurd stories about my being a cinema star. I told him, of course, but it would be much nicer to have him read it. So just let this be the interview you asked for, won’t you?”

To date no one has ever refused Mabel Normand anything.
* from Motion Picture Magazine, March 1919

“Mickey“

(Goldwyn) [sic]

An entertaining comedy with Mabel Normand in the lead. Excellently played and photographed. Some of the western scenes were artistic in the extreme and the types and rural characters are excellent. There is something in this play to please everybody. While the story is not very strong, it is done so well and the acting is so fine that the story does not make much difference. It is remarked that this play was started two years ago and was widely advertised at that time. They took about 20,000 feet of film in the making and finally cut it down to 5,000 or 6,000 feet, and there are places where the story does not run quite as smoothly as it might. However, this is all lost in the wonderful atmosphere and cleverness of the character types. Miss Normand is seen in a new role. At first she is a simple rollicking unsophisticated country girl; second, she is dressed up in society clothes; third, she returns to her former life and fourth she marries her rich sweetheart. There are many fine human types in this play as well as several notable scenes. Miss Normand was once a famous diving girl away back in the old Biograph days, some six or seven years ago, and later in the Keystone comedies. In this play she again shows her shapely form and graceful diving stunts, but alas, at such a distance, that we are not sure that it is Mabel herself. This may be due to modesty on the part of the director or Miss Normand -- or it may be due to the fact that Miss Normand was apparently without bathing clothes  being a poor miner’s daughter living in a rough hut. That being the case, the public will probably excuse the director from keeping Miss Normand in the dim and distant background. In our judgment, this play is a winner.
* from New York Morning Telegraph, March 2, 1919

 Louella Parsons

[from an interview with Roscoe Arbuckle] ... And now about Fatty and Mabel. Fatty says he would love to have Mabel for his leading lady, and has always selected his heroine with an eye to the Normand type. And Mabel says she would like to have Fatty for her leading man, because they work well together, and there you are. Only Mabel is tied up with a Goldwyn contract and Fatty is signed with Paramount. So it looks as if the wish of the public to see Mabel Normand in Arbuckle comedies will not be realized for the present, at least.
* from New York Morning Telegraph, March 2, 1919

 Louella Parsons

While Mabel Normand was making “Sis Hopkins“ at the Goldwyn studios in California, she noticed Madge Kennedy busily engaged with drawing board and pen and ink. The ebullient Mabel’s curiosity was aroused, so while they were shifting the camera she went around and peeped over Miss Kennedy’s shoulder and discovered that the object of all this industry was a pen and ink sketch of herself as Sis, pig-tails and all.

For before Miss Kennedy went on the stage she was an art student and had made quite considerable progress toward ambitions from which she was diverted by the enthusiasm of the late Harry Woodruff, who insisted that with grease paint rather than with oils or watercolors she would achieve her maximum of success. Recently she has been employing her spare moments in between scenes at the Goldwyn plant by making sketches of her colleagues.

Curiously enough, it was also the fair Mabel’s ambition at one time to become a cartoonist. As everybody knows, she used to be a model for Charles Dana Gibson, Harrison Fisher, Howard Chandler Christy and several other artists before she ever went into the cinema. And all the while she was posing she was trying to learn to draw, with the encouragement and help of some of the men she was posing for. Since she became a star, however, she has drawn very little but salary checks.

But the sight of Madge Kennedy‘s industry has fired our Mabel with a recurrence of the old ambition. She immediately dispatched the amiable and ubiquitous Norbert Lusk to procure drawing materials -- scads and oodles of pens, pencils, bottles of india ink regardless -- and began to while away the intervals during which new sets are put up by making sketches.

Several magazines are bidding for the results of all this industry. So we shall soon see how Mabel Normand looks to Madge Kennedy and how Madge Kennedy looks to Sis Hopkins.
* from New York Morning Telegraph, March 2, 1919

 Grace Kingsley

This is the tale of a goat who had his own goat got.

Having a member of the cast along on location who eats up the props is a thrilling and somewhat wearing experience, take it from Mabel Normand, Goldwyn comedienne.

While Miss Normand and her director, Christy Cabanne, enjoy kidding as much as anybody else, the experience she had the other day wasn’t kidding, even if a goat which appears as an actor in the comedienne’s current picture was in on it. To be precise, the company was working twenty miles away from the studio, when Mabel suddenly discovered her red apron was missing. Everybody was being blamed, from director down to property boy, when Mabel suddenly uttered a shriek. “Look! Look!” she cried, and the company looked. Then Mabel pounced on the goat and wrested shreds of the precious garment from the jaws of the animal. Miss Normand declares she pulled a big bunch of the apron right out of the goat’s throat as it was going down. Be that as it may, she rescues enough red calico to be able to piece together an apron from the salvaged bits and some other material she happened to have with her.

As if the property boy’s duties weren’t difficult enough, Miss Normand rebuked her maid by transferring her bottle of tonic to the boy, with instructions that he call out the hours, like a ship’s bell, so that she would know when to take the medicine made necessary by her recent attack of influenza.
* from New York Times, March 3, 1919

Mabel Normand is at the Strand as Sisseretta Hopkins, better known to the past generation as “Sis.” Miss Normand dresses and acts Sis Hopkins convincingly. She does not become educated and wealthy in the last reel, and appears in an evening gown, and those to whom Rose Melville’s famous character is familiar will enjoy Miss Normand’s impersonation. She is well assisted by John Bowers as Ridy, Sam De Grasse as Vibert, and Thomas Jefferson as Paw. The oil can, which is one of the active members of the cast, as the story is told on the screen, has an opportunity to play its part, which it does well.

Mabel Normand has returned from Balboa. She has been making some scenes for her new production at the beach resort. Her long anticipated “Mickey“ is to be shown at the Kinema beginning Sunday.

A pleasing old-fashioned comedy-melodrama that has all the “good old” punches and is doubly interesting because Mabel Normand plays the title role. Miss Normand is the whole picture. Her antics as the grotesquely gotten up rube girl, who is sent to a “girl’s cemetery” for “eddickashon,” brought no end of laughs from the audience.

The picture for the greater part was inexpensive to produce as the scenes are mostly exteriors with the exception of about four interiors that were not costly. The supporting cast was fully adequate and the characters were held to the costuming of about a score of years ago to get comedy effects in dressing as well as in situations.

In addition to Miss Normand the comedy assets are the titles. They manage to convey untold comedy and served the pur­pose of amusing the strand audience on Sunday. Coupled with fine weather and this picture as an attraction, the Strand last Sunday had the biggest day in several weeks. There was more of a line out front than at any time since the playing of “Virtuous Wives” at the house.

The picture is an adaptation of the old Rose Melville play, directed by Clarence B. Badger with camera work by Percy Hilburn, and is released by Goldwyn.

In the cast supporting the star are John Bowers in the role of the juvenile rube lover, true to type, and giving a splendid performance. Thomas Jefferson as the father of “Sis” was most excellent, while Sam De Grasse is the heavy, who is trying to marry “Sis” because he believes that there is oil in Hopkins bottomlands, was all that could be desired.

In playing “Sis Hopkins“ particular stress must be laid on the comedy angles of the picture and the fact that Miss Normand who starred in “Mickey“ is seen in it. (Fred.)
* from New York Morning Telegraph, March 9, 1919

Mabel Normand Gets a Thrill

Ferrying a temperamental raft across the squally waters of Balboa Bay on a windy day isn’t all beer and skittles, says Mabel Normand, who ought to know, because that was the precise stunt she accomplished the other day, in pursuance of art as exemplified in her current picture.

In point of fact, Miss Normand got a ducking in the course of her performance of the feat. In the story, the heroine is supposed to row a ferry across a broad river. Balboa’s back bay, a few miles from Port Angeles, offers an interesting background and so the scenes were laid there. Miss Normand made the start all right, on her frail craft, but a sudden wind springing up made the waters rough, and when several yards from the shore she was washed overboard. However, there were willing hands close by, and Miss Normand being herself a marvelous swimmer, she was quickly hauled aboard a rowboat, and, barring a bad cold, is none the worse for her experience.

“And they speak of this as comedy,” ejaculated Mabel, as she shook the water out of her curls.

 Grace Kingsley

Los Angeles -- Mabel Normand has completed “Fog’s Ferry”¹⁵³ at the Goldwyn studios, and on Monday will commence work on a new story. The name and nature of this story is not yet divulged, but it is understood that Victor Schersinger [sic] is to direct.
* from Moving Picture World, March 22, 1919

When the Grand Central from New York backed into the Toledo terminal on Sunday evening, March 9, a young army of picture fans, headed by H. C. (“Doc”) Horater, managing director of Toledo’s Alhambra Theatre and a number of newspaper reporters and cameramen, swept past the gatekeeper and formed a “reception committee” in front of Pullman Number Nine.

The “Sis Hopkins“ who stumbled into Toledo was the same “Sis Hopkins” who stumbled along the main thoroughfares of New York during the week’s engagement at Mabel Normand in “Sis Hopkins” at the Strand Theatre. The model engaged by Goldwyn to aid in the exploitation of the picture left New York at midnight Saturday for Toledo to help “Doc” Horater put over “Sis Hopkins” at the Alhambra, where it is now having its Toledo premiere.

Mr. Horater escorted the model from the station to his theatre. Goldwyn had wired Mr. Horater that the model would get off the train in her “Sis Hopkins“ make-up and the Toledo newspapers published the telegram and ran columns of publicity. “Sis” arrived at the Alhambra Theatre in time for the start of the second show. In reel two of the picture, during the scenes where Mabel Normand springs through acrobatic stunts in a pumpkin grove, the screen was raised, the lights were flashed, the orchestra struck up “Turkey in the Straw” and out stumbled “Sis Hopkins,” who, to the complete surprise and delight of the audience, entertained them in a five-minute skit of eccentric dances, clowning and imitations.

During the engagement of Mabel Normand in “Sis Hopkins“ at the Alhambra, the model will promenade about the main business and residential thorough-fares, attired in that outlandish get-up.
* from Los Angeles Herald, March 27, 1919

Under the direction of Victor Schertzinger, Mabel Normand’s new Goldwyn picture is well under way. It is a small town farci­cal attraction, a medium in which the new director excels, and an interesting cast has been assembled to do justice to the human types.

Her return to broad comedy made safe for all time by the success of :”Sis Hopkins,” Samuel Goldwyn is shortly to present Mabel Normand in a new comedy vehicle. It is “The Pest,” a play that provides more action, more ridiculous situations and more opportunities for superior clowning and fun making than any other of her previous successes.

The picture was produced under the direction of W. Christy Cabanne, who makes his skill known in Goldwyn Pictures for the first time in this important assignment. In the production the comedienne is again seen, as a rural mischief maker, with, however, the addition of a logical reason for blossoming forth as a metropolitan belle.

Much of the interest is found in the primitive country ferry which Puckers, the character played by Miss Normand, runs across a shallow river. Out of Pucker’s mismanagement of the ferry develops a surprising plot, which involves, not only the girl, but every person in the town, with the big secret kept until the last scene of the play.

For portraying the amusing village types, Goldwyn surrounds Miss Normand with an interesting cast. Once more John Bowers is given the part to play a “rube” part. He is Mabel Normand’s leading man, and divides the comic honors with the star. Alec B. Francis makes his first appearance with her since “The Venus Model,” and Charles Gerard, Jack Curtis, James Bradbury, Leota Lorraine and Pearl Elmore complete the list of principals.
* from New York Morning Telegraph, April 6, 1919

Those California Parties

Our California correspondent partying with filmland sends us the following account of a dance party Marshall Neilan gave to the motion picture world in Los Angeles. In her own words and style of expressing herself she says:

“Some party! Marshall Neilan decided to have a party. He engaged the Gold Ballroom at the Alexandria; two jazz orchestras, some Chinese entertainers and about 500 invitations by wire, and was host Saturday night to one of the most notable gatherings in the history of motion pictures. Supper was served at midnight, after which a half a dozen Chinese minstrals appeared and an­nounced that Geisha maids would serve chop suey in the Chinese room adjoining. Later dancing was resumed and the party broke up about 5 o’clock.

“Some of those present were: D. W. Griffith, Mr. and Mrs. Jesse Lasky, Mr. and Mrs. Richard Rowland, Samuel Goldwyn, Bert Lytell, May Allison, Pauline Frederick, Clara Kimball Young, Nazimova, Charles Bryant, Mr. and Mrs. Maxwell Karger, Herbert Blache, June Mathis, Kay Laurel, Edna Purviance, Blanche Sweet, Dorothy Gish, Bobby Harron, Richard Barthelmess, Lillian Gish, Mrs. Gish, Olive Thomas, Jack Pickford, Mrs. Charlotte Pickford, Clarine Seymour, Mildred Harris Chaplin, Mr. and Mrs. Mahlon Hamilton, Robert Ellis, Frances Marion, Clara Williams, Dustin Farnum, Winifred Kingston, Kathleen Clifford, Maurice Tourneur, James Kirkwood, Kathleen Williams, Constance Talmadge, Charles Eyton, Robert Vignola, Douglas Gerrard, Lew Cody, Mr. and Mrs. Al Cohn, Bessie Barriscale, Howard Hickman. Mr. and Mrs. Bryant Washburn, Tom Moore, Owen Moore, Mr. and Mrs. Joseph Kilgour, James Quirk, Harry Garson, Hugo Ballin, A. Lehr, Edwin Carewe, J. Fred Zimmerman, Ray Griffith, Eddie Cline, Marjorie Daw, Harry Hamm, Mercita Squire, Reginald Barker, F. W. Eldridge, Florence Lawrence, Howard Mortan, J. L. Frothingham, Nigel Barrie, Alice Lake, Mrs. and Mrs. John Ince, Rex Ingram, Joseph Ingel, Viola Dana, Virginia Norden, Anita Stewart, Mabel Normand, Clifford Grey and Mrs. Wilfred Buckland.”

The cold germ seems to be flitting about the Mabel Normand domicile. Mabel was absent from the Goldwyn studio last week due to a severe cold, the third she has contracted since coming out here.

 Louella Parsons

“Which would you rather do, play a village cut-up or a society girl?” Miss Normand was asked. “Race Tom Moore in my new Stutz,” she answered.
* from Los Angeles Times, May 2, 1919

Mabel Blooms Again

With the roses of health once more blooming on her cheek, Mabel Normand has returned from her sojourn the mountains. She will continue to vacation for a week or two, however, at the end of which time she will commence work on a new Goldwyn picture.

Miss Normand was taken ill with influenza in the middle of the making of “Sis Hopkins.” Being eager to finish the picture on schedule time, she returned to work sooner than she should have done for her health’s sake, and has been a bit under the weather ever since. Now, however, she is again the old Mabel, and by the time she returns to Goldwyn studio she expects to be just pulling at the halter to get back to work.
* from Dramatic Mirror, May 6, 1919

Normand’s New Role

In the forthcoming five-reeled subject, “When Doctors Disagree“ (Goldwyn), Mabel Normand will be seen in a screen character entirely different from any she has hitherto portrayed. Generally Miss Normand’s roles have been of the kittenish, hoydenish type; in the picture to be released May 25; it will be something more serious and sedate.

Crowded with the subtle comedy touches by Mabel Normand, “When Doctors Disagree,” the Goldwyn comedienne’s newest vehicle of mirth, bids fair to surpass in popularity her previous comedy successes.

“When Doctors Disagree“ calls for animation and action, for ridiculous situations, for superior clowning and funmaking -- in fact, no other Mabel Normand production was so rich in opportunities for exploiting the many phases of the Goldwyn star’s talents for broad comedy.

The comedy was written expressly for Miss Normand by Mrs. Anna F. Brand. Victor L. Schertzinger, director, is supervising the production.

Miss Normand has the role of Millie, the terror of her town. Right from the start Millie incurs the enmity of everyone in the staid old burg when she breaks up a gala May party.

Among the players in Miss Normand’s support are Walter Hiers, George Nichols, Fritzie Ridgeway, William Buckley and Alec. B. Francis.