My reaction to the Charles Higham 1970 interview with Mary Miles Minter (recently posted on YouTube) -- in which Mary in effect relates that "Mabel" was having an affair with Taylor -- is to say that it adds further weight to my contention that there were indeed two "Mabels;" since it is hard to believe (assuming what Mary states is true) that the pale and rigid Mabel seen in "Molly O," "Suzanna" and "The Extra Girl" (who was not infrequently suffering from health problems) is the same as the one purported to have been physically intimate with Taylor. Clearly -- to me at least -- the "Mabel" Taylor was having an affair with (assuming such) was the boisterous Mabel we see in that circa 1923 photograph with Courtland Dines and Edna Purviance laughing it up (shown above.) (Thank you, Marilyn, for being so sweet as usual for providing us the picture.)
I dare not go reporting all the great Mabel related things Marilyn Slater has found, or Mabel projects she is doing, for fear of putting myself to shame (by comparison.) Even so, every now and then, when she starts surmounting merely wonderful, we cannot afford to keep silent. In the present instance, here is the link to a lively and enjoyable article (located at her "Looking for Mabel" website") she's written entitled "Mabel Normand Loved Speed."
Only just a few weeks back did I make the discovery that Mabel is actually in the Chaplin Keystone short "The Masquerader" (1914); appearing in some of the very opening scenes; yet which are often omitted or missing in surviving prints. My MN filmography therefore, both at this site and in my Mabel Normand Source Book, has been updated accordingly.
I did get a chance to see the "Mack et Mabel" Canadian television program (see item just below); and can tell you that it is very good. To be honest, I normally don't much care for television historical documentaries; largely because I grudge how they give some people the excuse not to read history; or else how they tend to treat it superficially. Even so, there are sometimes exceptions and "Mack et Mabel" (about a half hour or so in length) is one; in this case because it brings real heart to the subject. Just incidentally, though I prefer "Mack et Mabel," historian-filmmaker Pierre Pageau, from Quebec, who is interviewed in it, also did a similar program on Sennett a few years back which is also good.
Although at present only in French, I understand there may be an effort sometime in the future to make an English version of "Mack et Mabel" available. As before, will keep you posted.
I only now (5/14/2007) received word that the Canadian television docu-drama, produced by Vic Pelletier, and starring Claudia Laurie (whom you might recall I had earlier mentioned here; who plays Mabel in it), Mack et Mabel, aired just this last February. If you didn't see the program, there are apparently video copies which are or soon to be available. Will keep you posted as (and if) I learn more.
"Mabel Normand - Her Books have finally arrived after 75 years.
"The Staten Island Museum (aka Staten Island Institute of Arts & Sciences) has received a gift from Katie Brown of New York City of 21 books which once belonged to Mabel Normand, the girl from Staten Island. Mabel is the owner of a legendary library; which has been much discussed in the over 75 years since her death in 1930.
"Over the years the content of her library has been studied by scholars and researchers as to the importance it holds as a tool in the development of the emerging female of the early 20th century but up until now only an occasional volume has been available to the general public and the probate list of books which was attached to her final Will. At the time of her death the books at her Beverly Hills mansion were packed to send to the family home at St. Marks Place, New Brighton, Staten Island. In the New York Globe, February 13, 1922, wrote Mabel according to Mr. Normand has always been a great reader, and has frequently sent books from the coast to her Staten Island home. The Normand house is a two-and-a-half story dwelling in the aristocratic section of St. George, and was bought by the screen star some five years ago, and presented by her to her parents.
"Richard Koszarski of Rutgers University, the Editor-in-Chief of Film History recently had as his cover story in volume 18, 2006; the terrific Mark Lynn Anderson, article discussing the Reading Mabel Normands library. Mark Lynn Anderson is assistant Professor in Film Studies at the University of Pittsburgh. This marvelous issue dealt with Women and the Silent Screen. Even during Mabel Normands life time there were stories written regarding the content of her bookcases.
"There is some mystery as to where these books have been in the intervening years but what is important is that they have come home to Staten Island, thanks to Katie Brown. These books each have the Mabel Normand bookplate and many are autographed endearingly from the author to Mabel.
"Pat Salmon, Curator of History of The Museum of Staten Island has made an ideal home for the books perhaps with the continued interest in Mabel Normand's contribution to the history of cinema, the collection of her material available through the SIHM will grow."
[Marilyn Slater]
"[Nederland] Filmmuseum Presents World Premiere
of Recovered and Restored Film
'The Floor Below'
Third Edition Dutch Biennial Film Festival, 11 to 15 April 2007
"AMSTERDAM, April 11 /PRNewswire/ -- From 11 to 15 April, the Filmmuseum in Amsterdam,
The Netherlands presents the third edition of the Filmmuseum Biennale. During this biennial
film festival, the Filmmuseum will show silent films accompanied by live performances of new
soundtracks, as well as unique discoveries from its historic film collection. The festival opens
on Wednesday evening with the world premiere of The Floor Below, an American silent comedy from
1918 by C. G. Badger, starring comedienne Mabel Normand - 'the female Charlie Chaplin'.
The film was considered lost until the Filmmuseum found a copy in the estate of a Dutch collector.
This is the second time in a relatively short while that the Filmmuseum has made such a historic
discovery; in 2005 the museum presented a restored version of Beyond the Rocks (1922),
starring Rudolph Valentino and Gloria Swanson, which was also believed to have
gone missing. The restored copy of The Floor Below will premiere in the Muziekgebouw aan 't I J,
Dutch musician Fay Lovsky composed a new score, which she will perform live with her band.
"Host of the evening is actress Johanna ter Steege; highlights: silent films with live music.
"By offering visitors the opportunity to experience classic and silent films in a new way at unique locations, the Filmmuseum hopes to increase interest in film history and highlight the importance of film restoration. During the Filmmuseum Biennale, a number of the highlights from the Filmmuseum's restoration efforts can be seen. True to the festival motto, 'A feast for the eye and ear', musicians and composers were invited to write new scores for the films.
"More information and the complete programme is published on http://www.filmmuseum.nl/biennale. "
In addition to "The Floor Below"(1918), which was announced here earlier, there are a number of other Mabel Normand films to be screened at the Nederland Film Museum in Amsterdam this coming April:
"Molly O’" (1921), dir. F. Richard Jones
"Head over Heels" (1922), dir. Victor Schertzinger – European premiere
Shorts
"Mabels Dramatic Career" (1913), dir. Mack Sennett
"Mabel at the Wheel" (1914), dir. Mabel Normand and Mack Sennett
"Should Men Walk Home (1927), dir. Leo McCarey
"A Little Hero," (1913), dir. George Nichols - a previously (to my knowledge at least) "lost" film
"At Coney Island" ( 1912), dir. Mack Sennett - another previously thought "lost" film
You can download the festival brochure (in zipped, .pdf format) and which has more detailed information here. For a similar item, but in .rtf format, click here.
Yet another previously thought "lost" Mabel Normand film, "The Floor Below" (Goldwyn, 1918) has just been found and recovered of very late. Here's more as provided by Marilyn Slater, and who also translated the following for us.
"Film Museum Festival Opens with Silent Comedy
"AMSTERDAM - the Film Museum Festival opens April 11, 2007 with The Floor Below[i], the American silent film comedy from 1918.
"It was reported Monday by the film museum in Amsterdam that The Floor Below will be the feature presentation. This production was directed by C. G. Badger and stars the comdienne Mabel Normand, the female Charlie Chaplin, as the lead.
"The film was considered lost, until the museum found a copy in the private collection of a Dutch film lover. The restored copy of The Floor Below will have its world premire with live music composed by Fay Lovsky The Festival which will take place from April 11 to April 15 will showcase the restoration done at the film museum. It is the goal of the festival to celebrate both the films of the past and the new music created specially for the films.
"Other highlights of the festival will be the museums traditional screening of a selection of films from the collection of van Johan van der Keuken and discussion of the work of Paul de Nooijer (1943), the screen writer and artist.
"Filmmuseum Binnale opent met stomme komedie
"AMSTERDAM - De Filmmuseum Binnale opent 11 april met The Floor Below, een Amerikaanse stommefilmkomedie uit 1918. Dat maakte het Filmmuseum in Amsterdam maandag bekend. In de productie van C.G. Badger speelt de comdienne Mabel Normand, 'de vrouwelijke Charlie Chaplin', de hoofdrol.
"De film werd als verloren beschouwd, totdat het museum een kopie vond in de nalatenschap van een Nederlandse verzamelaar. De gerestaureerde kopie van The Floor Below beleeft haar wereldpremire in het Muziekgebouw aan 't IJ.
Filmmuziek
"Fay Lovsky componeerde de filmmuziek. Zij brengt die met haar band live ten gehore.
"Tijdens de Binnale, die plaatsvindt van 11 tot en met 15 april, zijn hoogtepunten te zien uit de restauratiepraktijk van het Filmmuseum. Onder het motto een 'feest voor oog en oor' schrijven muzikanten en componisten nieuwe filmmuziek.
"Ook vertoont het museum een selectie van klassieke speelfilms uit de collectie van Johan van der Keuken. Filmmaker en beeldend kunstenaar Paul de Nooijer (1943) staat centraal.
(ANP)
"[1] The Floor Below, March 7, 1918, Samuel Goldwyn Production, 6 reels, director: Clarence G. Badger, cast: Mabel Normand, Tom Moore, Wallace McCutcheon, Willard Dashiell, Helen Dahl, Herbert Rawlinson, Louis R. Grisel, A. Romaine Callender, Lincoln Plumer, Charlotte Granville, Texas Charwaite.
"Patricia O'Rourke, a good-natured prankster who works as a copy girl for the Sentinel, angers her co-worker Stubbs and is about to lose her job when the managing editor offers her one more chance. Her assignment is to explain the clue that links the Hope Mission, a derelict home run by millionaire Hunter Mason and his secretary, Monty Latham, with a series of local robberies. When Hunter discovers Patricia in his office, he assumes that she is a crook in need of reforming and takes her into his home to be cared for by his mother. Louise Vane, Hunter's fiance, realizes that he is falling love with the girl "crook" and becomes jealous, even though she is really in love with Monty. At a benefit dance, Louise steals the contribution box for Monty, who has learned that the police are after him, and when the robbery is discovered, she accuses Patricia. The police soon arrive to clear the copy girl's name, however, and she abandons her newspaper job to marry Hunter. (plot information from AFI)"
Marilyn Slater hit another Mabel home run recently by acquiring this shot. We thank her, as always, for sending it.
"AVAILABLE : Issue n° 17
"N° 17 : 180 pages ; 134 illustrations
Booklet size : 5.6 x 8.1 inch. ; Price :10 euros (12.68 us $)
"Airmail Priority shipment cost : 3 euros,
"Orders and informations : t.g.mathieu@wanadoo.fr,
"Web site :
www.chaplin-at-keystone.com
( secure payment through PayPal ; in US $, Euros, or £ )
"Also available in cinema bookshops in Paris (+ past issues)"
NOVEMBER SCREENING
"Golden Silents: Mabel Normand's Head Over Heels
"Fri Nov 3: 7:30
"Admission: $12 for FSLC members; $15 for general public
"Walter Reade Theater
165 West 65th St.
(between Broadway & Amsterdam)
Lincoln Center, New York
212-875=5600
"NYC-native Mabel Normand was the screens first star comedienne. After acting in films for Biograph, she became part of the core group of comics for Mack Sennetts Keystone Studios, and starred in dozens of short comedies from 1912-1917. She directed many of these, and was also teamed with Roscoe Fatty Arbuckle in a popular series of films for Keystone. She then signed with Goldwyn Pictures and from 1918-1920 turned out 16 feature-length films. Sadly, most of these features are lost.
"A few years ago a beautiful tinted 35mm nitrate print of Head Over Heels (made in 1920, but released in 1922) turned up in a Massachusetts basement. This print has recently been preserved by the AFI and will be having its New York re-premiere at this showing.
"Rounding out the program are comedy shorts spanning Normands career arc: Mabels Dramatic Career (1913), which co-stars Sennett and is presented in a new preservation by the AFI from a 35mm nitrate release print, Fatty and Mabels Simple Life (1915), and the Hal Roach 2-reeler Should Men Walk Home (1928).
"The program will be introduced by film historian Steve Massa. The films will be accompanied by Ben Model, who will be performing his original scores on the mighty Miditzer virtual theatre organ."
Someone whose father, many years back, worked at the Library of Congress sent me this snap of a collection of photographs the father had acquuired while employed there. It turns out what it depicts is a set of stills which come from a part of the film "Suzanna" (1922) which part is now lost or missing. But not only are these pictures of interest for purposes of helping to fill up what we don't have of the film, they collectively are a Mabel masterpiece of a kind. Though I am sorry I cannot provide you with a better angle and resolution, you can see, even from a distance, what I mean.
Marilyn Slater, who just the other day happened to come across and identify a possibly "lost" and previously unlisted Mabel film of 1913, i.e. "The New Conductor" (see filmography in updated MNSB, below, for more) gives the following very helpful description at her "Looking for Mabel" website of the upcoming Betty Coss auction. This auction, incidentally, includes some very special items of real historical interest. But more, as Marilyn can tell you:
"Heritage Auction Galleries updated August 14 Saturday, Aug 12, 2006
"I have a rather exciting announcement: Heritage Auction Galleries will have the Betty Coss collection of Mabel Normand memorabilia at their October 2006 auction. The catalog should be out in September.
"Who and What and Why: you might ask:
"Who: Betty Coss was the personal secretary of your Mabel during the eventful period from January 1922 until 1926, so she was there while Mabel was dealing with:
· the promotion of Molly O’ –
· the death of Taylor –
· the filming of Suzanna –
· Mabel’s trip to Europe –
· the making of The Extra Girl –
· Mabel’s try at the legitimate theater –
· marriage to Lew Cody.
"Betty only left Mabel’s employment when she married Carlos Duncan.
"What: items included:
· many photos of Mabel and actors of the era such as Ben Turpin, Charlie Chaplin and
others.
· 15 issues of Mack Sennett Weekly.
· A fabulous collection of the letters and notes.
"Most are about every day affairs such as ordering photos to send out to fans. In one note Mabel requests the number of a bootlegger Betty knows of.
· A legal statement of Elisabeth Coss made during the Liable Suit Mabel filed against
Mrs. Church. Also Mabel’s own account of care at hospital
· Christmas cards to Betty from Mack Sennett, Mabel Normand, Mabel and Lew Cody and Ben
Turpin.
· There are letters from fans asking for money and favors.
· Surprisingly nothing to or from William Desmond Taylor is included.
· A lovely handwritten letter of reference written by Mabel for Betty
· And more
"Why: The private owner is 85 has excellent providence on the material which she inherited from a relative. She is only parting with these lovely treasures which she has saved in perfect condition to supplement her income. These items are one of a kind and many never seem before. They need to find a home in the hands of a Mabel Normand Collector, who understands the value of these gems.
"You might want to register with the auction house NOW!
http://www.heritageauctions.com/auctions/
"Silent Films stars Mabel Normand and Ben Turpin from the Betty Coss Collection
"Betty Coss was Mabel Normand's personal secretary for 3 1/2 years starting in January 1922. This collection includes many photos from the period, of Mabel Normand, Ben Turpin, Mack Sennett studios, the studio cafeteria, Phyllis Haver, Pauline Fredrick, Marie Prevost, Charie Chaplin and others. There are many letters and notes including a handwritten letter of reference for Betty from Mabel. A letter from Paul Bern to Mabel. A note from Mabel to Betty requesting the number of a bootlegger and a 15 page letter written by Mabel while in the hospital. There are Christmas cards from Mabel & Lew Cody, Mack Sennett, Ben Turpin, and Mabel Normand. there are letters from fans requesting favors from Mabel and post cards of Mabel's home and Ben Turpin's home. Also included are 15 Mack Sennett Weekly newsletters and many other items of interest. This collection is available in an upcoming auction at:
"Heritage Auction Galleries
3500 Maple Ave., 17th floor
Dallas, Texas 75219-3941
1-800-872-6467
For more see: www.heritageauctions.com
"2006 October Music/Entertainment Memorabilia Auction #634 Online bidding begins Sept. 15, 2006."
The not-so-long-ago discovered and then restored Mabel Normand Goldwyn comedy "Head Over Heels" (1922) will be among the rare silent films shown at this year's Cinecon in Los Angeles, Aug. 31 thru Sept. 4. For more see http://www.cinecon.org/cinecon_films.html
With the smoke cleared and the 5th edition off and rolling, Mabel is on her way!. The above is a cut out/enlargement from a publicity photo for "Barney Oldfield's Race for a Life" (1913), courtesy of Marilyn Slater.
The most recent issue of "Film History" (Volume 18, Number 2, 2006) has Mabel on its cover, and includes an article by Mark Lynn Anderson entitled "Reading Mabel Normand's Library." For more see: http://muse.uq.edu.au/journals/film_history/toc/fih18.2.html
Mabel Normand: A Source Book to Her Life and Films, FIFTH EDITION, and which includes new Index, now available for downloading. (6/15/06)
I am currently working on the Fifth Edition of my Mabel Normand Source Book, and when it's done it will again be available for sale in print as both hard bound and soft bound versions. Well, this time round I have the opportunity to exercise some bold, perhaps unprecedented, honesty by a biographer revising his own history. The new "Preface" below will make more clear what I am talking about. I would welcome comments about this and other topics before finally going to press, but as usual if you write me odds are (and based on past experience) I won't get your mail unfortunately.
Preface to the Fifth Edition
The Mabel Normand Source Book has gone through a number of transformations since its initial inception. And although I knew back in the earliest phase of this project that there is and just about always has been mysteries surrounding Mabel’s story, little did I realize the very strange kinds of difficulties and puzzling questions I would end up encountering.
Probably the most remarkable that came up was the question “were there actually two ‘Mabel Normand’s?’” Or, put somewhat differently, did Mabel have a regular double who at different times performed starring roles under her name? Although I have been understandably reluctant to broach the subject previously, it may after all indeed be the case that Mabel did have a frequent double who was used in some of her films, and who people took, and to this day, take to be Mabel Normand, but who was an entirely different person, and who was or was not actually related to her. When I brought this to someone’s attention recently, they thought I might be joking. First then let me be plain -- no I am not joking. To give you a sense of what this is about, take for instance the Mabel we see in Oh, Those Eyes (1912) in contrast to the one in Tomboy Bessie (1912); or the Mabel in The Speed Kings (1913) and the Mabel in Mabel’s Dramatic Career (1913); the Mabel in the 1915 “Fatty and Mabel” shorts and the one in Fatty and Mabel Adrift (1916); the Mabel in What Happened to Rosa (1921) and the one in Molly O’ (1921) and Suzanna (1922); the Mabel we see in Raggedy Rose (1926) versus the one we see in The Nickel Hopper (1926); the Mabel of The Extra Girl (1923), and the one photographed in 1927 with Charlie Chaplin at a movie premiere (as shown in an insert in Betty Fussell’s Mabel: Hollywood’s First I Don’t Care Girl, just after page 82.) In viewing these films and photographs you will see a noticeable and significant difference in how "Mabel" appears. Though these discrepancies of appearance do not themselves prove the fact, yet they are, notwithstanding, very striking in what might be their implication. Nor must we rely on mere surface appearances in order to determine if there is or is not something more to this suspicion. For example, one possible thing to look for in attempting to distinguish the one from the other Mabel, and on more reliable forensic grounds, is teeth. It would seem the real Mabel's teeth have a very slight unevenness; whereas the "other" Mabel's are more smooth and straight.
Now those who have studied silent films stars more closely will know that it is very true, the same person can look very different due to both personal reasons and how they are photographed. Nonetheless, on the basis of such as the film examples given above, and other evidence, such as the inordinately large number of films credited to Mabel, or Keystone contemporary Fred J. Balshofer’s casual yet cryptic remark:
"He [Henry Lehrman] saw the picture with Mabel in the bathing suit, his always nimble mind clicked. He suggested a bevy of bathing beauties for the [Keystone] stock company, and out of this idea grew the Mack Sennett bathing beauties. Among the early bathing beauties to join the company was a beautiful sixteen-year-old who looked enough like Mabel Normand to pass as her twin sister. She not only had the looks but a plan she thought was the path to becoming a star, and she wasted no time in displaying her charms," (One Reel a Week, page 81)
I believe the question is at least now worth tabling. And even if there is only such as the above to support such radical speculation, could one continue (being acquainted with such anomalies) afford to remain completely silent? As disagreeable as the inference is that there were two “Mabel’s,” I must be honest, and do then state that I myself am inclined to believe there were. Yet this asserted, I candidly concede I may somehow after all be wrong in this conjecture, and there may be an alternative explanation to these disparities. As well, there is the not unimportant question -- even if there was this second “Mabel,” how frequently was she actually employed (to represent the other?) And, of course, we will not be surprised to find someone who would dismiss such a claim as preposterous to begin with.
Yet others, as well, will perhaps not be so easily satisfied with this Ben Turpin-like solution -- but for other reasons, and might contend that if there were two Mabel Normand’s then this of itself makes her out to be a fraud, and consequently not worth bothering with. Although myself not a little annoyed, not to mentioned embarrassed, by having to adopt such a conclusion, I think the more sensible course is simply to revise our outlooks, and at least be more cautious and circumspect when we discuss Mabel and or her films. If there was something unethical in what these purported two did, there can be little doubt that they did ultimately suffer for it, perhaps terribly. In and for this we should have compassion, while being prepared to adapt, as necessary, to a major change in our understanding of the silent film comedienne and her career.
For whether it is Mabel Normand I or the alleged Mabel Normand II being viewed, we are in both instances seeing a very interesting and talented person who, in either case, stands out as someone unique and extraordinary in silent films. Though I can go no further than this preface in raising this question, and the main text will continue to speak of Mabel Normand as one person, my raising the issue here, it is hoped, will at least dispel some darkness and possible confusion, while assisting others who might in future be better situated than myself at present to look into and address it.
This said and despite, there is an essential unity to the career of “Mabel Normand” such that I think the Source Book still can inform and aid in making sense of the facts -- that is as long as we are not willfully blind to what this double theory might suggest or imply. At the very least we’ve acknowledge the possibility of the problem. And though, for example, the remarks and reflections made concerning Mabel in my essays, may after all, pertain to someone different than Mabel proper, nevertheless, who and what I am describing and discussing are real and of value – only we must be wary of and alert to the possible difference with respect to identity. Extremely awkward as this is, far better it than either believing something mistaken or else thoughtlessly tossing aside what is otherwise still of obvious worth, interest, and significance.
Some might understandably be shocked or perhaps even feel some anguish by the suggestion of their being a regular double. Yet, if we stop and think, this is only because the conclusion forces us to admit there is much we don’t know – and which we otherwise thought we did. Granted the additional complication can hardly be seen as something welcome. Yet the simple remedy to this dilemma is patience and further research. In time, what at first seems alarming to accept and difficult to assent to, can be made less perplexing and easier to grasp. So that what was earlier a great novelty will, as a result of being better explained and understood become so familiar to us as to become old hat.
The mystery of the (possible) two Mabel’s is far from being the only controversy that remains. There is still much to be known and understood generally about what was really going on in the gathering, construction, and dismantling of silent era Hollywood, not to mention the “true story” behind many of the more well-known scandals, such as the William Desmond Taylor case. Yet this then is in part what history and biography are all about; namely to make the record more clear and better comprehended. Our erring along the way is only human, and yet pardonable, as long as our quest for the truth is just, sincere and disinterested.
William Thomas Sherman
Seattle, Washington
For those who didn't already (which until just the other day included me), did you know you can make your own movie stills from DVD using Windows Media Player? Here's the step-by-step:
1. Have DVD being played using Windows Media Player (WMP)
2. Pause desired picture (though this second step is not strictly necessary)
3. Right click on Windows Media Screen
4. Select "DVD Features" then "capture image"
Voila, a home-made still. Below is an example.
A Quebec based television outfit has recently been filming a documentary/docu-drama about Mack Sennett and Mabel Normand, and look who they got for the part. If the resemblance is uncanny that may be due to the fact that Ms. Laurie is a present day distant relative of MN. As pretty too, don't you think?
These days (and for a long time now) unoffical all-around Mabel Normand picture curator Marilyn Slater never ceases to impress me! I look at her site, and I find myself coming off more and more astonished with each new visit. Among the recent additions to "Looking for Mabel" she has some Sennett Bathing Beauty shots done by well-known silent film star photographer Evans. Have a look here.
Below is another one of those most dandy sort of Mabel photos (in this instance from the set of "The Extra Girl" [1923]) Marilyn came across recently and was kind enough (as usual) to pass along.
A new, unprecedented, and most welcome study of Mabel co-star Ford Sterling, Ford Sterling The Life and Films by Wendy Warwick White, is soon to be made available. See link here.
