Mabel normand

91 A similar occurrence takes place in The Extra Girl.

92 A fair amount of promotion and publicity came out accompanying this film, including a photo-comic strip of Raggedy Rose that appeared, among other publications, in the New York Evening Graphic, November 8-13, 1926. As well as some specially composed sheet music brought out with the film.

93 Stan Laurel later credited Dick Jones with being the one who taught him how to make films. James Finlayson, a Laurel and Hardy regular, incidentally, is among the film’s cast.

94 Visaroff is much funnier, however, as W.C. Fields’ homicidal cellmate in The Man on the Flying Trapeze (1935). He also, incidentally, appears as the innkeeper in Tod Browning’s Dracula (1931).

95 Maurice Costello.

96 The Nickelodeon later changed its name to Motography.

97 This and subsequent items which give someone’s name or initials, their location, followed by a brief word or remark are answers from the magazine’s film editor in reply to that person. Although we aren’t always told what the letter writer asked, often times their question can be inferred from the answer the editor gives them. This approach and format is commonly found in other early film magazines as well, such as Motion Picture Magazine.

98 The full title of the film is When a Man’s Married His Troubles Begin.

99 “Mabel Nelson,” i.e., Mabel Normand. Another review of the time has her as “Hazel Nealson.”

100 Flora Finch.

101 The time during which Mabel worked for Biograph is understandably lacking in articles and reviews mentioning her due in part to Biograph’s policy, at that time, of not allowing the names of its stars to be known to the public. There must have been some negative reaction to this; which is no doubt why Biograph came up with the feeble, and in some ways risible, compromise of designating its players by fictitious names in their overseas releases. The Diving Girl, incidentally, is the very first film in which Sennett directed Mabel. This and subsequent Biograph Bulletins were characteristically used as newspaper advertisements and inserts in locations where the films were showing – film reviews in ordinary newspapers not having yet come into their own.

102 Fred Mace.

103 Dark Cloud.

104 Dorothy West.

105 Blanche Sweet.

106 Mary Pickford.

107 Mabel’s real life sister, of course, was named Gladys.

108 It was during this stop-over that the short The Tourists was filmed.

109 This statement is particularly interesting because it suggests that Fred Mace, contrary to what is known, may have directed some of the early Keystones.

110 Bruce Long: “(This) article was probably ghost-written, but it gives some additional details regarding the above incident. The film described as ‘Lizzie’s Sacrifice’ was probably the same as ‘For Lizzie’s Sake,’ which was released in the U.S.A. by Keystone on January 20, 1913. Also see N.Y. Dramatic Mirror, Nov. 27, 1912) and Pictures and Picturegoer, Aug. 8, 1914.”

111 The incident described here took place during the filming of A Dash Through the Clouds. Parmalee, incidentally, was subsequently killed in a flying accident that occurred in Yakima, Washington on June 1, 1912 (see New York Times, June 2, 1912.)

112 The film spoken of here is Barney Oldfield‘s Race for a Life.

113 The Keystone entry did actually win second place in the “class T automobile, gasoline, capacity of four or more persons $50 silver trophy and red banner, Keystone Film Company.” Los Angeles Times Jan. 2, 1913.

114 See Gene Fowler’s Father Goose for an anecdotal account of Keystone‘s temporary sojourn in Mexico.

115 Essanay comedian, Augustus Carney.

116 These early Sennett “kid” comedies were progenitors of Hal Roach‘s Our Gang and Little Rascals films.

117 The film referred to here is Mabel’s New Hero.

118 Mabel’s Strange Predicament was Mabel’s first film with Chaplin, and the second in which Chaplin appeared in his tramp costume (according to some scholars possibly the first.) Chaplin‘s character is referred to here as the “drunk.” In the actual film, Chaplin takes a greater part in the story’s action than this script originally calls for.

119 This incident is partly alluded to by Minta Durfee in “Fatty’s First,” an article series that appeared in Classic Images, No. 70.

120 Years later, writing in the thirties, Marie Dressler commented: “During the three months we worked together, I learned to love and respect Mabel Normand. She had courage; and courage, perhaps, is the quality I admire most. Many times I’ve known Mabel to run the risk of losing her job by disagreeing with her director on the way a certain bit should be played. ‘Of course, I’ll do as you want,’ she would conclude, ‘but I do not feel the character that way.’” My Story, pp. 169-70.

121 Daughter of Keystone actress, Alice Davenport, and also later wife of Wallace Reid.

122 As well as being one of the main Keystone players, McCoy was also an accomplished song writer. In addition, he was later a film director, and at the time of his death, Sept. 1, 1937 (at 43 years of age), was a casting director for the Walt Disney studio. His obituary of Sept. 2, 1937 in the L.A. Examiner reads: “After portraying comedy roles for many years, Mr. McCoy turned to song writing and directing for major Hollywood studios. He composed ‘Pagan Love Song’ and many other hits.

“When Eva Tanguay was a vaudeville headliner, McCoy wrote songs for her. From 1924 to 1927 he wrote all the music for Mack Sennett productions. Later he was adirector for First National and Columbia studios. Three months agao, after winning success as a radio commentator, he joined the Disney Studio.”

123 Apparently meaning that theirs is one of many other such letters praising that particular film.

124 This clipping refers to the film Oh! Mabel Behave, which was not released until 1922. Why this film’s release was delayed so long we can only speculate. The following, however, are some possible explanations:

1) The film apparently wasn’t very good, and thought unfit to be released at the same time as the higher quality Triangle vehicles, something apparently supported by a reviewer who not so long ago of this writing screened the film in Pordenone, Italy: In a letter from Steve Massa to silent film comedy historian Joe Mooore (which Mr. Moore kindly sent me relevant portions of), Mr. Massa gave this blunt assessment: of the film which had just recently resurfaced, and was screened

“Out of 43 minutes Mabel appeared in about 8, and the rest was Ford Sterling mugging wildly without a gag or plot in sight. I think it’s the worst Sennet film I’ve ever seen. David Robinson took a lot of heat on this one but he told me that the restoration wasn’t quite finished when he had to choose the films, so he took a chance on it sight unseen. It was a beautiful restoration though.

“Given Mabel’s short on screen time I wonder if she maybe left the production early on and then Mac tried to pad it out and come up with some sort of completed film and failed. The fact that he sat on it for several years was never very promising that it might be a missing classic.”

2) Sennett made the film, outside official Triangle auspices, as insurance in his dealings with them., and as something to have on hand as property if things didn’t work out -- as of course they ultimately did not. It was only then at this 1922 date that he thought he could release it without any possible legal complications.

125 Brigham Young had had 57 children.

126 The injury Mabel suffered which is referred to here is the one she received the night she walked in on Sennett and Mae Busch together, either in the way of being struck in the head, as told by Minta Durfee, or from being injured in a suicide attempt jumping off Santa Monica pier, Adela Rogers St. John. It is not clear which of the two incidents brought about this story, though Adela Rogers St. Johns version seems the more likely of the two given the serious nature of the emergency. Did then her being hit over the head with a vase, as Minta claimed, actually occur at all, or did this take place on a separate occasion? The answer to this is not at this time clear. Blanche Sweet: “I liked Mabel. She was a good friend of mine. I remember when we were with Biograph and were in a train on our way to California, she came into some kind of compartment I had and taught me how to smoke cigarettes, do little tricks, and things like that. Later in 1915, Mabel was very upset about Mae Busch, whom Mack Sennett took a fancy to. At the time I had a lovely Fiat. I drove it myself, but also I had a driver. We’d sit in the back seat, and drive down to the beach -- maybe Malibu, Santa Monica, or somewhere -- anything to distract her, not to worry about this affair. I think it may have helped a little. I knew her a little later on, too, when she and Mary Miles Minter were caught up in the Taylor case, and I think that had quite an effect on Mabel’s career.” From Speaking of Silents, by William Drew.

127 This interview took place during the shooting of He Did and He Didn’t.

128 Helen Holmes.

129 Caption to picture referred to reads: “‘Beg pardon?’ said Mabel Normand. ‘Yes, I’ve left Keystone.’”

130 A Muddy Romance (1913)

131 Mickey.

132 At this time, the United States army, under Gen. John J. Pershing, was waging an informal war on the Mexican border against Pancho Villa.

133 What exactly Mabel was being blackmailed for is as yet to be established.

134 Harry Aitkin (sometimes spelled Aikin), film producer, was the financial organizer and manager of the Triangle Film Corporation. Adam Kessell and Charles Bauman were the original founders and shareholders of the New York Film Corporation of which Keystone was a part. The ensuing material deals with the Triangle-Keystone merger. For more information on the business transactions between the parties considered here see Kops and Custards and Mack Sennett: The Man, The Myth and The Comedies, both by Kalton Lahue.

135 Mickey?

136 “Kerr” is apparently Sennett publicity man Harry Carr.

137 i.e., Minnie Devereaux

138 Over the years, in different interviews, Mabel expressed the desire to make J.M. Barrie’s The Little Minister. Why this purported long cherished wish was never realized is not certain. Earlier (see, e.g., N.Y. Morning Telegraph, June 25, 1916) it was reported that Mabel owned the screen rights to Barrie’s stories.

139 i.e., Mickey.

140 Yet another instance of early misinformation regarding Mabel’s birthplace.

141 The United States did not formally enter the War until April 6, 1917.

142 Minnie Devereaux (or Prevost, as given in some of the earlier sources) was a very talented American Indian actress/comedienne who appeared with Mabel in Mickey and Suzanna. Because there is so little else found about this great favorite of Mabel’s, it is worthwhile to include this very rare and interesting account of Minnie’s about Custer’s Last Stand in which her father participated and of which she, as a young child, was an indirect witness.

143 Most of this record, as contained in the Mack Sennett papers, is missing, hence its fragmentary nature here.

144 Jones had held up release of Mickey to Sennett, by absconding with some of its reels. His reason for doing so was withheld back-pay he claimed Sennett and Triangle owed him, based on the argument that during the same length of time he was directing Mickey, he could have earned a good deal more money directing short films. Jones ultimately won his case.

145 Goldfish is Samuel Goldwyn, who changed his name to Goldwyn by combining his original last name with that of his partners, Edgar and Archibald Selwyn. That Mabel was in talks with Goldwyn to work for him as early as September 1916, at the same time as she was making Mickey, suggests her obvious dissatisfaction with Sennett. The production of Mickey under, F. Richard Jones direction, lasted from August 1916 to April 1917 -- an inordinately long time compared to the amount it required to make her later features, which was usually weeks or a couple of months.

146 Taking place as this did at about the time or just before the nationwide influenza epidemic, it is not inconceivable that Mabel contracted illness from this repeated close-contact with public.

147 This article is significant in that it reveals Mabel’s intellectual interests as having originated years before her close association with William Desmond Taylor.

148 The influenza epidemic mentioned here was very real, and in some cases fatal. Harold Lockwood, a prominent and very popular film star of the time, died as a result of the illness not long after this piece appeared. Among its other effects was to keep many people home and out of movie houses, thus significantly crimping both movie profits and production.

149 Among the reasons for Goldwyn‘s abandoning his East coast production facilities, was the cost prohibitive electric bills for extensive interior lighting -- which were all the more expensive given the war.

150 It was sometime at this point that Julia Benson became Mabel’s nurse and companion, remaining so right up until the time of Mabel’s passing.

151

152 The incident related would have occurred during the filming of The Pest.

153 i.e., The Pest

154 In addition to “Kentucky Dream,” and, of course, Harry Williams‘ “Mickey,” other songs dedicated to or inspired by Mabel which appeared during her lifetime were: “The Sister of Rosie O’Grady” (1918, put out by Goldwyn), “Lullaby Time” (1919, Goldwyn), “Sunshine Sis” (1919, Goldwyn), “Please Come Back to Me” (1919, Goldwyn), “Why Didn’t You Leave Me Years Ago? -- Instead of Leaving Me Now” (1920, Goldwyn), “Molly O (I Love You)” (1921, Sennett), “Suzanna Waltz Song” (1922, Sennett), and “Raggedy Rose“ (1926, Hal Roach.) All of these survive as sheet music with Mabel displayed on the cover.

155 Clark Irvine had recently replaced Norbert Lusk as head of Goldwyn publicity on the East Coast.

156 i.e., What Happened to Rosa

157 Although Mabel did not leave the screen at this time, in 1925 she did enter into a contract with A. H. Woods to do the stage play The Little Mouse. This clipping reveals that her interest in appearing on the stage began years before she actually appeared in that play.

158 To be read: There are things “that do” make everyone laugh.

159 A small train locomotive that is driven like an automobile.

160 The Dorothy Gish films Jones did for Griffith were (as released), Flying Pat (1920), The Ghost in the Garret (1921), The Country Flapper (1922)

161 “Ollie” refers to actress Olive Thomas, one-time mistress of Flo Ziegfeld’s, and later wife to Jack Pickford. A spirited and talented actress in her own right, she had just recently of this article died in Paris from swallowing mercury bichloride. It remains a mystery to this day whether her death was suicide or murder. Afterward, it was rumored that she had been known to use cocaine, and also that Mabel was one of her associates in drug taking.

162 Bruce Long: “‘Cocoanut Jungle’ refers to gossip from the Coconut Grove in the Ambassador Hotel. The ‘distinguished looking one with gray hair’ is certainly (William Desmond) Taylor.”

163 Costello was a handsome and at one time popular leading man whom Mabel appeared with when at Vitagraph. He was also the father of actresses Dolores and Hellene Costello, both of whom were child stars in the early teens.

164 Bruce Long: “This is certainly a reference to William Desmond Taylor.”

165 This and subsequent articles included here about the Taylor case need to be read with particular care. Sometimes errors occur because of bad reporting, misinformation, a misunderstanding of facts, or perhaps because someone lied. Yet what students of the Taylor case often have to be prepared for is something reported that is actually true but which, in light of subsequent scholarship, seems to be a mistake. It may well be that what at first reading seems a mistake may in fact have been true, but that later investigators and reporters, either deliberately or mistakenly, have distorted the facts; so that it appears later to be a mistake. An example of this might be the time given as to when the shot killing Taylor was fired, in this piece it suggests that Taylor was killed about 9 p.m., when almost all later accounts assume, rightly or wrongly, that it was fired before 8 o’clock. See Appendix D.

166 The reference here is to “Alias Jimmy Valentine,” a story written by O. Henry and made in 1915 into a film directed by Maurice

Tourneur; in which a respectable citizen’s shady past as a safe-cracker come back to haunt him by threatening to reveal his past identity

to those he loves.

167 A walkway divided the Taylor and MacLean bungalows, not an alley.

168 It was not Nance himself who arrived on the scene, but instead a deputy coroner.

169 There is some dispute as to whether it was Minter’s grandmother or mother who accompanied her. It would seem to have been her grandmother, though accounts, as illustrated above, differ.

170 Compare this version of Peavey’s finding the body to the one he gave in his first interviews -- see Appendix D.

171 Ziegler had good reason to corroborate Eyton testimony since it was Ziegler who, either recklessly or with bad intention, permitted Eyton, Harry Fellows (brother of Howard Fellows) and other Lasky studio people to rummage through Taylor’s bungalow while the investigation of the site by the police was still in progress.

172 The person who spoke with Taylor on the phone was later identified as actor Antonio Moreno.

173 Peavey also later claimed that Mabel and Taylor were arguing at the time of her last visit with him, see Los Angeles Record, January 7, 1930.

174 Mabel later denied that she actually fainted. Perhaps she did collapse emotionally, so to speak, but this does not necessarily mean that she fainted, which implies that she was rendered unconscious.

175 i.e., Carl Sandburg, the noted American newspaper writer, poet, and Lincoln Biographer.

176 Bruce Long: “Harry Fields was not Chinese, and it is not known why this derogatory nickname was applied to him…Fields’ tale was later thoroughly discredited. See Taylorology #8.”

177 Marilyn Slater, friend of Julia Benson: “Julia’s maiden name was Brew. She was married in the 1920’s for about 2 years. Julia’s husband died of tuberculosis. The story goes that he became ill on their honeymoon. I can’t think of his first name right now. She never talked much about him.”

178 The nature of the Arbuckle scandal and people’s reaction to it was eloquently summed up in a conversation I had with someone not all that well informed on the subject. In reference to the St. Francis Hotel incident, he spoke of Arbuckle with declamatory epithets. When I pointed out to him that Arbuckle had been completely exonerated in the final court hearing of the case, his response was (in effect): “Well, maybe, he wasn’t guilty of that, but he must have been guilty of something. So he just got what was coming to him anyway.”

179 To be read: Mabel “received” her guests.

180 The term “mablescent” was actually first used by Truman B. Handy in Photo-Play World, May 1920.

181 What made the death of Wallace Reid from drug addiction so particularly notable and tragic was not merely the involvement of drugs in his death, but that Reid in many ways represented the idea of American youth and manhood -- an aspect of his story that is commonly overlooked. It is alleged in Andy Edmond’s Frame-up: The Untold Story of Roscoe “Fatty” Arbuckle“ that Reid first starting taking morphine at the instigation of Paramount studio chief, Adolph Zukor. In 1919, Reid suffered from an injury while filming on location. Refusing to allow production to stop because of the pain the injury was causing him, Zukor sent doctors to the filming site with orders to give Reid whatever it would take to keep him up and working. This reportedly included the morphine that subsequently brought about his demise.