Mabel normand
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“The Pest“ Wire Reports -- East Box-office value..................Good Exhibitor comments: “Normand a hit in everything she appears in here.” “Play is clever.” Wire Reports -- Central Box-office value..................Good Exhibitor Comments: “Story interesting and there is good comedy relief.”
Box-office value..................Fair Exhibitor comments: “Did fair business.”
Entertainment Value........Good Dramatic Interest..............Sustained Technical Handling.........Well Done Coherence.........................Clear Acting...............................Good Scenic Setting...................Good Photography.....................Fair Quality as a Picture..........Above Average
Romance of Little “Jigs” Ascher, who is a ferryman on a tiny rural river. * from Los Angeles Times, May 14, 1919 Mabel Back on the Job Mabel Normand decided that she was so healthy and full of pep that she didn’t need a month’s vacation after all. She is to return to work at the Goldwyn studio the first of next week in a new picture which will be under the direction of Victor Schertzinger. * from Moving Picture World, June 19, 1919 Life as it is lived by the toilers below the street level in a modern palatial hotel is presented from the comedy angle through five reels of roaring laughter in Mabel Normand’s latest Goldwyn production, “Upstairs.” As the little slavey in the sub-kitchen of a hotel, toiling in overalls and cap, yet always hoping to share in the luxurious life in the hotel parlours “Upstairs,” Mabel Normand runs the gamut of emotions from pathos to tears, and when she finally finds a way to play the “lady” for only an hour her antics disclose hitherto unrevealed possibilities.
[This advertisement is presented as if its contents were written on a chalk board (by Sis Hopkins), and most of the letter “S” ‘s are spelled backwards. In the corner is a little picture of Mabel as Sis, with caption that reads, “That’s me – Sis”] Dere Frendz Pa sez he jest knowed they couldent keep me out of the movin pichers, -- That folks like to laff, and cry a little, and then laff sum more -- so here goes, gosh ding it
And Charlie Chaplin, will make you laff too in his good old pichur “The Bank” a Chaplin Clazzic Zignur Natiello leedin the Band, Fanklyn Wallace zingin, news pichur and so 4th.
Pity Mabel Mabel Normand says she knows at last what “cruel and unusual punishment” is. She is undergoing it now in the making of her newest picture at the Goldwyn studio. It is little short of inhuman, she says, to have the very best jazz band every playing fox-trots and one-steps, and then have her stumbling around, pretending she cannot dance. Mabel Normand not dance! Why, she does it with such joy and ease that if a paralytic saw her he would throw away his crutches, sure that he, too, could dance. And then she has to be urged, almost forced, to dance in this picture, and while the perfectly good music goes on, she falls over her partner’s feet and trips herself and bumps into other couples. “People may laugh when they see the picture,” said Miss Normand, “but if they do it is just the old story of the clown who was funny, while his heart was breaking. My dancing temper is ‘all got up’ by the music and the good floor and the fine dancers -- and then, and then -- well, words fail me except these: If I get away with that scene, I’ll know I’m some actor. Me not want to dance -- huh!” * from Dramatic Mirror, June 24, 1919 “Mickey“ Breaks Record Mabel Normand now ranks as the best box office attraction ever seen in Cincinnati, as “Mickey“ is entering upon its third week at the Grand Opera House. Records of the theater show that the attendance has eclipsed the mark set two years ago by “The Birth of a Nation.” Attendance grew apace as the run was lengthened. The race track scene is of great interest, as the Latonia races are on across the river. Horse named “Mickey“ got a big play every time he was entered, but did not repay his backers for their faith. The song “Mickey“ is sweeping Cincinnati, either being sung or whistled. * from Motion Picture, July 1919 Of all the nutty news of the month, the prize goes to the announcement that Mabel Normand has installed a peanut roaster in her dressing room. * from New York Morning Telegraph, July 6, 1919 Margaret Ettinger Mabel Normand is, oh! so happy. Her brother, Claude Normand, has just returned to New York after a year overseas.
Mabel Normand, the girl with the expressive personality and acknowledged queen of the screen, in “Mickey,” a Mack Sennett production with an all-star cast, will be the attraction at the Bijou Theatre, Lowville on Wednesday and Thursday, July 30 and 31, afternoon and evening. “Mickey” is full of fun and frolic. It sparkles with humor and bubbles with laughter, so that there is not a dull moment and when the entire production is over the play seems too short and you wish to see more of “Mickey.” There is a deep, heartfelt appeal in the unaffected, wholesome love of this adorable little girl, “Mickey;” not much of a name, but she was as true as steel with the heart of a Juliet for her Romeo. No photoplay has yet been produced so filled with adventure and excitement. The climaxes fairly bring you to your feet out of sheer enthusiasm, and you forget all worries and troubles as she carries you through her wild and lovable career. “Mickey” is conceded to be the greatest motion picture ever screened, and whether you are young or old, you are sure to enjoy her. * from New York Telegraph, July 27, 1919 Margaret Ettinger Los Angeles -- Scarcely a week passes without a notable gathering of the picture folk, socially. This week the assemblage was such a tremendous affair that it caused quite the biggest commotion of anything thus far given. The occasion was the automobile races at Ascot Park, in which almost every star and director of the West Coast participated. Besides, there was a parade of the motion picture stars, so those who did not race appeared on the track at any rate, and gave an exhibition fashion parade, garbed in their latest Paris creations and riding in their newest Rolls-Pack-Arrow cars. Among the entries in the fast races were: Marshall Neilan, Tom Mix, Carter DeHaven, Douglas MacLean, Donald Crisp, Henry King, Roscoe Arbuckle, Lew Cody, Al St. John, Ed Flannigan, Larry Semon, Earl Montgomery, and Joe Rock. The fashion parade included a stream of pictureland’s best known actresses: Blanche Sweet, Anita Stewart, Peggy Hyland, Bessie Barriscale, Priscilla Dean, Enid Bennett, Pauline Frederick, Gertrude Selby, Virginia Lee Corbin, Juanita Hansen, Lila Lee and Dorothy de Vore. The boxes were full of screen celebrities and their guests. Viola Dana, Geraldine Farrar, Shirley Mason, Wanda Hawley, May Allison, Bert Lytell, Tom Moore, Douglas Fairbanks and Mabel Normand were on hand to watch the fun. A special feature of the day was the race between Cecil B. De Mill in an airplane against Thomas Ince‘s high powered car piloted by Eddie Hearne and which the latter won. The park was crowded, and best of all the proceeds of the big program races were added to the Actors’ Fund and besides it was just another of those get-togethers, which are becoming so popular out here and which are doing much to put the picture people on a more firm and friendly basis.
At the present time, the roster of (Goldwyn) stars comprises Geraldine Farrar, Pauline Frederick, Mable [sic] Normand, Tom Moore, Madge Kennedy and Will Rogers. * from Moving Picture World, August 9, 1919 Giebler Mabel’s got a great little circus, with a 10-piece Afro-American orchestra -- does anybody know of any kind of band that can make sweeter music than a nigger band? I wot not -- and three elephants, one of whom -- I whope [sic] it’s all right to refer to an elephant as whom -- was running up the cost of production by putting one of its little hoofs on a nice piece of redwood plank and breaking it into splinters. Vic Schertzinger, who was directing the circus, said he’s going to take Maud -- it was a lady elephant -- home with him to split kindling. John Bowers was in the circus. John plays the part of a slicker, three walnut shell stuff, and Ogden Crane, who was wearing a suit of clothes that made loud and resonant announcement of his calling of circus manager. Mabel who is playing the part of a waif whose parents, once performers, have died and left her with the circus, had a costume that can best be described as a “get up.” Overalls, boots, a vest that was formerly worn by the fat man, a sleeveless shirt and a hole-y hat… As I said before, Miss Normand is a regular circus. When she was not entertaining us with her talk and an exhibition of a temperamental star eating watermelon, she was persuading us to do stunts in the circus ring and get photographed at it. There wasn’t a dull moment at Mabel’s circus set, and I had to leave sooner than I wanted to, but I had the pleasure of meeting Will Rogers immediately afterwards, which compensated somewhat. * from New York Morning Telegraph, August 24, 1919 Louella Parsons Mabel Normand Says -- Mabel Normand is running Will Rogers a close second out at the Goldwyn studio, as a sayer of clever sayings. The wonder is that they find time to do any work on the screen, but from time to time, news is sent out by the faithful press department of pictures, completed or pictures, so evidently they do other things besides try to out rival each other in wit. Mabel’s latest sayings go as follows. “I never knew a funny man who wasn’t fat -- until I met Will Rogers.” “Some folk think they’re geniuses, when all they have is a bad temper and indigestion.” “By the way, did you ever see a blonde old maid?” “Some people say that ‘jazz’ isn’t music. They’re the kind that don’t know how to dance.” “No -- all directors aren’t born with a megaphone to their lips. Some of them have lungs.”
Box Office Value.............Good Exhibitor Comments: “Funniest ragtime romance in many moons.” Wire Reports -- Central Box Office Value.............Good Exhibitor Comments: “Splendid attraction.” Wire Reports -- South Box Office Value.............Good Exhibitor Comments: “Very funny.”
Dramatic Interest..............Slight Technical Handling..........Fair Coherence of Narrative....Good Acting..............................Capable Scenic Setting...................Good Photography.....................Good Atmospheric Quality.........Fair Quality as Picture.............Good
A little nondescript in a “below stairs” job in a hotel catches a glimpse of high life as is lived upstairs in the hotel ballroom. A conniving society youth, a borrowed get-up, and a lot of nerve, she makes her society debut, and wins a big reward for apprehending a dangerous character. * from Dramatic Mirror, August 28, 1919 At the Strand -- “Upstairs” -- Goldwyn -- Mabel Normand Selections from Mascagni’s opera “Cavalleria Rusticana” is the overture at the Strand this week. During the rendition the lights are dimmed down for Ave Maria. The back lights coming through the side windows and center gave a churchly effect. At the close of the overture the Strand Topical Review was shown opening with a march, called “World Peace.” General Pershing in command of American troops about to embark for home led off the news, followed by a novelty in the shape of the book containing the Peace Treaty with all the signatures in close-ups. A waltz by the orchestra ushered in scenes of motor transports in California being directed from the air, and then a fine scene of sailing yachts. The main feature, however, was the landing of the Prince of Wales in Canada, for which the orchestra played “Maple Leaf Forever.” A stirring shot of the big Pacific fleet arriving closed the Review. The usual Topics of the Day from the Literary Digest followed the close of the news, accompanied by a waltz. The vocal numbers are excellent, Eldora Stanford sings the famous “Cradle Song,” arranged from the “Caprice Venoise” by Fritz Kreisler, adding as an encore the old favorite, “Annie Laurie.” The first was accompanied by the orchestra and the latter by the organ alone. Carlo Ferrettie, a new baritone with a fine voice, sang “Lolita” by Buzzi-Peccia. Both singers were received with generous applause. The feature was occupied by Mabel Normand in “Upstairs,” a Goldwyn picture. In the cast are Edwin Stevens, Cullen Landis, Buddy Post, Beatrice Burnham and Kate Lester. The story concerns the adventures of a kitchen mechanic who aspires to life “upstairs” just for once. She is enabled to do this trick through a society man disguised as a bell-hop. A Little Mary Mixup gets into the plot about the second reel and furnishes an entertaining development in which the girl from the kitchen gets the hero, after a comedy fight in a bedroom. The orchestra played excerpts from “Roi Dit” as an introduction and a great deal of jazz for which the action calls. The organ took the picture at the telegram insert, the orchestra switching in again at title “The man you’re with.” One or two agitatos of conventional type are used for the fight. The picture presents no difficulties for an average orchestra or organist. * from New York Morning Telegraph, August 31, 1919 Louella Parsons What It All Means! Mabel Normand has been going in for psychology and psycho-analysis to say nothing of the dictionary, if one is to judge by an interview she is supposed to have just given out, in which she says of Victor Schertzinger, who directs her pictures: “He was a musician and composer before he reformed to make pictures and his cosmos is made up of harmonious vibrations. I’ll admit I’m temperamental at times, but I don’t dare take liberties with Mr. Schertzinger because his vibrations are inhibitory. Mine being antipodal, I’m kept in order all the time.” Is Mabel, we wonder, thinking of giving up being the beloved tomboy of the screen to accept a chair of philosophy in some university? We ask you, Mabel, do explain the meaning of this interview. * from Motion Picture Magazine, September, 1919 Mabel Normand belongs three paragraphs ahead, having furnished the inspiration for “Kentucky Dream.” We might add that Miss Normand also furnished a striking photograph for the cover.154 * from Los Angeles Times, September 12, 1919 Mabel’s Musical Yearnings Mabel Normand, the vivacious Goldwyn star, is so full of brightness, music and joy that she demands something to go with her temperament. Monday the Schertzinger company went on location to Victorville, but no sooner had they traveled two hours than Miss Normand asked “Paw” Schertzinger, her director, where the band was. “Band?” queried he, “what band do you mean, Maw?” “Why our own company band -- where is our music for this trip?” “We did not order a band -- there is no dancing to be done.” “But I want a band,” Miss Normand pouted prettily, “and you know it will be nice to have at the little hotel, too besides, we can always work better.” The finish showed Director Schertzinger sending a telegram back to the studio, and, although he had rather a doubtful expression on his jovial face, he remarked, “Guess they’ll send it, for she has always had one with her -- and, goodness knows, she needs something to go with her joyful spirit.”
Author......................Shannon Fife Scenario by...............Gerald C. Duffy As A Whole.............Exceptionally human and smooth running comedy that hits on high and registers laughs with very pleasing regularity. Story.........................Just enough to tie together funny bits of business. Direction..................Gave great circus atmosphere with ideal conditions for star to register in, and kept comedy tempo just right to keep it from lagging at any time. Photography............Generally excellent; many splendid close-ups of star. Lightings..................Some beautiful exterior shots, with lighting on star excellent. Camera Work...........Very good throughout. Star............................Registered one of the greatest characterizations of her career. Support.....................Good types, with kids and animals fitting in naturally and registering much good comedy. Exteriors...........................Very good. Interiors...........................Quite satisfactory. Detail................................Very good. Character Of Story...........Wholesome and happy; will delight kids and grown-ups. Length Of Production.......4,069 feet They certainly have rung the bell with this latest Mabel Normand offering. The laughs come with a regularity that keeps you happy, and all of the comedy business blends naturally into the story, which provides just enough action to tie the incidents together and keep it running smoothly. Can you imagine opening up on Mabel in a funny roustabout’s costume, seated nonchalantly under a big elephant manicuring his nails? That first introduction is going to get them, and from that time on they will all be with Mabel, because comedy continues fast and furious without ever running too far afield to register effectively. Mabel is the Jonah of the circus, and when the star dancer quits Mabel undertakes to do the famous “Rainbow” dance in which she tries to manipulate yards upon yards of gauze at the end of two long sticks -- you remember, the old serpentine dance stuff. The fun they get out of Mabel’s efforts with this dance, which precipitates a fight between the “wild” man, who is Mabel’s friend, and the manager, with the panic of the crowd when the “wild” man escapes, is about as sure-fire as anything ever screened. Mabel, after her escape from the circus, lands at a farm house where a kindly old lady is caring for seven orphans of various ages, and after her human introduction (the kids thinking first she is a fairy) we find her staging a home circus for the youngsters. This provides many more laughs. Then we have a touch of melodrama when the drunken manager tries to get even with Mabel and almost wrecks the house, with the “wild” man again whipping him in a corking good fight, which melodrama is carried just far enough to not allow it to offset the comedy spirit which pervades the entire film. Of course, we finish with the “wild” man, who was also the ticket seller of the circus, and Mabel happy on the farm. The first reel gets away to a wonderful start, not only because of the excellent handling of the action but because of some very fine titles. There are many other good titles running through the film, some of them being classics. I believe this is one of the most effective things Miss Normand has ever done, because she gets a chance to put over human little bits of business that will register with anyone, and she swings from the uproarious comedy to the human little character touch so naturally that we don’t have any offensively false notes in the entire offering. If your crowd don’t get a good time out of the circus stuff in this, and the fun Miss Normand has with her first meal and the home circus on the farm, then there is something wrong with your gang, because this production should surely register as a real comedy in any community, and I don’t have to tell you how few real comedies are made. The general photographic value was excellent, and I want to particularly recommend the handling of Miss Normand’s close-ups, because those big beautiful eyes will certainly win anyone as photographed in this. Once or twice they were dangerously near letting the melodrama, needed to tie the story together, take up too much footage, but it was shut off just in time, and it provides the necessary contrast and action thrill to round the subject out very satisfactorily. The very pleasing cast included: Cullen Landis, Frances Carpenter, Ogden Crane, Gertrude Claire and Clarence Arper. * from Los Angeles Times, October 22, 1919 Mabel Normand Flits Mabel Normand flitted to New York last Sunday, accompanied by a great basket of fruit bestowed on her by a handsome young man, an admirer of hers named Clark Irvine,155 also by an equally handsome traveling case, the gift of her chum, Edna Purviance. Miss Normand is going to take a vacation in New York with her mother for a whole month, and declares she isn’t going near a studio the whole time, but that she does mean to feast her soul on the best new plays on Broadway. * from New York Herald, November 9, 1919 Mabel Normand Renews Contract Mabel Normand has set all the rumors as to her future at rest by signing a long term contract with the Goldwyn Company. Of course Miss Normand, who is in town for a vacation, has a lot of things to do -- such as seeing her old friends and buying clothes -- besides think of business. But the film companies just wouldn’t let her enjoy herself until she had decided the question of the one for whom she would make pictures. So she signed the contract with Goldwyn, and then, as an anti-climax to all the excitement, announced she had never had any intention of going to any other company. Mabel Normand has been playing her pranks on screen for the Goldwyn Company almost since its organization. There were only three or four pictures released before her first one was distributed. She has as much humor and “pep” added to a real talent for acting and unusual beauty that it is little wonder her pictures have proved so successful. “Pinto,” the picture which Miss Normand finished just before she came East for her vacation, she declares is the best picture she has ever done. It was written for her by Victor Schertzinger, who directs all her pictures. “Perhaps one reason I like it best,” said Miss Normand, “is that it is the first time I have played a Western girl. I’ve done all kinds of things in pictures, but this is the first time I’ve had the part of a Girl of the Golden West. And I love it! There are some exciting scenes in it on horseback, and I’m just sure that audiences will love them because I had so much enjoyment making them. “How long am I to be here? Until December 3. It is great fun to be back and see everybody I know and go to plays instead of making them. But when I get back to California, I’ll say it is good to be back there. And I’ll mean it, too. I’m always so eager to know all about my next picture. The continuity of the one I’m to go to work on when I return is being written now. But for the present, I’m really playing and playing in pictures.” * from New York Morning Telegraph, November 13, 1919 |