1909 COLLIER'S COVER Mabel Moves Before The Camera
1911 N Y DRAMATIC MIRROR Betty Becomes a Maid
1912 DAILY TALKS BY MARY PICKFORD New Years Trip with Mabel Normand
1913 LA TIMES - PHOTOPLAYERS BALL
1913 LA TIMES - February 28 NEW CONDUCTOR
1913 THE MOVING PICTURE WORLD (June 7) SAN FRANCISCO EXHITBITORS' BALL
1913 PHOTOPLAY (August) MABEL MAY BECOME MAYOR OF LOS ANGELES
1913 THE MOVING PICTURE WORLD (December 13 MABEL A DIRECTOR
1914 STATIC CLUB PICTURE PLAYERS BALL
1914 OREGONIAN - Jan 25 Mabel at 20 a "maga" star
1914 LA TIMES - April 22 Car Races
1914 PERTH SUNDAY TIMES - May 3 Muriel Fortescue
1914 REEL LIFE - May 16 MABEL NORMAND OF KEYSTONE
1915 MOTION PICTURE The Speed Demon
1915 PHOTOPLAYERS WEEKLY - May 7 Luther Burbank vists Mabel
1915 PICTURES & PICTUREGOERS - June 12 Queen of the Movies
1915 MOTOGRAPH - September Three Beauties at Triangle Opening
1915 PICTURES & PICTUREGOERS - Oct 2 Wanted at the FRONT
1915 PICTURES & PICTUREGOERS - 23 Fond of Variety
1915 MOTOGRAPH - December Chester Conklin & Mabel Normand flying
1915 RENO EVENING GAZETTE FRANK DOLAN, THE BOXER
1915 & 1916 PHOTOPLAYERS' WEEKLY advertisements listing Mabel Normand
1916 FILM FLASHES Photo of Mabel from 1916
1916 MOTION PICTURE Cover and article on Chaplin
1916 RED BOOK - February A dozen STARS
1916 FILM FUN - May They Will Not Rremain In Comedy
1916 PHOTOPLAY - July MABEL NORMAND AT HOME AGAIN
1916 RACINE JOUMAL - August 14 Film for the Front
1916 LOS ANGELES EXAMINER - August 25 Mabel was Blackmailed
1916 MOTION PICTURE - December MARBEL'S DREAM (STUDIO)
1916 STUDIO DIRECTORY - October 21 DICK JONES DIRECTOR AT MNFFCo
1917 LA TIMES - March 11 Mabel's Pink Thoughts
1917 MOTOGRAPHY - July 21 Goldwyn Injunction
1918 unknow newspaper Kind-hearted MABEL
1918 EXHIBITORS HERALD - January Sennett sells 16 comedies plus Mickey
1918 PICTURE-PLAY - February Girl on the Cover
1918 MOTION PICTURE NEWS (March 9) What Kind of a Fellow Is - Kessel?
1918 THE MORNING TELEGRAPH Liberty Bond Drive
1918 PICTURE AND PICTUREGOER Storms and Chocolate Cake
1918 PHOTOPLAY - April MICKEY Sold by Sennett & Triangle
1918 MOTION PICTURE (June) The Muses of Movie Land
1918 THE PHOTO-PLAY WORLD (June) Tragic Side of Mabel Normand
1918 ELYRIA EVENING TELEGRAM - July 11 Dodging A Million
1918 PHOTOPLAY - August Would You Ever Suspect It?
1918 MPM - November Mabel in a Hurry "Back to the Woods
1918 NEW YORK TRIBUNE - November 24 Are We Downhearted?
1918 PHOTO PLAYERS - December 1 Cartoons
1919 PHOTOPLAY - March A Perfect 36 Joke
1919 PHOTOPLAY - March The Early Days at Kay Bee by Tom Ince
1919 STUDIO SKELETON - (1919 - 1920) The Studio Skeleton - Goldwyn Newsletter
1919 Picture-Play - April Disabled Seaman
1919 STUDIO SKELETON - July 12 UPSTAIRS
1919 Washington Herald - August 14 Upstairs - Ragtime Romance
1919 STUDIO SKELETON - October 25 Mabel with the Veterans at Goldwyn Studio
1919 THE TATLER A New National Character
1920 SOUTH AMERICAN GOLDWYN ADS MIQUINNA (Mabel Normand)
1920 SLIM PRINCESS AD Mabel Normand in Slim Princess
1920 DRAMTIC MIRROR How To Be A Comedienne
1920 PICTURE PLAYS The Elixir of Perpetual Springtime
1920 SCREENLAND - (November) Mabel Normand -Stars Among the Flowers
1920 LA Herald - December 20 Joke during making What Happened to Rosa
1921 TRAS LA PANTALLA #18 Mabel Normand - Gallria de Artistas Cinematograficos
1921 MOVING PICTURE WORLD Molly O trade Ad
1921 MOTION PICTURE (September) Worldly But Not Weary
1921 N Y TRIBUNE - (November 27) Acting As An Aid
1922 BLUE BOOK OF THE SCREEN Mabel Normand - Model
1922 REVIEW HEAD - OVER - HEELS
1922 MOVIE WEEKLY MABEL NORMAND STORY IN 10 PARTS
1922 SCREENLAND - January MOLLY O'
1922 SAN DIEGO UNION - January 29 Practice to Appropriate Music
1922 GARY POST - February 3 Mabel's Best Director
1922 MOTION PICTURE NEWS - February 18 SENNETT STATEMENT
1922 WISCONSIN JOURNAL - February 21 MOLLY O - LACE
1922 MOVIE WEEKLY - February 25 The Real Mabel Normand
1922 GOLDWYN STUDIO P.R. -April HEAD OVER HEELS PRESS KIT
1922 CLOSE-UP - April 5 ADOPTED BEARS - SUZANNA
1922 LONDON DAILY MIRROR - June 21 TO-DAY'S GOSSIP on page 9
1922 PHOTOPLAY - December MABEL'S PARIS FASHIONS
1923 CLOSE-UP - March 5, LORIMER WELCOME HOME FROM EUROPE
1923 PICTURE-PLAY - October THE IRREPRESSIBLE ONE
1924 AUTOGRAPH BOOK The Wild Parties & Hootch
1924 Q & A - January 9 Joe Kelley
1924 MOVIE WEEKLY - February 2 Give Mabel Normand A Chance
1924 LA EXAMINER - February 17 Mabel Normand's Own Life Story! FOREWORD
1924 MOVIE WEEKLY - April Happier if I'd Married
1924 DENVER POST - June 17 Mabel Real Comedy Star on Stand
1924 PRESS RELEASE - July 23 Mabel’s break with Sennett
1924 MOVIE TIME - August 11 Cover from Hyogoken Japan
1924 MOVIE Q&A MABEL a GENIUS
1925 HARRY CARR PAGE - Feb 25 Who's the Best Actor
1925 DAISY DEAN - May 17 Mabel buys a House in Beverly Hills
1925 LOS ANGELES TIME - Jun 9 Mabel's Voice
1925 THE BEE DANVILLE - Jun 9 Mabel To Go On Stage
1925 STAFFORDSHIRE SENTINEL - August 28 Kalora, The Slim Princess
1925 PHOTOPLAY - October (page 90) There Is Music In The Air
- December (page 90) There Is Music In The Air
1926 ONE HOUR MARRIED One Hour Married Poster and Article
1927 MOVING PICTURE STORIES - Mar 22 Mabel in Hospital
1927 GRACE KINGSLEY - May 1 Welcome Back Mabel
1928 LINCOLN STATE JOURNAL - Feb 29 Mabel Wants a Divorce
1928 PHOTOPLAY - June Gossip of All the Studios - Mrs. Cody
1928 PHOTOPLAY - June Sennett Tearing Down His Studio
1930 LIBERTY MAGAZINE (3 issues) Madcap Mabel Normand - full story
1930 HOLLYWOOD FILMOGRAPH - March 1 To Make Everybody Happy
1930 LOS ANGELES TIMES - April 6 My Pal's Dead
1930 DOTHAN EAGLE - April 10 Gladys Normand flying lessons
1930 PHOTO PLAY - May Mabel Says Good-bye
1930 PICTURE PLAY - June Memory of Mabel by the Schallerts
1930 PICTURE PLAY - June Such A Little Queen
1930 SOUTHTOWN ECONOMIST - July 15 Mickey Sound Remake
1930 ASSOCIATED PRESS - August Mabel's Family Trust
1931 NEW MOVIE MAGAZINE - March D. W. Griffith Quote about Mabel and Camera
1931 OAKLAND TRIBUNE - May 25 According to Lew Cody
1932 PHOTOPLAY - December Their Real Roles were Tragedy
1935 ALBUQUERQUE JOURNAL - January Practical Joker
1935 SAN ANTONIO LIGHT - September 29 Harry Carry
1948 American Weekly - December 5 Mack Sennett Glamour Girls
1960 CALIF BANK COLLECTION Golden Era of Comedy
1974 THE TIMES RECORDER Opening of Mack & Mabel
1981 THE MOVIE - UK POSTCARDS
1982 THE MOVIE - UK Sennett Issue
1985 THE MOVIE - UK Mabel Won and Lost
THE INAUGURAL BALL
OF THE "PHOTOPLAYERS CLUB
December 13, 1913
Miss Normand Director
January 16, 1914 - Picture Player's Camera men's ball
RENO EVENING GAZETTE, Monday, March 15, 1915
Information on Frankie Dolan is available if you PRESS HERE
| May 1915
Having taken all sorts of spectacular chances before the camera, Miss Mabel Normand is here shown in a moment of comparative quiet.
Because the motion picture art is so new and unfettered by tradition, because its possibilities are
Rushing along at seventy miles an hour in a motor driven by a daring engineer called “the Speed Demon.” Or something else equally suggestive is merely commonplace in
1916 JAN MOTION PICTURE MAGAZINE
1916 article of the gift Mabel
made for the Front
Dr Raymond Swett tried to Blackmail Mabel Normand, we don’t know what he threatened Mabel with but she seems to have called his bluff and she called in the police…and nothing ever came of it.
press for information on the arrest
Los Angeles Times, Grace Kingsley
March 11, 1917
1918 June Motion Picture Magazine, page 106
"The Muses of Movie-Land"
STORMS AND CHOCOLATE CAKE
to see article and photos
Back to the Woods
Back to the Woods
with Herbert Rawlinson
with Herbert Rawlinson
1918 December 1 Celebrated Photoplayers
TO GALE IMAGES
A New National Character
Old and Young, Rich and Poor, in City and Country,
Nothing in Years has Equaled “Mickey”
Here is Mickey! Mickey, the human, lovable, droll sometimes pathetic sometimes
ludicrous but always wholesome figure who has become so famous. No creation in
drama, fiction, screen or song has caught the public fancy and been taken to the public
heart as Mickey has, and she will go down in popular history with “The Yellow Kid,”
Palmer Cox’s “Brownies.” “Peter Pan,” “Little Nemo” and other striking and
The first heard of Mickey was in the Mickey was in the moving pictures and by this
time ten million people have seen this wonderful photoplay. The records of box office
receipts at Washington prove this. Whatever you have seen, Mickey Being Shown
Here To-day” in front of a theatre, you have seen lines of people, blocks long, waiting
to get in. And why? Because no photoplay yet produced is so filled with adventure,
thrills and human emotions as Mickey. One minute you feel a tear coming, but before it
reaches your check you are holding your sides with laughter at some funny incident, or
holding your breath with excitement at some hair-raising episode.
Five hundred thousand dollars is a lot of money, but that is just what was spent on this
picture - $500,000 – before it was even shown to the exhibitor. But there was never
the slightest doubt of its supreme success. From the time Mabel Normand read the
scenario and started her triumphant creation of the role of Mickey until the W. H.
Productions Company sent the films broadcast, it was a bull’s-eye. It has rightly been
called “a picture you will never forget.”
Then, all unexpectedly, Mickey appeared in song-one of the prettiest, daintiest,
hauntingest melodies in years. The picture inspired the song. One day Neil Moret, a
composer, happened into the studio where the picture was being shown. He became
fascinated by the charming personality of Mickey, and as the picture went on the
music began working, and when it was over, Moret hurried to his rooms and wrote
the theme that had already shaped itself in his mind. In two hours he was back at the
studio and played the song for the members of the company. The author had no idea
of what a hit it was to be. In fact, he had not written it with any idea of publishing it,
but just to get it off his chest. Nevertheless, within a month a millions copies were sold
in the West alone, and no end in sight to the demand. Waterson, Berlin & Snyder
heard of the song and immediately bought it. The price they paid was well up in the
five figures, but when the first order receiver from the dealers were totaled up they
showed over 500,000 copies sold in the first four days.
To show how the song gets you – Eddie Cantor, who is playing in the Follies in
Chicago and who is the best judge of songs ever, heard it and put it on at the next
show. It was a knockout. Ray Simuels, the clever vaudeville girl, and a great friend of
Cantor’s was appearing in Seattle. Eddie called her up and told her about the great
“How does it go?” asked Ray.
“Oh, Lord,” said Eddie, thinking of the telephone toll,” get a copy of it,”
“I can’t wait,” answered Ray, “you’ve got me so excited I must hear it now.”
Eddie was game. He sang it through a couple of times and Ray said: “Great. I’ll put it
on to-night,” and she did. She took the melody in her head to the orchestra, rehearsed
it before the show, and was the hit that evening. Eddie was so excited about it all that
be forgot to have the telephone charge reversed.
The Columbia Phonograph Company was quick to see the value of Mickey and
immediately secured the rights of the song for their records.
Next to our President there is no better known character in the country today than
THE TATLER 1919
How to Be a Comedienne
by Mabel Normand
Comedy Depends on Jazz—The Delicate Art of Burlesque—The Serious Business of Being a Comedienne—The Root of Humor
I am not a highbrow. If I were, I wouldn’t be earning my living by being funny—or trying to be. I know more about jazz than I do about classical music. Not that I’m not fond of a concert now and then, but on the whole I like syncopation better. My heart beats to a jazz tune, I guess. The world goes round to the sound of the international rag, as Irving Berlin said; and I think the rag he meant was that of laughter and pleasure and joy. It’s a good tune! I know it by heart; and my ambition is to be able to play it on the old piano of the world with my eyes shut.
I think that one of the secrets of being a comedienne is in knowing jazz because when you know the syncopated tunes, you know the songs to which the average heart responds and so, in a way you know humanity. To be a comedienne you’ve got to be human. That’s the truth of the matter. You’ve got to be able to appreciate that side of people which is queer, ridiculous, and yet lovable. You can’t make people laugh just by being odd. You’ve got to be more than that. You’ve got to be a little bit pathetic.
When people laugh most the tears start from their eyes, because laughter and pain aren’t nearly so far a part as they seem to be. Sometimes think they are twins and you can’t knock against their cradle without disturbing both of them, although, if you’re lucky, laughter will be louder than his brother. But you never can tell.
And that’s not the half of it, dearie, as the funny-men say in the papers. Try to burlesque somebody. You’ll notice that you probably do it with the sort of a brush that the bill-board posters use while small boys admiringly surround them. but you won’t appear clever to grown-ups as the poster-pasters do to the younger generation. Burlesque is a delicate art, believe me. I’m no highbrow, as I said before, but I know that. And I know too, that when you make fun of people you have to mimic them with just the slightest exaggeration in order to be really funny. If you overdo it, you ruin your performance, and it’s pretty hard not to overdo your act. You have to watch every gesture, every action, no matter how small. A careless lifting of eyebrows may spoil a perfectly good hand-gesture. Watch your step all the time, and watch everything else you have about you, too. If you seem to have any idea that you’re playing at something, you won’t get it across.
That brings me to the serious side of being funny. To be a comedienne you have to take yourself with the seriousness of a politician receiving the nomination for alderman from the hands of his fellow citizens. Charlie Chaplin, for instance, rarely smiles in his pictures. That’ one of the reasons he’s so funny! And if he does smile, it is pathetically and just enough to balance his tremendous gravity. When he sees a big policeman he takes off his hat to him with an air which implies that i it is the most serious and sincere act in his life. If he throws a brick at the copper he does it with the same air. He takes his victories and defeat in the same melancholy way—almost.
To be a comedienne, don’t try to teach a lesson. Leave that to Longfellow and the rest of the poets. Just try to be human and serious. Try to remember that people’s spirits are raised by seeing a man chase a hat down the street.
There’s something funny in the misfortunes of our neighbors. It isn’t a kindly thing, but it’s a fact that there’s no getting around.
To be a comedienne, you have to have something about you that is appealing. It’s hard to say just what the thing is, because you can’t put your hands on it; it isn’t a block of wood or a glass of wine. It’s a way, a quaintness, a pleasant quality that’s natural and not artificial. And here again we come to the root of humor that I mentioned before: being human. That’s being natural. When I played the part of a poor little hoyden in one my pictures—”Jinx”—I tried to remember during the entire making of the production that I was a homeless little wretch grateful for kindness from anyone. In another picture I played the part of a little slavey who longed from the kitchen of downstairs to reach the bliss of the grand ball-room upstairs. And when I reached there and played the part of a lady I tried not to forget that I had been a slavey a few moments before. Things puzzled me a little; I wasn’t quite sure that what I did was the correct thing, but I was visibly conscious that I was as good as the ‘rest in my heart and proud of my clothes; oh, so very, very proud of my new, fashionable clothes!
Any correspondence course will make a comedienne out of a girl. But neither do I believe that it’s all a gift. It requires a facility and a lot of hard work. Practise makes perfect, I’ve heard. Who was it said that creation is ten percent inspiration and ninety per cent perspiration? Not a pretty picture, but a true one. Work, work, work. Study every little detail of your personality. Try to find out what little peculiarities you have that can be developed for audiences and the director. Stand before your mirror and make faces at yourself. Twist your features, your arms, your body. Find out if you really have a sense of humor in your funny bone, and if your spine appreciates a joke.
Pay particular attention to your mouth. I can’t figure out how many different ways a pair of lips can be funny—and charming. Men try to figure it out, but even they haven’t succeeded in finding the answer, I hear. If you keep your hair in a Grecian knot you may look like a goddess but if you plaster it down over your ears and leave a little loop hanging over your left eye you may look more appealing than the other pose—and genuinely funny, too.
Don’t set any standards for yourself. I have discovered that the things which make people roar with laughter in one part of the country will have just the other effect elsewhere. Geography is a peculiar thing. It seems that climate has an effect on peoples’ humor. A southerner will laugh at a houn’ dawg joke that will bore a northerner. That’s one of the fifty-seven reasons why it’s so hard to find out just what makes everybody laugh—because there are things that do, and the real comedienne is the one who gets hold of those things and uses them until they finally lose out. And remember this; if you are lucky enough to discover a gesture with a universal appeal, never forget that its get-across qualities are temporary.
Don’t work a gesture to death. If you do, you’ll find out quickly enough that you have lost out with the trick. There’s an art in knowing just when to drop the thing. It isn’t when it’s at the height of its popular appeal and it isn’t when it’s an eye-sore to the public. My own humble opinion is that it’s just after it has reached its climax as an applause-getter. But you have to be ready with something new. That’s why there’s so much work in being funny. You can’t afford to lay your wits aside for a moment. They have to be laboring for you all the time, and not part of the time. And you’ll find they won’t labor if you don’t.
In my forthcoming Goldwyn picture “The Slim Princess” I had to keep my wits working all the time I was making scenes, notwithstanding the fact that a great humorist, George Ade, was responsible for the situations. But even Ade will not aid you —pardon the pun—unless you aid yourself. I had to keep at top speed every moment in order to have my action suit the caption and the cut-in and the close-up.
And I guess that’s all.
Counting up what I’ve said I think that i want to emphasize again the ground from which we have to begin—being human. Without that touch you might as well quit comedy and go into melodrama, where nobody is human except the villain and even he isn't a perfect thirty-six of his species. Forget all about “showing-off;” remember that you’re sincere and fresh and kind (I don’t like malicious humor). Hum a jazz tune and don't be a snob. If you are, you won’t be a comedienne. But above all, don’t neglect the jazz element. The world goes around to the sound of it, to the sound of the jazz of laughter!
The Elixir of Perpetual Springtime
Fat! Tons and tons of it.
Bumping, wheezing, bouncing about the harem of the ruler of Morovenia in the shape of dozens of enormous women!
The little Princess Kalora was a violet in a garden of peonies. But in the eyes of the Morovenian lounge lizards she didn’t have a chance --- and never would until the day when she could boast of at least three chins.
They Weighed Beauty by the Pound
Mabel Normand is going through the process of “making-up” with the aid of her hairdresser.
Below she is arguing with Sennett studio
MODELS for famous artists have provided the screen with quite a few notable stars. Mabel Normand was one of these, but needs no words of description for a public which has admired her from early film days to the present time.
Miss Normand was born in
She became an artist model at the flapperish age of 14 years, when her unusual type attracted the attention of Charles Dana Gibson. She first posed for him. Other notable artists soon sought her services, among them being James Montgomery Flagg, Henry Hutt, C. Coles Phillips and Hamilton King.
During the time she became the best known model in
She made her first film appearance at the Biograph studio in
Next she worked for Vitagraph, playing comedy with the famous John Bunny and Flora Finch in the “Betty” series. Returning to Biograph, Miss Normand worked both in comedy and drama, but eventually she headed a comedy unit, playing opposite Sennett, who also directed.
Her next contract was with Keystone, with whom the star still plays.
In 1917 the actress turned to special features, starring in “Mickey” that same year.
She shifted to Goldwyn, making “Sis Hopkins”, “The Slim Princess” and others. Returning to Sennett she played “Molly O’ and her most recent one, “Suzanna
Mabel Normand, off screen, is a vivacious, intelligent young woman, with more than her share of sympathy for the unfortunate.
MOTION PICTURE NEWS
to read version along with a few photographs is linked press
Just for the record I agree with this statement from the Sennett Studio.
Wisconsin State Jounal, February 21, 1922
press reprint to see Mabel in her Molly O' lace
She is one idol who can stand a closeup
Dr. Grad's photo
from Movie Weekly,
The Real Mabel Normand
The Study of a Vibrant and Unusual Personality by One Who Knows Her
Intimately Stars invariably disappoint their worshippers. We invest them with all the attributes of gods and then find them ¾ only human beings, with all the failings of mortals. Sometimes we are disappointed to find they are not even human beings. I had a preconception of Mabel Normand before I met her several years ago. I was wrong about her. Her quips, her pranks and wanton wiles, as the poet would say, had been emphasized out of proportion. In a word, I had expected to find her the high priestess of Jazz, the essence of the Sennett comic spirit. Mabel Normand is not that.
I have read many interviews and stories about her because I am profoundly interested in her. My conclusion is that she is the least known of all the stars. In attempting to tell the truth about the real Mabel I am therefore doing an audacious thing, because necessarily I must discount the jazz idea. First of all, she is in my opinion the best read of all the stars I have met, and I have lived in the
She reads everything that will help her perfect herself. Chief among her textbooks is the screen. She attends on an average of five pictures a week, and is forever making notes. There is always a memorandum book tucked way in her vanity bag, and it contains a bewildering array of notes; interesting lines from books she has read; criticisms of her own pictures and others she has seen; ideas for use in characterization; memorandums of gifts which she wants to make; appointments; random thoughts; and books which have been recommended to her.
A bewitching, elfin personality, lovable and loving, an alert and brilliant mentality, a rare and radiant charm that is both physical and intellectual, a star who is a heroine even to her personal maid ¾ such is Mabel Normand. If my study of her seems eulogistic, I can only refer you to her friends of the film colony; they, no doubt, would be even more eulogistic.
Give Mabel Normand A Chance!
It was little more than a year ago today that Mr. David A. Balch, the editor of Movie Weekly, came into my office and said:
“What shall we do about Wally Reid?”
Wally Reid was in the hospital. The newspapers had published ugly stories that Reid was a dope fiend. The following week Movie Weekly published an editorial captioned with Mr. Balch's question, “What About Wally Reid?” in which this magazine pleaded for fair play and besought the always hasty American public to withhold its judgment on this young man until, with God's help, he should recover and come out of the sick room to answer the charges himself.
He never had that chance. He died. But from all over the
This morning Mr. Balch came to my office again, and the question that he asked instantly asked brought back to my mind the query he had uttered on the day Wally Reid died. Only this time his question was:
“What about Mabel Normand?”
Shall this young woman be convicted before the bar of public opinion without a fait hearing? Shall her livelihood be endangered, her reputation besmirched, her pictures be barred on the strength of the most unreliable testimony ever uttered in the history of the world -- the careless and irresponsible reports of the popular American newspapers?
Already boards of censorship in various states, trembling with virtuous indignation, have pontificated over the young woman. Her pictures have been censored off the screen by these dignitaries, although they know nothing more of the circumstances than what they have read of them in the sensational press.
Admitting at the outset that appearances are against her, we should remember always that appearances are deceiving. But, regardless of appearances, regardless of what the circumstances reported may be, it is the height of unfairness, the height of impudence and the height of intolerance to take swift drastic, and in many case irreparable action against the private fortune and reputation of an individual, without a full and complete understanding of the merits of the case.
No more eloquent example of the abuses of power can be wished for than such autocratic and arbitrary tyranny. I shall never forget one lavender twilight in
“There's Fatty Arbuckle.”
I had never met Mr. Arbuckle, And I say it with shame, I had asked her to introduce us, and she did. And the conversation I had with Arbuckle was reported in these columns.
At my request, Arbuckle supplied me with all the evidence of his various trials, including the absolute and final vindication of a jury of twelve honest men and women who tried him and found him guiltless of the blood of Virginia Rappe.
And now before the bar of public opinion is marshaled the beautiful and talented Mabel Normand. Shall she, too, be condemned, unheard? The heart of that girl must be filled with dread. I think I should rather face the cowled inquisitors of
The crime of hasty judgment is committed day after day in the land whose temples are built to Him who said: “Judge not, that ye be not judged.” Our history is stained with illustrious examples. Poor Dewey found out what it is to be a popular hero, and then to make a mistake.
It is conceivable, wholly conceivable, that Mabel Normand and Edna Purviance paid a friendly call upon a man under entirely innocent circumstances and that while they were there a crazy person, a drunkard, a dope fiend, or whatever that unfortunate individual may have been, came in and fired a shot that brought in the police, and there they were.
And now, through no sin of their own, they have become such outcasts from decent society that their pictures cannot be shown. It is unfair, it is unworthy, it is unjust. And as long as Movie Weekly is read by the patrons of the moving picture theaters of America, we will lift our voices in behalf of fair play for those who work and toil in the studios to shed pleasure and romance, beauty and drama, before the lives of people who hunger for something besides the grey monotony that fills their lives.
From another angle, the idea is not only opposed to the constitutional rights of citizens of the free-republic, so-called. It is fundamentally absolute. I said once before in these columns that I had bought for my daughter a very beautiful piano. It is a matter of the utmost indifference to me whether the men who made that piano, the men who strung the scale and inserted the action had set the keys and varnished the case and made it a singer of beautiful melodies beneath the caressing fingers of my little girl -- I say, it is a matter of the utmost indifference to me whether those men who made this instrument beat their wives or sold their souls to the devil. I hope they stopped such practices, but their private sins are of no concern to me when I buy that instrument. Nor are they of concern to anyone else in the
…page 29… The moving picture that I see is not Mabel Normand. It is a story. If it is a good story, I like it. And what is Mabel Normand to me or what am I to Mabel Normand? But now, in the hours of her extremity, in the hour of her distress, she stands imminently in danger of being garroted, black-jaded and utterly destroyed in her profession, when she may be, for all I know, and as far as all these pontificating censors know, as innocent as their wives and their mothers and their daughters.
And while we're about it -- what of these censors, and their wives, and their daughters? Are they all of them so irreproachable in their conduct as to cloak themselves in a holier-than-thou attitude? Or would their own lives disclose incidents that would not stand the pitiless light of publicity -- a light as fierce and as cruel as that which was shed upon Mabel Normand in her unhappy hour of New Year's festivity? I wonder.
Therefore, Movie Weekly refuses, in this, and all subsequent issues to publish a scandal story about this unfortunate girl. But it throws open its space quite freely to the prosecuting attorney in
“Judge not, that ye be not judged!”
It is just as true today as it was two thousand years ago when it was first spoken.
Gentlemen -- give Mabel Normand a chance!
HAPPIER IF I'D MARRIED
ASKS MABEL NORMAND
1928 Feb 29 Lincoln State Journal
MOVIE STAR SEEKS DIVORCE FROM CODY
May 1930 Photoplay
1930 August (AP) Trust Fund
Mabel Normand had set up a $50,000 Trust Fund
in 1922 for her family
FILM VETERAN PICKS BEAUTIES
(HARRY CAREY )
California Bank promotional collection of photos done in the 1960s,
places our Mabel with the pantheon of the greats, right were she belongs.
The Times Recorder
by Earl Wilson
It Happened Last Night
This memorable one began around 6:15 o’clock Sunday evening when the temperature was still around 75. Bathed in sunlight, I was squeezed into a thinner me’s dinner jacket. I shouldered through the jammed Majestic Theater lobby for the opening of an $800,000 musical “Mack and Mabel” with Bob Preston, Bernadette Petters and Lisa Kirk.
I made notes about sexy, Rexy Harrison and sexy Ingrid Bergman being there. I got to my feet for standing ovations…by 9:15 I was at the Tower Suite, about 50 floors up, for a soiree producer David Merrick gave for the cast.
“King David” my B.W. calls David Merrick. He accepts the title. Everybody’s telling
You’ve got a 4-hour hit, are you still talking to your cast?” I ask… “I always talk to them. They don’t always talk to me,” he says… “You once said that actors were children” … “I was right. They’re 10 years old and I’m their director – and I’m 11.”
In came Bernadette Peters’ parent, the Peter Lazar of Ozone,
The original Mabel Normand, the movie star about whom this love story was composed for the stage, came from
“It’s the engagement ring Mack Sennett gave to Mabel Normand,” she said. “It’s about two carats, they say with the old kind of setting its worth about $4,000.”
The new Mabel Normand was attractive, shapely and bore a resemblance. She said her father Claude Normand was Mabel Normand’s brother. What a funny place to discover Mabel Normand. At a first-night about Mabel Normand!
*Mabel (Normand) Rycowitch and her sons; Normand and Stephen. Mabel Rycowitch died in June 2005; her son Stephen Rycowitch/Normand worked with Betty Fussell on the book called Mabel:
THE MOVIE (1981)
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