Mabel normand

A glance at the luncheon table at the Ritz yesterday would seem to indicate that not a motion picture editor in New York was absent. The occasion was a luncheon given to Mabel Normand by the Goldwyn Company, and the number of men present at the party would also seem to show that Miss Normand is very popular, for men, who seldom attend these star parties, were there yesterday and no one left until the star herself had quit the scene to keep a dinner engagement.

And Mabel Normand goes merrily on. Once she ached to play straight drummer, but nothing doing. Too clever in the funny parts, “Mickey“ has been played and even sung, and could be revived any number of times. Ask any fan to name the best comedy of the year and the answer will be in six letters, “M-I-C-K-E-Y.” “The Jinx“ carries some comedy catchy ads. Notice the seven black (I almost said green) cats on a green background? Speaks well for the successor of “Mickey,” and those on the inside say it’s bigger and better.

By Ray W. Frohman

ORIGINAL STUNTS -- hilarious, knockabout, tomboyish.

And sensational thrills, both athletic and melodramatic.

The combination, with an hors d’oeuvre of “emoting.” is comedy drama; and the leading exponent of her particular -- and delicious -- brand of it is MABEL NORMAND, the cyclonic funmaker of the screen.

HOW DID SHE “GET THAT WAY?”

Obviously the question called for a personal investigation, which I accordingly made at Culver City.

Ever since that convulsing combination of midsummer madness and thrills yclept “Mickey“ flashed upon the screen, the world of picture fans -- and that means the world -- has held its splitting sides in amused amazement, and amazed amusement, at Mabel Normand.

“What sort of creature IS this merry madcap?” is what everybody wants to know.

We have all seen her intersperse her funmaking with such thrilling episodes as handing by her toes from a springboard -- or by her fingernails to the edge of a house until her rescuer finishes a fist fight; or slugging a jockey and leaping onto his racing horse -- or even staging a finish fight with a desperate “villain” herself.

And no one who saw “Mickey“ “cutting up” in a gown “swiped” from the haughty rich girl, or diving in the distance wearing nothing in particular and wearing it well -- or saw that frowzy hoyden, “The Pest,” knocking gentlefolks galley-west by running her ferryboat “kerplunk” into the bank, or stuffing sandwiches by the dozen down her neck when at large in a home of wealth -- no one who received such a treat will soon forget Mabel’s frolics.

They are stored in memory’s treasure house of “working” delights.

An inspection of Mabel at large on the Goldwyn “lot” convinces me that she got her start BECAUSE SHE IS A “NATURAL BORN” “SCREAM” -- and that the reason she was starred is because she’s THE BIGGEST “SCREAM” IN THE WORLD!

As studio “cut-ups” go, she is the “cut-uppiest!”

We shall elucidate, enlarge, embellish.

It is a comparatively simple matter to interview “Mickey” -- for Mabel will always be “Mickey” to me.

All you have to do is wait a few day or week or so until the obliging publicity man, the production manager, the transportation potentate and a couple of others find out when the spirit of devilment will be confined to the studio.

For “on the set,” “on location,” or off duty, “Mickey“ is perpetual motion itself! A hare is a tortoise compared to her when her natural animal spirits are on the job.

Then, after making an appointment, you have only to wait until she devours a few chunks of steak at lunch -- with onions attached, as she is unconscious of the prying eyes of the public press -- and changes her costume a few times.

Surely you won’t mind waiting an hour or so while “Mickey“ straddles a tapering, vermilion exchange automobile for a dozen or so “stills”; pose it, hold it up, with her six-shooter in her RIGHT hand -- for she is great on being logical -- and christens it, with occasional hoarse roars of discomfort.

There is now nothing between you and the secrets of “Mickey‘s” heart but the “shooting” of a few scenes in her in-the-making picture, written by her director, Victor L. Schertzinger.

About sundown, when her work is over, “Mickey“ will turn in your direction and, if you’ll take a solemn oath that you’re not going to write “one of those stories” about what brand of chocolate the actress eats, and whether or not she is addicted to the perfume bath habit, Mabel will sit on the steps of the “set” and TALK.

But she’ll say little of HERSELF.

And you must hurry; and as there is FUN all over her profile and in every line of her fact, you can hardly pin her down to “real serious” facts, such as her birthplace or schooling.

Mabel will introduce you to Samuel Goldwyn, who happens to gumshoe by with his genial smile; her horizontal eyebrows will lift as she croaks a “Hello, Jack!” for the male Pickford, and give him a manly handshake; she will tell you that “Mr. Schertzinger is a wonderful director -- “he’s creative,” but the genuine, “on-the-level” “dope” about Mabel herself you must drag out by force.

“I DIDN’T HAVE BUT ONE BIT OF STAGE EXPERIENCE before I went into pictures,” opens this monologue-under-duress of the Peck’s Bad Boy of the screen.

“Hurry up, will you?” she ordered after she had said THIRTEEN WORDS!

Honestly, it was cruel! I knew “Mickey“ would rather be clinging to a chandelier, or treading the wheel in a squirrel cage, or something!…

[For the middle section of this article see “Biographies” section of this Source Book, as found in the appendix.]

…I didn’t have the heart to keep ‘Mickey‘s’ monologue from you any longer, or I’d have told you before how she was dressed when she “blew into” that colorful and animated cafeteria at lunch time to demonstrate that even a frolicsome comedienne -- with -- emotional -- moments must eat.

If you remember that “Cheyenne” song of years ago, she was “Shy Anne, shy Anne, hop on my pony.”

Her black curls were roofed over with a great big cowboy hat. Her jacket and divided skirt, which hung to her knees as a concession to public sentiment, were of buckskin, with buckskin fringe. Her forearms were bare and she wore an Indian bracelet of silver with turquoise in the center. Beneath her plump chin was a thin silk waist of light tan.

She was a snappy little cowgirl, and looked 17 or so.

And don’t miss the white silk stockings on her husky calves, and the black high-heeled shoes that of course all cowgirls wear!

Opposite her was her likable, curly-haired leading man, aged 24 -- Cullen Landis, the wild man in “The Jinx.” Pauline Frederick was nearby. Farrar and her “Lou” had just gone out.

In trooped a beautiful bare-legged, flaxen-haired Saxon goddess, of the Sennett bathing girl or Ziegfeld Follies type, wearing a red sash of Chinese silk -- nothing much in front and a mighty sight less than that behind -- and a daringly brief ballet skirt of white satin frills. Myrtle Rose -- an extra who’s going to be something more, unless beauty has lost its market value for the films.

Then they came by the scores -- 57 varieties of “extras,” make and female, in every stage of fancy dress and undress -- monks, outlaws, Circassian sirens, bellboys, everything! They had been making frantic efforts at 57 varieties of “shimmying” and merrymaking in a wild fancy dress ball-cabaret scene in one of Tom Moore‘s pictures.

But amid this tumult, this riot of color, and proximity of other beauties, snappy little “Mickey“ -- looking her cutest when just about to smile -- held her own on looks and interest!

Later, with the assistance of “Pa” Schertzinger‘s muscle and a couple of impromptu grunts from “Ma,” the acrobatic and irrepressible Mabel was incased in a huge, broad leather belt over the overalls she had donned, and a right Bill Hartish pair of “chaps.” High tan boots some slave had hoisted on her, and her light tan shirt was open at the neck.

That, mes amis, was Mabel Normand, the ludicrous stuntster of film comedy-drama, whose highly absurd situations, and the sport she get out of them, make her such a popular royal jester to His Majesty, the Public!

Grudgingly, she admitted something to this effect regarding her novel and “impossible” funny stunts:

“I think up SOME of them: but Mr. Schertzinger and I put our heads together and work out most of them. None are given to us in the scenario manuscript, you know.”

And then Mabel, wandering o’er the lea -- or lawn -- at the close of work, hand in hand with “Pa” and caroling, “We’re going on a vacation!” indulged in a couple of Parthian shots:

“No, I’ve never been married.”

“How old am I? Aw, I’m not a hundred and five!”
* from Exhibitors Trade Review, November 22, 1919

Goldwyn Welcomes Mabel Normand To New York; Luncheon At Ritz-Carlton

Like a ray of California sunshine, Mabel Normand flitted into the gloom of one of New York’s rainy autumn days and smiled and chatted with the score or more representatives of the press and the Goldwyn office force at an informal luncheon given in her home at the Ritz-Carlton Hotel Wednesday, November 19th.

The little Goldwyn star seemed glad to be in New York, although she confessed that she loved California, and hoped to spend her Christmas holidays there this season, having been deprived of any celebration last year by the attack of influenza which kept her in bed all through the festive Yuletide. She certainly didn’t look as if she had ever had a sick day in her life, and we want top record right here that Mabel is ever so much prettier off the screen than she is on, and that, and that is going some as all lovers of her mischievous, laughter loving face will agree. One misses her color which is like a California poppy in its fresh radiance, and the sparkle of her dark eyes, and the up-tilt to the corners of her mouth, which surely was never made for anything but smiles. She is a most natural, unas­suming, democratic little star, which is a welcome relief after the “up-stage” manners adopted by some of our lesser lights of the screen. She just chatted away like any normal, healthy minded girl, and told jokes on herself and asked all sorts of questions about other stars and screen people like a regular movie-fan.

She says Victor Schertzinger is the finest director ever, and she has to be back in Los Angeles by December 3, as she must start a picture then, and she doesn’t want any other star to get Victor first -- which should make that genial gentleman feel quite puffed up.

Mr. Ralph Block, director of publicity for the Goldwyn company, was a sort of master of ceremonies, although there weren’t any to speak of, everything being most informal. The central dining room on the main floor was the scene of the lunchroom, with a table decorated with pink roses and chrysanthemums and autumn leaves.

What did she wear? Oh, dear me yes, we were almost forget­ting that quite important question girls. Well, she had on a simple little blue serge dress trimmed in silver, and a soft blue and silver velvet hat, and a single string of pearls, and one lovely pearl ring, and a wonderful mink coat, and she looked like any well-dressed young society girl, with not the least attempt at anything theatrical, for while we again thanked her good sense and her good taste.

Mabel Normand made the crippled children of the Seaside Home at Avern, L.I., very happy yesterday by appearing at a special performance at the Strand Theatre. These little folks had previously seen her in “Mickey“ and when the Goldwyn star appeared on the stage there was wild excitement among the children.

In addition to Miss Normand, there were musical numbers, the Strand Topical Review and a comedy picturization of “When A Fellow Needs A Friend,” presented through the courtesy of the Famous Players-Lasky Corporation.
* from New York Morning Telegraph, December 7, 1919

Mabel Normand to Remain

Mabel Normand’s usual insouciant manner changed to one of exceeding anxiety when she thought she was to be shipped bag and baggage to the Coast before Christmas. But her anxiety wasn’t a patch on the real sorrow of her millions of friends. If Samuel Goldwyn had decided the young lady must make her next picture at Culver City he would have been visited in all possibility by a delegation of Normand friends who would have endeavored to make him change his mind when the happiness of one of his stars is at stake, and beside, who could refuse to let Mabel have her own way when she really wants a thing.

So Mabel is to remain in the East to make “Maggie,” her next picture. Work will be started on it as soon as the contingent from California arrives. Victor L. Schertzinger, who manages to understand the Mabel type of pictures better than any director she has had in some time, is coming on to direct her. He will be accompanied by his wife and Cullen Landis, the latter being cast as Miss Normand’s leading man. “Maggie” is by Edward Pepie.
* from Dramatic Mirror, December 18, 1919

“Maggie“ for Mabel Normand

Mabel Normand, Goldwyn comedienne, will make her next picture in New York under the direction of Victor L. Schertzinger, who directed “Jinx,” “Pinto,” and other productions. The vehicle selected is “Maggie,” a stage play by Edward Peple, author of “A Pair of Sixes.”

It’s been a case of “off again, on again, gone again, Finne­gan” with Mabel Normand for the last six weeks. After much coax­ing, she finally received the promise of the Goldwyn company to let her work in the East. She was as happy as a lark and every­thing seemed to be moving along beautifully. Victor Schertzinger and his staff came on to direct the picture, when the government stepped in and put a ban on coal. The company turned around and went right back again, leaving Mabel to follow on January. Then, alas and alack, the very day the Goldwyn company left town, the ban was lifted; but too late to permit Miss Normand to remain in the East. She leaves New York after the holidays.

Manicuring an elephant’s toe-nails, we first see Mabel Normand as “Jinx,” and then doing all odd jobs around the circus lot to square herself with the mob, only to be looked down upon by all including the “boss” as “patsy” of the troupe. And she is some “patsy,” too. For no matter how Miss Normand tries to do things they are all wrong with everyone but the “Wild-Man.” Even “Rory Bory Alice,” whom she tries to help out of a predicament turns on her.

But the “Jinx” is persistent in her determination to make good and when “Rory Bory” blows the outfit a few minutes before she is to do her serpentine dance, the “Jinx,” without consulting anyone, dons her resplendent regalia and attempts to interpret her fantasy. She becomes twisted up in the yards and yards of silk, balls up the dance, riles the boss, who attempts to get at her to throttle her, causes the wild-man to break loose from his cage and thrash the boss as well as break up the show, and drive all customers off the lot. Seeing what havoc she has wrought, she flees and takes refuge in a stall of a stable belonging to an orphanage run by “Aunt Tina.” She is discovered by one of the kiddies who reports to the rest of the children a fairy has been discovered. She is taken in as one of the household, but soon enough driven out because of the circus. The “Boss,” his sweet­heart “Alice,” meets the “Jinx” and attempts to beat out of her the information where his girl has gone. He tries to set the orphanage afire, when “Slicker” Evans, the “Wild-man,” comes along and trounces him and wins the heart of “Jinx,” with whom he has been in love.

Miss Normand shows her superior ability as a comedienne and uses her utmost talents in making situations humorous and getting laughs aplenty through them. She shows her versatility when giving a circus for the kiddies, doing “Wire-walker,” “Ballet,” “Dancer,” “Acrobat” and “Animal Trainer.”

The picture is an unusually pleasing one, does not lag, is consistent and full of punch. It is not an expensive production.

For this time of the year, it is an ideal release, interest­ing young and old and should outrival her previous picture “Freckles.”

One thing very noticeable was the closeups. Miss Normand should not have tried to stand the test in kid character.

Cullen Landis gave a remarkable performance as the “Wild-man” and also displays his athletic prowess as a pugilist. Flor­ence Carpenter in her “fly” part, left little for the imagina­tion. Ogden Crane seemed to over-play the circus owner, especial­ly in his fits of infuriation. Gertrude Claire and Clarence Arper gave the human interest touch as the orphanage keeper and the sheriff.

The first number of the Capitol’s current program is a Color-Land Review from the Prizma stock. This begins with scenes during stormy weather on the Pacific. Another subject is a line-up of Christmas toys, while the organ played “Adeste Fidelis.” The Capitol Girl appeared in several fetching costumes and smiled sweetly at the audience. Organist Berenstein played Kreisler‘s “Schon Rosmarin” for this section, ending with MacDowell’s “Old Love Story.” For this particular matinee performance the pictures were sandwiched in between the Wayburn Revue members, which made the program a varied one.

Hy Mayer’s “Travelaugh” gives some ideas of life on the east side of New York. These pictures, by the way, are a distinct novelty, being a union between the cartoon stunt and actual photographs with very excellent fade-ins. For short subject matter this series can be booked as a sure success. They are all interesting. The organ used old songs of New York, “The Bowery,” etc. For Little Italy he played “Ciribimibin,” and at the introduction of a gypsy theme Herbert’s “My Little Gipsy Sweetheart.”

The Capitol included many fine subjects from Kinograms, one being tree-planting by dynamite, another an array of carrier pigeons, just returned home from the front, all seemingly in good condition and able to eat corn. An enormous pig rookery in California furnished a lot of laughs. There is a strange bond between human beings and pigs. Shots of mining operations in Illinois, ruins in Italy, a toyland suggesting what is going to happen to father’s pockets in the next week, and many famous stars making a flag for the Actors Equity Ball closed this section of the program.

Pryor’s Band gave a concert consisting of a selection from “Quo Vadis,” an opera by Nougues, the conductor’s own popular “Whistler and his dog,” and finishing with Elgar’s first “Pomp and Circumstance” march. A Robertson-Cole Adventure Scenic gave a poetic exposition of a trip through Oregon mountains. This scenic is built on the Bruce plan and has very good titles. The organ used Cadman’s “Land of the Sky-Blue Water” and improvisations for this feature, the music being well fitted to the picture.

The main feature this week is Mabel Normand in Goldwyn‘s “Jinx,“ a fantastic affair written by Norman Fife. This is a pretty good picture for patrons under twelve years of age -- in fact, it is a young folk’s play from the start and should amuse children. There are some good children in it, including Frankie Lee and a naked cherub.

The comedy is Charlie Chaplin‘s “A Day’s Pleasure“ which from our observations is bound to make an impression on Broadway, as it is running from 49th to 14th streets, beginning with the Capitol and ending with Fox’s Academy. Seasickness, the Ford and plenty of tar please seekers after fun, and the serious Charlie makes up for many things.
* from New York Morning Telegraph, December 28, 1919

Mabel Normand Gives Children Christmas Treat

Mabel Normand did her “bit” on Christmas day to make the holidays memorable for 5,000 orphan asylum children in New York by appearing in costume at the entertainment given at the Capitol Theatre under the auspices of Mr. and Mrs. W. R. Hearst. Manager E. J. Bowes of the Capitol Theatre turned the house over to the children for Christmas morning. In order that the performance conform to the holiday spirit, Manager Bowes of the Capitol Theatre arranged to have several vocalists and instrumentalists play Christmas carols and other songs with which the children were familiar. Besides several short pictures of interest to young people were shown.

The feature event of the program was Mabel Normand’s appearance both on the screen and on the huge stage of the theatre as Jinx. In the picture, which was shown through the courtesy of Goldwyn, the kiddies howled with delight at the antics of Miss Normand as a circus waif who has all sorts of adventures in circus and in an orphan asylum, and who winds up her career as jinx when she marries the wild man of the circus.

When Miss Normand herself appeared in her screen costume of the Jinx and made a little speech to the children, the huge Capitol Theatre resounded to the most enthusiastic applause that has been heard in the theatre since its opening.

To please the children, Miss Normand came tumbling out upon the stage, doing the very stunts that revealed her as an acrobat well as an actress in her photoplay.
* from New York Morning Telegraph, December 28, 1919

 Louella Parsons

There are stars and stars, but only one Mabel Normand in the world. What other player can any one think of who would give up her entire Christmas morning to making the lame children of the city happy, and yet that is exactly what Miss Normand did. Those who know of the thousands of thoughtful things she does for other people are not surprised to hear of her getting up bright and early to be at the Capitol Theatre in time.

Her family were expecting her in Staten Island and she had to leave immediately after the performance to get there in time for Christmas dinner. It was like Mabel to forget all about herself. She is always thinking of other people.

 Louella Parsons

Mabel Normand gave the clerks in the 10-cent store the thrill of their lives last Wednesday afternoon. Following the luncheon given for her at the Ritz, she decided upon a shopping tour at Woolworth’s palace of bargains. And every clerk in the place stopped work to gave at Mabel, saying in awed voices, as if they were speaking of an angelic vision right out of heaven:

“It is Mabel Normand!”

Several customers failed to share this thrill and were obviously annoyed at the clerks’ failure to attend them. Even the floorwalker -- Oh, yes, indeed, the 10-cent store has a floorwalker; I never knew it either until I accompanied Mabel on her shopping expedition -- stopped pacing up and down to assist the little lady in finding what she wanted.

But he had a terrible blow. In a collection of motion picture stars’ photographs which we stopped to examine there wasn’t a single one of Miss Normand. The floorwalker was so embarrassed at this oversight that someone came to the rescue by suggesting he had probably sold all of Miss Normand’s photographs. It will be a safe bet to go and ask for them now, for between Ralph Block and that floorwalker one thing is certain in the future -- here will be pictures galore of our little Mabel.