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Won in a Closet (1914)
A Griffith girl in comedy
Similar to many Keystone films, and especially the Bangville Police. Most Sennett comedies were send ups or burlesques of someone or something. Here the cops, country people and even D.W. Griffith are being ridiculed. Mabel is clearly playing a Griffith heroine -- a beautiful girl, very pure, but a little bit silly. How often is Mabel depicted as someone who loves the most ridiculous of men -- she does so here, although it is usually the very odd Mack Sennett who gains her affections. Whether it is Mabel or some other actor that directs, the outcomes are always the same, as Sennett always supervised everything. There were no directors as we know them today.
Love and Courage (1913)
Vulgar and crude
From Moving Picture World July 26 1913:
"Mabel's lovers get into a running fight. There are touches of vulgarity in this film that might have been avoided."
No more is known of this picture.
Their Social Splash (1915)
Mad, Mad, Mad
Crazy stuff, but just what the cheap seats wanted at that time. Dixie Chene is pretty and cute as usual, and Charlie Murray goes down a treat with Polly Moran. Typically Sennett, in that someone has to pull a gun, and I wonder if Dixie was another one told by Sennett that he would make her into the next Mabel Normand. Her attempts at being a hair- tearing Mabel seem to fall flat. Only Mabel could be Mabel, and, as Chaplin discovered, only Ford Sterling could be Ford Sterling.
He Did and He Didn't (1916)
Good film but Mabel is 'commonplace' here
The first thing we have to say is, 'What happened?' Roscoe is still Roscoe,but toned down and not that funny. Mabel however is totally transformed. She is now a serious dramatic actress, and carries through the part very well. The problem is that she is now one of a thousand actresses, who did this type of work on a daily basis. She had become, as Charlie Chaplin later said, 'commonplace'. Good as the film is, her audiences were probably appalled - where was the Keystone Girl? Furthermore, what was everyone's favorite ingenue doing getting amorous with a man in her bedroom, while wearing a nightie? The very thought! From a mass-market point of view, films like this would have drained the very essence from Mabel, and ended her career. Fortunately, good sense prevailed, and Mabel was able to eventually produce funny, but dramatic, films under the good direction of the great Dick Jones. I can give 8 for the film, but only 4 for Mabel's performance - so 6 it is.
A Dash Through the Clouds (1912)
Daring young lady in a flying machine
This is another case of the nascent movie industry cashing in on the upsurge of 'bright young things' doing daring stunts. Sennett advertised this picture as showcasing the dare-devilry of Mabel Normand (every studio had to have its own 'Perilous Pauline'). Mack stated that the film showed a modern aircraft, light years in advance of the original Wright Brothers' string-bag of not many years earlier. Well, I don't know, this craft looks every bit a string-bag as the Wright death-kite.
The story revolves around Tutti-Fruitti salesman, Arthur, who is peddling his wares in the 'Mexican Quarter'. His wife is Josephine, the sweet Mabel Normand, and what a strange couple they make – the young and slim Mabel, and the chubby, aging Fred Mace. Naturally, Mabel has all the attributes of a young, healthy lass, and pretty soon falls for dashing flying ace, Slim the Aviator. At the airfield Mabel soon persuades Slim to take her for a flight. The Keystone Girl looks very relaxed as the old string-bag takes off, with the pair precariously perched on skimpy seats, with the vicious looking prop blades spinning behind them. Chubby, of course, chases them down the airfield, though god knows what he thought he was going to do! All hell breaks loose when Mabel lands, but later, when Chubby leaves for the Mexican quarter, Mabel returns to the airfield. There Slim lets Mabel operate the controls on the ground, which she does in the manner of a hyperactive child (why would anyone let a scatter-brain like Mabel Normand mess with an aircraft's controls?).
Meanwhile, out in the Mexican Quarter, Chubby is in trouble with the locals, as he's been carousing with a Mexican woman. One Mexican lad (Jack Pickford) runs to Mabel's house and warns her that the Mexicanos are out to get Chubby. Consequently, Mabel grabs two 45 caliber pistols and makes for the airfield. There Mabel dangerously waves the guns about, as she explains the situation to Slim. Once in the air, and above their adversaries, Mabel starts to loose off a few rounds. The Mexicans run off, and Chubby is saved. Hurrah! However, fickle Mabel refuses to have any more to do with her sad sack husband and flies off into the sunset with Slim.
Things to note about this film: The picture was made on Biograph's second trip to California, with Mack Sennett as director. That young scamp Jack Pickford has a part in the film, although he does not have an opportunity to fondle luscious Mabel, as he did in 'What the Doctor Ordered'. The pair remained good friends in real life, and both were later at Goldwyn studios, although Jack was often away on location (Mabel did not need exotic locations, just a park, a policeman and herself).
The aging Kate Bruce, matron and moral guardian to the Biograph girls, appears as an old Mexican woman in this picture. Of Lilian Gish she said, 'This girl is so innocent and young, she needs protecting from the world'. Mabel Normand needed no protection, though, as can be seen here, she could not handle a gun,and seems happy that she managed to fire the thing. The much-mooted idea, then, that Mabel accurately fired four slugs into Courtland Dines in 1924 is preposterous, as she could not hit a mountain at 50 feet, according to Mack Sennett (chain-gang escapee and chauffeur to Mabel, Horace Greer, was charged with the shooting.
The airfield sequences were filmed out at Playa del Rey, alongside the Los Angeles boarded racetrack. The track, visible in the film, only lasted around three years until it was burned down by the hobos sheltering underneath it. The Biograph studio was keen to play on the fact that Mabel was a daredevil, and flew in aircraft. There were also claims that Mabel was the first woman to gain a U.S. flying license and the first woman to be filmed in an aircraft. These honors, of course, go to screenwriter Harriet Quimby, who was also the first woman to fly the English Channel. Slim (Phillip Parmalee) was killed in a plane crash a month after this film was made, and Quimby died in a somewhat mysterious crash a month after that.
The Diving Girl (1911)
Bright young thing reveals her assets
If you adore Mabel, then you'll simply love this chance to see Miss Gorgeous in her very un-edwardian swimsuit. In 1911 this skimpy bathing gear was regarded as almost pornographic, and when the churches began their assault on Mabel's character in 1924 they quoted this appearance as evidence of her debauchery. However, compared with Olympian swimmer Vera Thulin's sexy look of 1912 (replete with protruding nipples) Mabel appears somewhat tame by comparison. We might suspect that genius DW Griffth ordered the then voluptuous Mabel to be 'strapped down'. Mabel was filmed (supposedly) nude in 'Mickey' in the same year that Annette Kellermann went fully nude in 'A Daughter of the Gods. In all honesty Mabel was an Edwardian prude, and evidence for her allegedly diving into a ship's pool naked is lacking, although she often appeared (shock, horror!) on screen in pajamas and once in her undies (actually just a full length underdress).
This film is a good short by 1911 standards and gives Mabel a chance to exercise her fast-changing facial expressions (laughter to grimace, to pout) as well as her diving prowess, which is considerable. The message of the picture from director Mack Sennett is 'Stand aside you old maids and let the bright young things do their bit'. Of course, Mack Sennett realized the financial capital to be made from Mabel's lightly- covered body and later produced the similar (but with more story-line) film The Water Nymph.
The church might have thought Mabel obscene, but she was never on friendly terms with outright sex-bombs like Clara Bow. Mabel named her dog 'It Girl'.
Tit for Tat (1929)
Crazy on Main Street
Another fine mess for Laurel and Hardy. A remake, sort of, of Big Business, where in a tit-for-tat the pair reduce a guy's bungalow to matchwood, while the irate guy reduces their Model-T to scrap. In Tit For Tat L and H are again in business, when they open an electrical store. They soon fall out with the store-owner next door, Mr Hall, when he recognizes Hardy as someone who had some previous 'dealings' with his wife (Mae Busch). Unfortunately, Hardy falls from a ladder while fixing his store's signboard and lands on the first floor window ledge of Hall's shop. He is rescued by the wife, and hall can hardly miss the fact that Hardy comes down the stairs with his wife. Basically, the film comprises a series of tit- for-tat actions, between L & H and Hall, a small guy acting tough. Hall fries Hardy's nose with a pair of electric tongs, Hardy tips honey in Halls' cash register, Hall cuts top of Hardy's derby with a bacon slicer ad infinitum. While all this is going on another little guy is busy walking in and out of L & H's shop with their stock. Eventually he brings a wheelbarrow, then a truck.
Silent movie-land and early talkies constitutes a small world, and this movie has a link with a certain silent era comedienne. In Hollywood legend, the idea of the tit-for-tat in comedy films came from one- time Roach director Leo McCarey. He once attended a Hal Roach black-tie party, at which there happened along a certain Roach star (and ex- Queen of Keystone) by the name of Mabel Normand. Hearing that McCarey had spent an hour tying his dickie bow, Mabel walked up to him, flicked her finger in the tie and undid all the good work. While everyone laughed, Leo turned to the next man and flipped his tie apart, prompting the man to flick apart the next man's and so on, down the line. Thus, it is said, began the tit-for- tat film series. Unusually for a party attended by 'Madcap Mabel' no-one died.
Stan Laurel and Mae Busch have a big connection with Mabel Normand. Mae Busch, a long- time friend of Mabel, is the actress she (allegedly) caught with Mack Sennett, shortly before Mack and Mabel were (allegedly) to be married in 1915. End of wedding plans. However, in 1970, an aging Minta Arbuckle added the sequel that there was a scuffle during which Mae smashed a heavy vase over Mabel's head, fracturing her skull. However, as there was no revenge on Mabel's part, the latter story is probably untrue. Others insist Mabel's arm was broken, Mack insisted no one was hurt.
Stan Laurel was a serial mimic, who spent years on stage imitating fellow Karno actor Charlie Chaplin. When he got into films Stan took on a kind of Buster Keaton look, which met little success. He ran into Mabel Normand at Hal Roach's studio, and later seems to have relaunched his career using Mabel characteristics. The first time the dumb 'Stan' face appeared on screen was on Mabel in 'Extra Girl' (1923). Stan used to take off his hat, and ruffle up his hair, but Mabel was doing this in 1913. Where was Mabel while this movie was filmed? She was dying in a Californian sanitarium.
The Property Man (1914)
Kick 'em, then kick 'em again
Good old Keystone rough and tumble. Chaplin himself would not have liked this film, as he thought the only thing that justified Keystone's existence was a dark-eyed girl that weaved in and out of their pictures, Mabel Normand. Clearly, Mabel isn't in this one, so it qualifies as rubbish. However, all Keystone films made money, so what WE think today is immaterial. Those that handed over their 7 cents entrance fee undoubtedly thought they'd had their money's worth. That's what matters. The film brings out most of Keystone's ammunition: kicks in the rear, heads stamped on, flashes of petticoat, spraying with a hose and a ballet dancer's legs, what more could be wished for. They must have been rolling in the aisles. I would guess the film is a sort of remake of 'That Ragtime Band', albeit minus the charming Mabel.
The prop man is Charlie Chaplin, and he has a mission – to cause as much disruption in his little theater as possible. Film-goers eyes must have popped out of their heads – the entrance prices are 9c,19c, 29c, 49c with box seats reduced to 98 cents. Sennett is telling us that this place is so lousy they've had to reduce prices. At the start the deadbeat prop man and an aging janitor with a Zee-Zee Top beard, are drinking beer from a jug. There follows an argument with an act that has not been put on the bill poster. When the lady part of the act goes to the star dressing room she finds it empty and resplendent with graffiti (written by actresses? never!). Things get worse when the lady assistant of Garlico The Strongman enters the dressing room and finds the first lady there. While the ladies get violent, Garlico is bouncing Charlie off the walls. Enter the Goo Goo Sisters (the what!) and Charlie soon spills his beer down his trousers and, seemingly down a sister's dress as well. In an act reminiscent of The Fatima Sisters from Ragtime Band, the Goos indulge in some titillating dancing, giving Charlie an eyeful of petticoats. Garlico performs his strongman act, but his assistant gets knocked out during some ludicrous slapstick – twice. The strongman himself is laid out by little Charlie using a dumbbell as a club. Mack Sennett appears in this film as a member of the audience, but, unsurprisingly, he disappears just before the theater-goers get a hosing down. The majority of the film is composed of endless crazy slapstick, which would have had regular Keystoners in stitches. For present-day fans of slapstick, this film is still a must.
As in 'That Ragtime Band' small-time theaters are not treated kindly by Keystone (they were the competition after all). They tell us the theater is a dirty, disgusting place, staffed by alcoholic hobos, and the acts comprise psychologically unstable miscreants and lewd women. For this you will pay much more than in a cinema. This is no illusion though, for Mary Pickford described the theaters of the day, where the actresses would throw makeup at the walls and smash mirrors if their performance did not go down well (the sign in this film 'If your act is rotten do not take it out on the props' is a genuine one). When Pickford got her first star dressing room she was furious to find it dirty, covered in graffiti and with every convenience trashed. She got so hysterical that her mother had to slap her face to bring her round. Of course the theater staff would never clear up after spoiled, unstable, swelled head actresses – let them wallow in their own filth.
Garlico's assistant was played by Peggy Page, an actress who has been identified with the Helen Carruthers that attempted suicide in 1915. Charlie and Helen appeared together in 17 films for Keystone, and they seem to have been very lovey with each other – so much so that Peggy / Helen might have followed him to Essanay. The actress was never a star, but came close in Chaplin's His Prehistoric Past. It is rather curious that Chas never mentioned her in his autobiography, but then he only ever mentioned 'the greats'. Was Peggy/ Helen of the class of actress that Mabel Normand labeled as only able 'to enter a scene and flirt with the comedian?' The film was criticized in the press for being too brutal. 'Is kicking an old man in the head actually funny?' They asked.
Chaplin (1992)
When will we get a Charlie and Mabel film?
How wrong can you get it? Not much more wrong than in this film. It goes no way to depicting the real Chaplin. Chaplin's early life is fairly well treated, although we don't know when or where he was born. He had no birth certificate! UK and US intelligence services concluded he originated in Eastern Europe. Butte, Montana, where does this come from? Chaplin was in Oil City Pa. when he got 'the call'. A railroad running outside Keystone Studio? Attenborough was thinking of Essanay studio in Niles, surely. Keystone Studio with a Spanish mission frontage? Not when Charlie first went there, Mr A. Chaplin too young for Sennett? Well yes, but the film doesn't give the reason, which is that Charlie was too close in years to starlet / girlfriend Mabel Normand for white- haired Mack Sennett to tolerate. Mabel screeching like a demented Lucille Ball when the egotistical Charlie refused to follow her direction? Read Charlie's autobiog – it never happened that way. The wedding scene – what wedding scene? Charlie first used the tramp in Mabel's Strange Predicament, and the character first went public in Kid Auto Races in Venice. Syd Chaplin negotiating Charlie's contract with Keystone? Syd wasn't even in the U.S. at the time negotiating began. He became a Keystone actor soon after, and would not have jeopardized his $200 per week by having a go at his paymaster. Fred Karno with a north country accent? I doubt it, he came from the west country.
Let's end Charlie's time at Keystone there shall we? Whoaa, hold on a minute Mr Attenborough, didn't you know Charlie made his movie bones at Keystone, and Mabel Normand was instrumental in honing his skills AND the tramp character? The original cruel tramp was toned down during discussions with Mabel and pathos had been added to the tramp's character in post-'Mabel At The Wheel' movies. In Mabel's Busy Day, Mabel becomes the tramp, while Charlie is a kind of dude with feelings. We can also add that Mabel regularly bought Charlie new shirts, as Chaplin's were never washed, and he was too cheap to buy new ones (Minta Arbuckle).The most important period in Chaplin's movie career occurred between January and December 1914, yet Attenborough dismisses it in a few minutes. It seems odd that of all movie folk, only Attenborough thinks Mabel ceased acting in 1922. In fact, she starred in Sennett's 'Extra Girl', released 1923, and starred in a series of movies for Hal Roach up until 1927.
When Chaplin went to Essanay he ran into Edna Purviance who was lying in wait for him. Wrong!! Edna was a regular at a certain cafe pointed out to Chas. He had already used Gloria Swanson, who objected to Chaplin's manner and slapstick comedy. Of course Charlie could have signed Mabel Normand, but he did not want an actress with a big price tag, nor one that had a mind of her own, that could not be molded the way control-freak Chas wanted. On occasions Mabel would spot Charlie in a restaurant and shout to him, 'Charlie I'll be your leading lady yet!' Poor naive Mabel just didn't get it.
Charlie had a cockney accent, as pointed out by the film's Mary Pickford. Wrong again! Chas had developed an aristocratic way of speaking, long before 1914, and had been a dude in his time, even if he was dirty and smelly. The film depicts some low-level angst between Pickford and Chaplin, but does not go into the reasons. Unfortunately for Mary, she became involved in business with Chas. She was also involved socially with him via her husband, and the 'tramp' would often turn up at their house on Sundays. The boys would head off to the hills, while Mary was left to amuse whichever dumb, empty-headed wife Chas had brought with him.
Whilst Robert Downey Jr makes a good stab at Chaplin's physical characteristics, the film falls at the first hurdle, as Attenborough has failed to depict the disparity between the Charlie that walked onto the Keystone lot, and the one that exited the gate a year later. Apart from everything else, the wistful and brooding Mabel had taught similarly endowed Charlie how to create allies in Hollywood, by being the life and soul of the party and of the lot. Without these acquired skills, introverted Charlie would have fallen flat on his face, and disappeared back into the vaudeville ether. If we ignore Attenborough's early failings, then we can say this is a well-crafted film, which makes for good entertainment. He leaves the nuances of Chaplin's character to be explained during discussions between Chaplin and his (fictitious) biographer. A similar ploy was used in Alexander the Great (2004) where the director used biographer Ptolemy to explain the intricacies of Alexander's otherwise unfathomable character. If you want a summary of Chaplin, then Mary Pickford's words will suffice: '
that obstinate, suspicious, egocentric, maddening and lovable genius of a problem child, Charlie Chaplin'. Biographical film unnecessary.
Mickey (1918)
Mabel the poor little newly-rich girl
The zenith of Mabel Normand's career, and probably of Mack Sennett's as well. After things went sour between Mack and Mabel in late 1915, the Queen of Keystone departed her kingdom in Edendale, and relocated in New York to make a series of Fatty and Mabel films. On her return Mack pre-empted the queen's abdication, and met Mabel with the promise of her own studio, and funding to make a feature film. The film was to be called 'Mountain Bred' – now known as 'Mickey'. Mabel put her heart and soul into the studio (a mile from Keystone), making it into a palace, resplendent with carpets and fresh flowers. Her dressing room was in a garden alongside the studio. Massive signboards proclaimed this as The Mabel Normand Studio. Problems were encountered with the series of directors Mack put in place, and he eventually agreed to Mabel's choice of F. Richard Jones, a young man mistrusted by Sennett.
This film is really superb, and was, as Mack intended, the movie that 'would make D.W. Griffith want to boil himself in oil'. Griffith's 'Birth Of A Nation' grossed a then record $15 million dollars against Mickey's $18 million. Mabel was at her very best in the movie, risking life and limb to perform amazing stunts at the behest of Jones – he seems to have spent the next nine years attempting to kill her. Minta Arbuckle tried to prevent Mabel from performing hazardous scenes on days when she seemed far from well. Minta played the sister of playboy Reggie Drake (Mabel's future husband Lew Cody) whose mother is a conniving, money-grabbing eastern socialite.
When the film opens we find Mickey living in a remote mountain wilderness under the guardianship of miner Joe Meadows (George 'Pops' Nichols). As usual Mabel is a tomboy who enjoys horse-riding and swimming in mountain lakes, among other capers. When Joe loses patience with Mickey's antics, he gives her a stern lecture in their cabin, and shows her his belt. Mickey escapes the cabin with Joe's belt, and feeds it to the donkey.
It is while swimming one day that Mickey (apparently naked) is spotted by Herbert Thornhill, who is in the mining business, surveying the land. Mickey is courted by Thornhill, much to the chagrin of Joe, who realizes Mickey is no longer a child, and decides to put her with relatives, the Drakes. When Joe and Mabel arrive at the Drake's eastern residence, she is shocked at the sight of the huge mansion. When Mrs Drake finds Mickey has no money she is put to work as a 'slavey', but Reggie Drake is fascinated by Mickey. However, Thornhill, it transpires, has become engaged to Elsie Drake, but realizes his mistake when he finds Mickey at the house. In a nutshell, Reggie turns out to be a crook and a cad, while Herbert turns out to be a millionaire, who proffers bankruptcy to avoid marrying Elsie. Of course, righteousness wins through, and Herbert marries Mabel, whose inherited mine has come good.
There are some very good scenes in the film, such as where Mickey tells Minnie Ha Ha how Thornhill kissed her hand, sending her into raptures. Hazardous scenes include Mickey climbing onto a steeply sloping roof, and jumping onto a horse from behind, Indian style. The dramatic scene where a fast-running racehorse tumbles over, was filmed using a stuntman, but Mabel did break her arm falling from a horse in the backwoods. Mabel is simply delightful all the way through.
This film was made during a tumultuous time at Keystone. Mack was embroiled in multiple business disputes, and he lost control of the film. After filming 'Mickey', Mabel fled into the arms of Sam Goldwyn, and the studio was sold off. Mack pursued Mabel, sending lawyers to New York to re-negotiate her Goldwyn contract. Unfortunately for Mack (and us) Mabel accepted a $1,500 per week salary from Goldwyn (compare with the $13,000 per week Chaplin was then getting). The 18 films Mabel starred in for Goldwyn were not a patch on Mickey, although Mabel's name ensured they made money. Mabel's Mickey and Sennett films of the 1920s are so much better than those put out by producers Goldwyn and Roach. This is because Sennett was 'hands on' and not an absentee producer like the other two.
One of the mysteries of this film is the name change from 'Mountain Bred' to 'Mickey'. This might be due to Adolph Zukor taking over the distribution of Sennet's films in 1917. Zukor had a daughter with the nickname 'Mickey', and Sennett always bowed low before the mighty Zukor. If so, then what did Mabel think of this — she had once threatened to 'brain' Zukor with a heavy book, and later wrote him an impertinent letter. Needless to say, Mabel never did not receive offers from Zukor's companies (e.g. Paramount) in spite of fatally sucking up to Paramount director W. D. Taylor.
Minnie Devereaux plays pipe-smoking Indian squaw Minnie Ha Ha. Minnie was a genuine Cheyenne Indian. When given a book about Amerindians, she threw the volume across the room exclaiming 'White man speak with forked tongue!' Asked to appear in a film about Custer, she simply spat on the floor and stormed off. Minta Arbuckle wears a large cameo in 'Mickey'. This has a picture of herself, commissioned by husband Fatty. Mabel also had one made, later worn by niece Mabel at the first showing of musical 'Mack and Mabel'. The famous full-length portrait of Mickey once hung in the Normand family's Staten Island home, but Stephen Normand tells that Mabel's trunk containing costumes and mementos from 'Mickey' was 'stolen' by friend Julia Benson and sold at auction.
Gentlemen of Nerve (1914)
Oh no, not the racetrack again!
A rapidly produced and poorly thought out short film. The movie barely allows Chaplin to get going with his newly developed ideas, but does allow Mabel to be
Mabel. The staging of a car race apparently sent the Keystone unit racing to the track, presumably without much of plot.
At the beginning we see Mr Walrus (Chester Cronklin) chaperoning Mabel at the track. It takes just two seconds, while Walrus fumbles for his money at the turnstile, for Ambrose (Mack Swain) to move in, and try to seduce the lovely Mabel. Predictably, Walrus kicks Mack in the rear, and then quickly hustles his charge into the raceway. Once inside, Mabel seems to be disgruntled at Walrus' intrusion, but becomes truly 'Mabelescent' when she sees the race cars getting ready to go. The pair take their seats, but next to a flirty woman of uncertain years (Phyllis Allen). While Mabel gets all enthusiastic over the racing cars, Mr Walrus gets excited about the flirt with the roving eye. Spotting this, Mabel goes through her catalog of moralistic facial expressions, until she sees Walrus hand Phyllis a note, prompting Mabel to give Walrus a few words – something to do with morality it seems. Mabel suggests they leave, and while passing the flirty woman, stamps on her foot. About this time, Ambrose is busy trying to sneak into the track through a fence. His accomplice is Charlie Chaplin, alias Mr Wow Wow (Wow Wow is another of Charlie's throwbacks to his vaudeville days). Some comical scenes ensue when Ambrose becomes stuck in the fence and is freed by Charlie with a few kicks and lubrication from a soda siphon. Now inside the track, Charlie runs into Walrus and Mabel outside a fenced enclosure. Charlie strikes a match on Walrus' backside, which causes some amusement to Mabel. After a violent clash between the two men, Mabel grabs Walrus and runs off, whereupon Charlie begins a hilarious battle royal with spectators behind the fence. While Charlie begins another altercation with Ambrose, Mabel and her guardian have taken a seat next to, would you believe, the lady flirt. Before Walrus can begin any amorous escapades Mabel has hit him in the head, causing him to head-butt Mistress Flirt. Mabel again runs off and trips over a seated Charlie, who is in the process of drinking from Dixie Chene's pop bottle, while she's distracted. Mabel sits down next to Charlie and squashes his derby, but the two remain amiable to each other, and run off like hyperactive kids to closely examine a propeller-driven car. Returning to their seats Mabel gets amorous towards Charlie, and more so when Walrus turns up. Walrus is understandably angry with Mabel, and restrains his now immoral charge. Charlie is quick to throw off his jacket and square up to Mr Walrus, but when he throws a punch, Mabel is bowled over. However, Walrus is soon seen off, and Charlie becomes Mabel's sheikh for the day. The pair sit down and Mabel begins to flirt, but Walrus and Ambrose have fallen foul of the law, and are marched off in front of Mabel and Charlie, much to their obvious delight. The two begin to cozy up to each other, and Charlie tries to kiss Mabel, who shakes her head and offers her hand, which Charlie lovingly kisses, sending Mabel into raptures of a kind later seen in 'Mickey'.
It is noticeable that when Mabel gets carried away laughing she displays her complete set of 'Marie Lloyd' teeth and gums. This is a rare occurrence, as she normally kept them well hidden, although when celebrated as a champion driver in 'Mabel At The Wheel' she again 'forgets' and reveals acres of enamel. The scene where Mabel refuses Charlie's kiss, is reminiscent of a real-life occurrence about this time, when Charlie was rebuked by Mabel, as he tried to kiss her. He had previously been successful, but it seems that Mabel had a rule – one man, one kiss. As Adela Rogers St. John once said, 'Mabel was unusually pure'.
The film is the usual Keystone cut-price job, where a movie is made without a set or expensive scenery. As Mack Sennett usually had a car entered for the race, it's highly likely that none of the cast paid an entry fee – the organizers probably welcomed the free publicity (in later years Mabel also entered cars for certain drivers). Mabel, incidentally, can be said to have been a cut-price actress, as she needed few supporting assets beyond herself. Consequently, she was popular with the smaller studios, although giants like Paramount avoided Mabel, due, shall we say, to her irreverent personality. In fact, Mabel had threatened to brain the founder of Paramount Adolph Zukor and Mack Sennett with a heavy book, during Zukor's visit to Keystone.
Fatty and Mabel Adrift (1916)
Love in a Malibu cottage
This film must rate as one of the best in the Fatty and Mabel series. Fatty Arbuckle plays his usual overgrown clumsy self and Mabel N is – well – Mabel. Connoisseurs of Mabel will note that Miss Keystone is particularly alluring in this picture, in which she sports especially long banana curls. Al St. John provides the villainy and much of the comedy in his own zany style.
Fatty and Mabel are again country kids living an idyllic life down on the farm, with Mabel's parents, Mai Wells and Frank Hays. Idealism is catered for by the numerous domestic animals around the place – a Keystone staple. Al enters the film as the neighbor's son, eager to have Mabel's hand in marriage. It appears, though, that the sweet girl is betrothed to Fatty, and Mabel's parents send the stupid lad off with a series of oaths echoing in his ears. Al is livid and tearful, but hangs around the farmyard until he accidentally receives a bucket of milk over his head, thrown by Fatty. Fatty makes off, and helps a car driver with a flat tire by lifting the vehicle with his bare hands and blowing a new tire up by mouth. The next scene sees Al tormenting the Mabel by eating a peach, and the scene stands as a testament to Mabel's ability to seamlessly change expression – it is almost poetic. Al chivalrously gives Mabel the peach stone, but Mabel quickly snatches Al's second peach and wolfs it down, whereupon Al tries to throttle her. Fatty returns and there is trouble, which terminates with Al running down the road, a pitchfork in his backside, and Fatty's dog (Luke) on his tail.
In the meantime, Mabel's parents have bought the loving couple a house, and a wedding takes place. Fatty is a sight to behold in a dated frock coat from which he is threatening to burst out. It was reported that Mabel was injured by a flying shoe during this wedding scene – some people say the Queen of Keystone was 'crowned' with a vase by a love- rival, others say none of this ever happened. Fatty and Mabel's new cottage is at Castle Rock Beach, Malibu and Fatty and Mabel seem blissfully happy in their new abode. While Fatty, with dog perched on a rock,is fishing, Mabel busies herself making biscuits, which turn out to be rock hard, and smash plates when dropped on them. Our newly- wed is somewhat shocked, but, being a scatterbrain, resorts to smiling in the inimitable Mabel way, and preparing the meal. The next scene sees Mabel outside, calling Roscoe. A bit of unusual photography provides atmosphere in the form of the setting sun reflected in the cottage window. The setting sun over the sea also forms the background for Roscoe's fishing escapades, during which he apparently hooks a shark, and is sent, along with his dog, scurrying and falling around the beach.
Inside the house the dog gets to the table first and starts to drink the milk from a jug. However, things liven up when Roscoe tries to cut one of the biscuits. Mabel pretends she knows nothing of the rock- like biscuits, but after a series of comical performances by Roscoe, including tapping one with a tuning fork (actually a knife), Mabel breaks down in tears. There are some touching scenes set around Mabel going to bed, but the pair is later roused by a tremendous storm, accompanied with equally tremendous photography. In the middle of the night, however, Al and some villainous acquaintances knock the house from its flimsy foundations and set it to sea. The couple awake to find themselves floating in their beds. Panic ensues, and Luke appears to bite Roscoe's nose. However, Roscoe gets himself together, and ties a 'Help' note to the dog, and sends it to shore. The note reads: 'At sea – Aboard cottage – Sinking – Help! Fatty'.The Keystoners are saved!
Some people today might be surprised that, although Fatty and Mabel are married, they do not share a bed, or even a bedroom – Mabel sleeps with the dog. In fact, Mabel never did 'bed' anybody on-screen, and possibly two in a bed was one too many for Edwardian audiences. Of course, Sennett was a shrewd dude, and ensured that Mabel, despite her flirtations, always appeared 'available' to her male fans.
Luke the dog drinks from a milk jug, and Fatty and Mabel drink from a dirty bucket, this could be yet another Keystone bid to offend, as in Mabel's Busy Day in which Mabel licks her fingers and wipes her nose with her hand while serving hot dogs. On the other hand, 'Adrift' is noted for its touching love scenes, but notice that the kisses are not in the true Hollywood style, and could be termed 'off-centre' pecks (applies also to other Mabel kisses with Chaplin and co). See Simon Louvish's book 'Keystone' for an explanation of this oddity, and why Mabel was deemed to be 'unusually pure'.
In a 1915 photograph of Sennett, Adam Kessell and Mabel standing in the Keystone lot during reconstruction, Mabel's hair looks unkempt / wet, and her dress possibly damp. Could it be, considering 'Adrift' was made around this time, that Mabel had been plucked from the sinking house scene, thrust into a dress, and hustled off to a photo opportunity with Keystone's chief executive.
The Arbuckles had a house at Venice, just down the coast from this cottage– cheaper than Hollywood or Edendale in those days.Mabel used to visit regularly and it was said that Roscoe and Mabel swam with a dolphin here. However, it seems Fatty got fed up with this after a while – Mabel was Minta's friend, not his. A house near Castle Rock beach today will cost at least $2.5 million, but the main rock has long gone.
The Fatal Mallet (1914)
AKA: 'I've Got a Headache'
This is typical Keystone with lots of butt-kicking, and the added bonus of skulls being smashed with big hammers. How strange were audiences in those days. Anyhow, we have in this film just about the best casting combination Keystone could muster. We have the coming genius Charlie, the divine Mabel, oafish Mack Swain, and the more than oafish Mack 'The Hick' Sennett. We may wonder why the latter cast himself in so many pictures, but he was there (according to Mack) by popular demand! We might unkindly ask 'Why?', but the truth is that he needed to keep an eye on naïve Mabel and the young and virile Charlie. Would the Englishman procure Mabel for another studio, and lure her from her aging Svengali? Mack was the first producer to realize Chaplin would go through actresses on the lot like a fox in a chicken coop. Charlie could do what he liked with Peggy Pearce, Peggy Page and Virginia Kirtley, but Mabel was Mack's personal property — touch at your peril.
As usual Sennett is acting the part of Mabel's boyfriend, and the opening scene makes this amply clear. While they stand in what seems to be some sort of a grove, Mack clumsily goes through the amorous stuff. Then, who should come along but the licentious Charlie, someone Mabel seems to know. She introduces Charlie to Mack, but the former takes exception to the latter, and begins to push him around. Suddenly Charlie points off-camera, and while the stupid country boy looks away, he runs off with the fair maid. Behind a shed, Charlie starts to impress the stunningly beautiful Keystone Girl with a range of comical tricks, but Mack creeps up on them, and slyly kicks Charlie in the rear. Charlie is shocked, and obviously thinks Mabel did it, so kicks her in the derriere. Mabel is equally shocked, but soon recovers her composure, and, smiling sweetly, she beckons Charlie forward, then smashes him in the face. Predictably, Mabel runs off, but Charlie soon finds her being pushed on a swing by Mack. As he approaches, Mack, of course, rams the swinging Mabel into him, and all-out war begins. Charlie throws a brick at the couple, hitting Mabel in the face, while Mack gallantly ducks behind a tree. Plucky Mabel throws the brick back, and an angry Charlie confronts the couple. Of course, Mack has to take some action, and Mabel is delighted when her hero pushes up his sleeves ready to knock Charlie out. Unfortunately, it's Mack who gets knocked out, prompting Mabel to run off into the arms of Mack Swain, who has conveniently arrived on the scene. It is highly amusing to see Chaplin mock defeated Sennett by imitating his trademark spewing of tobacco juice.
To cut a long story short, the film now enters mallet mode where Mack and Charlie first dispose of Swain with a whack on the head, then try to kill each other with mallets and bricks, while Mabel suffers collateral damage. An unusual scene then occurs, when a boy discovers Mabel alone, and takes the opportunity to manhandle (boyhandle?) the forlorn beauty. This is surely the luckiest kid in Edendale, for in no other film has any actor got to fondle the fair Mabel without getting a slap in the face. In any event, Charlie makes short work of the kid by drop-kicking him into performing a 108. Unfortunately, both Chaplin and Swain then end up in Echo Park Lake, while Sennett gets the goods in the form of Mabel the enchanting.
There is plenty going on in this film, which was clearly padded out with numerous gags from the talented and experienced quartet – the audiences would have certainly have got their money's worth. As for Mabel she gets something of a respite in the picture, although she clearly collected a few bruises. In an interview many years later she said 'I am glad to report that many of those that kicked me and abused my person down through the years, have now been consigned to oblivion'.The lovely dress Mabel wore in the film, seems to be the one worn by Eva Nelson a few weeks earlier in Twenty Minutes of Love (with the bow on the front rather than on the back).
The Mender of Nets (1912)
Tragic scenes on California coast
When you look at this film you can see why Mary Pickford, in her newspaper column, called Mabel Normand the greatest tragedienne, and further stated that Miss Normand had become the greatest comedienne. Since those early days, Mary has become an acting legend, although she said in her biography that she was merely 'atmosphere' alongside her gifted siblings, Lottie and Jack. The 'atmosphere' was supplied by Mary's hair and elfin face. What is strange, in the light of what happened soon after this movie was made, is that Mary does all the smiling, while Mabel does nearly all the dramatics, the sobbing, and the crying.
Mary plays a mender of fishermen's nets in this film made in California (I thought fishermen mended their own nets). Mabel is the betrothed of a certain fisherman, who decides he prefers the mender of nets (gentlemen prefer blonds). After much Biograph-style dramatics, little understood today, from Mabel, her brother decides to shoot the dishonourable fisherman. More dramatics follow from Mabel, who gives a grand display of how a department store girl can become a great actress in just one year. Ex- theatre star Mary, realizing the brother means to harm her fisherman, follows the brother to her lover's shack. Here she intervenes when the shooting starts, and Mabel's brother departs. Mabel now arrives and rushes into the shack in dramatic form, catching Mary and fisherman in an embrace. Mabel gives Mary a mouthful, and one of those intense, murderous Irish looks, which 'Blondielocks' said scared the hell out of her ('murderer's eyes, glaring daggers into your heart'). Mary leaves distressed and down- hearted, but returns to console our sobbing colleen. The ending is typical for a single-reeler, with Mary returning to net-mending and Mabel to her old flame. The corny dialogue board attributes Mary with the dramatic words 'I'll mend the nets', and indeed this is what she seems to say on the screen, while producing some sickly smiles reminiscent of those used in 'The New York Hat'.
Things to note: Unusually, Mabel does not die in this picture. Griffith usually killed the 'disrespectful' Mabel off before the end. Mary's acting is as wooden and unfeeling as ever, and it could be that it was during the making of this film that Griffith grabbed Mary and shook her violently, before throwing her across the set. 'No feeling', he stormed. Mack Sennet said of Miss Pickford, 'I don't see why everyone's so crazy about her, she's effected!' (Mary was later transformed by a severe face-slapping from her mother 'to cure her swelled head'). Griffith seems to have told both actresses to hunch their shoulders when upset and distressed. This Mabel carries out naturally and believably, while Mary struggles, and produces a statuesque version of the tragic maiden. Noticeably, Mary always walks as though she's wearing diver's boots, while Mabel simply glides along. Miss Pickford was called by Mabel 'Hettie Green' (the millionairess) due to her acute business acumen – she matched Chaplin and Lloyd in the earnings stakes. Mabel could weep at the drop of a hat, and later revealed that she always won the Biograph instant tears competition by reading the newspaper death notices beforehand.
Mabel's Dramatic Career (1913)
Mabel's dramatic end
Mabel appears as her usual domestic 'slavey' and Mack as his usual awkward country boy in a dirty shirt. For a girl who was addicted to Parisian fashions, it's remarkable how Mabel is so often cast in rags by Sennett. However, in this film she appears to be wearing a kind of uniform.
There is some realism here, in the fact that the screen Mack is much enamored with Mabel and puts an engagement ring on her finger. In around 1912, the real Mack did in fact give the, then, Biograph Girl a two-dollar engagement ring, promising to replace it later with a 'proper' one. True to form, our country hick puts the ring on the wrong hand, and has to be shown by Mabel where to place it. Mack's mother (Mabel's employer), however, blows into the scene and is not amused. She banishes Mabel to the kitchen and berates Mack for his foolishness.
When a girl from the city arrives, Mack suddenly transfers his affections from Mabel the drudge, to the sophisticated, chauffeur-driven city girl (who is she, is she a movie star?). Mabel remonstrates with turn-coat Mack, pointing to the ring. When Mack and city girl retire to the garden, Mabel pursues them brandishing a handy stick. The glaring daggers of Mabel's Irish eyes (murderer's eyes according to Mary Pickford) are a sight to behold.
After lashing out at Mack and girl, Mabel pursues them into the house, where she whacks ma' and tries to strangle the city girl. Ma' orders Mabel out, and Mabel is next seen outside with a suitcase in her hand and what D W Griffith called 'one of those awful hats' on her head (it appears to have a garden planted atop). Enter Mack, who tears the ring from slavey's finger, and orders her away. Mabel demonstrates some good Biograph-inspired tragic crying then punches Mack in the mouth, Keystone style. Mabel trudges to the big city, where she stumbles upon Keystone studios (not the real 'poverty row' one, but a suave Wilshire Boulevard version). Mabel joyfully enters, thinking she can make it as an actress. She's in luck, Ford Sterling is totally smitten with the ex-slavey, and engages her, despite her hilarious but clumsy actions around the set.
The fun and games occur when Mack goes into a picture-house to see a Keystone film. He vaguely recognises the girl on the poster outside, but cannot believe his eyes when Mabel appears on the screen with a lover. More disturbing is the fact that the villain on the screen is Ford Sterling, who for some reason recognizes Mack, and taunts him, indicating that he'll have Mabel for his own. Ford abducts Mabel and ties her to a barrel of gunpowder, whereupon Mack gets agitated, telling her to blow the fuse out. When the villain realizes the fuse is out he pulls a gun on Mabel, whereupon Mack also pulls a gun and starts to shoot at the screen. Pandemonium breaks out in the picture-house and even the projectionist almost gets his head blown off.
Mack runs outside declaring 'That villain must die'. Amusingly, he only goes a few steps before he spies the aforesaid villain, with plug hat, entering his house (the usual one on the Keystone lot). Mack goes to the window, and seeing the nasty guy with two children, prepares to fire. However, before he can shoot, who should enter the room, but Mabel with yet another child. Mack counts the kids on his fingers and makes it four, then prepares to blast them all, but fails due to a bucket of water tipped from on high.
There are several intriguing points about this film. Firstly, it is simply amazing how Mabel slips easily from Biograph tragedienne to Keystone comedienne and back again. What the film demonstrates is that someone was combining pathos and comedy in movies, long before Chaplin blew onto the scene. It makes you wonder, then, where the latter got his particular brand of comedy from.
Secondly, this movie makes W.D. Taylor's murder (in 1922) look like déjà vu. Mack Sennett knew Taylor personally, and was a prime suspect in the case, so it does seem a coincidence that the Mack in this film would attempt to kill his ex-girlfriend, and the tin-type who lured her away. Mack once told his literary agent that he had shot Taylor, and cleared the house of any letters between Mabel the director (the missing 'Blessed Baby' letters). If this is true, then the murder was not for love, but because he believed Taylor was going to lure his cash-cow away to Paramount – damn them, they had plenty enough stars of their own! Chaplin was lucky he did not himself lure Mabel to his new studio. Perhaps he had the premonition of a gun barrel coming through the window one dark night. The film could, in fact, have been a warning to the young and virile Chaplin, who had signed to Keystone at about this time. Mabel had only a cameo role in the second part of the film, which suggests she had no idea of the shock ending.
The city girl is played by Virginia Kirtley, often a leading lady, but never a star. She remained an actress until the advent of talkies. Alice Davenport is Mabel's adversary in this film, as in many others, although on numerous occasions she had played Mabel's mother.
The Extra Girl (1923)
Wardrobe Girl versus Duke the Lion
This is not the usual Keystone comedy that we associate with Miss Normand. However, it should be understood that no 'Madcap Mabel' pictures had been produced since 1916, and the last of these contained little slapstick. The post-Goldwyn Sennett films are a build up to Extra Girl, which may be seen as the culmination of Mabel's art.
Extra Girl is a Cinderella story – sort of. The twist is that the heroine, Sue Graham, does not find happiness by marrying a prince, but an old friend. This plot is in total agreement with a then-current Hollywood maxim that no-one should come to tinsel town expecting to be put into movies, let alone become a star. Of course, Sue does go to Hollywood, but, for several reasons, finds life very tough indeed.
In the early scenes, Mabel is very pretty and passes tolerably well for the teenage small-town girl Sue with her banana curls. However, when she throws her arms around Ralph and exclaims 'My Sheik', the straining in her neck and face put more than a few years on her apparent age. By contrast, when she falls back into Ralph's arms, her face becomes relaxed and Mabel is instantly, and radiantly, beautiful. She is, fleetingly, the dying Cleopatra.
Mabel demonstrates a whole repertoire of facial expressions and eye movements while showing Ralph her acting ability. These are definitely worthy of the 'old Mabel'. Curiously, Mabel also uses certain facial expressions that are reminiscent of Stan Laurel. Now Stan didn't use these until after 1930, and after Mabel had collaborated with him at Hal Roach studios. I leave it to others to determine where the 'world's greatest mimic' got his famous face from. Elsewhere Mabel uses some of the classically cute Keystone Girl actions, like the poignant wave from the train, her head forward and one shoulder pulled up protectively (last seen in Mabel At The Wheel). Equally cute is the way she leans forward and points while delivering a firm message to the studio owner (also seen in Suzanna).
In this film, Mabel is fairly slim, but not overly so. Compared to the Mabel of, say, 'A Spanish Dilemma' (1912), Mabel does seem strangely flat chested, indicating, perhaps, that the common Sennett practice of chest strapping was used here. It is also clear that in some scenes, especially later in the film, Mabel looks quite ill and drained. Apparently, scenes requiring Mabel to look out of salts (e.g. when she was being married off and when her acting career was failing) were filmed on her worst days. The effects of the W.D. Taylor scandal cannot be underestimated in respect of these observations. It is odd to see Mabel in the film lying in wait for the swindler of her parents with a gun, considering the W.D. Taylor affair – a joke too far. The effect is doubled, as the Courtland Dines shooting occurred just after the film's completion, and another Dines affair weapon, a bottle, appears in the scene. Other aspects of the film that may reflect reality are the location of the Graham household at River Bend and the great swindle. Mabel had a good friend, Helen Holmes (of 'Hazards of Helen' fame), who originated in South Bend Indiana (like River Bend, between Pittsburgh and the Rocky Mountains). Helen's family were swindled of their money when they first moved to California.
Mabel ends up being a wardrobe girl, but persuades a director to give her a screen test. Due to various events the test turns out to be a hilarious farce. The wardrobe girl is wearing an old-fashioned crinoline hooped dress with the usual long pantalettes underneath. Unbeknown to her, as she bends over to pick some love letters up she exposes her white pantalettes, which have acquired the black imprint of a prop man's glove (she sat on the glove earlier). Everyone behind the camera begins to laugh, including Mack Sennett who has suddenly appeared in the scene. Was he there to ogle Mabel in her underwear, or was he there to laugh at the joke?
The best part of the film occurs later on when Mabel leads a lion around the studio thinking it is the Keystone dog, Teddy. It is hilarious to see the various actors running for their lives, while Mabel walks around totally oblivious to the danger. Mabel herself told a story about the director making her come close to the camera with the lion in tow, following which there was a sudden noise in the studio. This unnerved the lion who jumped and knocked Mabel flat, whereupon he bit into her posterior. However, it transpired that the 'bite' was the penetration of a pointed implement wielded by the director in order to drive the lion off – he'd missed! After the lion breaks away he chases Mabel around the studio in the old cranked-up way, with our heroine jumping and jerking in the old cranked-up way.
The Dines affair should have destroyed the box-office take of this film. However, Mack and Mabel (who had a 25% stake in the profits) made a supreme, nationwide effort to save it and were successful in their efforts. In court, nonetheless, Mabel ridiculed the prosecutors, and, as the newspapers were quick to relay, affected a pompous English accent and made continuous 'French' hand gestures. Mabel's career trickled away following the affair, and Mack canceled her next film 'Mary Anne'.
A Film Johnnie (1914)
Sennett advertises Keystone
The film was produced in March 1914, during the post-Mabel's Strange Predicament period when Mabel Normand was still refusing to work with Chaplin (Mack Sennett's autobiography). Sennett, however, managed to get Mabel into the film by displaying a poster depicting her as a champion racing driver. Chaplin is meant to fall in love with her image, but note that he takes the opportunity to disrespect the Keystone Girl by mocking her dirty, oily face. This is probably the film where new-boy Chaplin later says he had an angry confrontation with director 'Pops' Nichols. Long-serving Popsie almost had a seizure when the ranting Charlie told the old guy he knew nothing about directing pictures!
In any event, the warring pair managed to finish the movie, which has a weak story-line, but gives Sennett an advertising opportunity for Keystone. Charlie goes on to create uproar in the picture house when he sits on Mrs Arbuckle's lap, and overdoes the emotional stakes when Keystone's Peggy Pearce appears on screen.
Having been thrown out of the picture-house, Charlie decides to get down to the Keystone studios and meet the stars. He appears at Keystone as car loads of the company arrive, including Fatty Arbuckle from who he begs a dime. Minta Arbuckle merely laughs at the tramp- like Charlie, who she later described as being dirty and smelly. Incidentally the studio is not the real lot, and the set appears to be among some very upper-crust accommodation indeed. It is in fact the swanky Bryson Apartments on Wilshire Boulevard! After being told 'No bums here' by director Edgar Kennedy, Charlie forces his way into the studio, and who should he see on the set but the Keystone girl to die for – Peggy Pearce. Following attempts to force himself on Peggy and interfere with the action, Charlie acquires a revolver and begins to shoot up the set, sending the cast diving for cover. Our tramp now leaves the studio, slams the door behind him, and gives the aging doorman a swift kick.
A house fire occurring in the vicinity, sends the cast racing off in the Keystone cars, in order to obtain some 'atmosphere' for their film. For some unexplained reason, crazy Charlie is already on his way to the scene, and running down the middle of Wilshire Boulevard (or is it Broadway?). When Charlie reaches the fire (which appears to be in dusty old Edendale) he finds the film crew already setting up for a scene in which Peggy Pearce is being roughed up. The gallant tramp intervenes and incurs the wrath of the studio men, one of whom tries to brain him with a plank. When Charlie attempts to abduct Peggy, she responds by giving the tramp a good whipping.
According to Sennett, Chaplin had no designs on any of the Keystone starlets, and no success with women in general during 1914. He was right about the second part, but Charlie made amorous advances to both Peggy Pearce and Mabel Normand. Both were eventually to reject the 'lovable genius of a problem child' (as Mary Pickford called Chaplin). Several of Chaplin's sworn enemies are in this picture, including Pathe Lehrman and Pops Nichols. Everyone made representations to Sennett that Chaplin was impossible to work with, but Lehrman also said that Chaplin was in love with Mabel, and that Mabel was having various affairs (including, somewhat later, with Valentino). How did Sennett respond? He took the Tramp and the Jazz Babe out to dinner every night – what better way of keeping an eye on the recalcitrant pair.
Getting Acquainted (1914)
End of an Acquaintance
The last of the Charlie & Mabel pictures. After suffering the indignity of playing second fiddle to Marie Dressler in 'Tillie's', the pair get together in this movie, which is slightly reminiscent of The Fatal Mallet. Unfortunately, as there are no mallets in this film, the story is somewhat weaker, although there is a Terrible Turk who enjoys sticking his dagger in Charlie's backside. The Terrible Turk is a throwback to Charlie's vaudeville days.
Mabel is married to her umpteenth screen husband in the picture – this time it's Mack Swain. However, Mack is being very foolish when he helps a stranded car driver, and leaves gorgeous Mabel unguarded in the park (silly man). Who should happen along but lecherous Charlie, who's left his own, less than pretty, spouse sitting on a park bench. Having failed to secure the affections of Cecile Arnold (she's the Turk's flame) he wastes no time in lifting Mabel's dress and generally interfering about her person. After manoeuvring the Keystone Girl into a position where he can kiss her, Mabel tells the lecher to get lost, and gives him a slap in the face. The vulnerable maiden then shouts for help from Mack, who returns, but merely introduces Charlie to Mabel! Unsurprisingly, Mabel is flabbergasted, and is left alone with Charlie when Mack goes off again. Expecting to be rummaged once more, Mabel shouts 'Police, Police' and a cop arrives on the scene. This is the cue for the inevitable series of Keystone chases, in the middle of which Mabel is introduced to the over-amorous Charlie by his wife. Of course, Mabel has already had experience of Charlie The Lustful.
We can imagine that Charlie and Mabel would have been able to conjure up something better than this film for their final collaboration. The two had been getting along fine since Mabel At The Wheel, and Mabel seems to have devoted much time to cultivating the Englisher as an ally (she negotiated all his pay rises with Sennett). It seemed clear that Charlie was going places, and could be Mabel's route out of the madhouse that was Keystone. Furthermore, it seems certain that when Charlie was made a director at Essanay for $1,200 a week (he told Mabel it was $1,000) the starlet expected a call from The Tramp asking her to be his co-star. The call never came. However, Mabel never gave up, and for some time afterwards used to shout across restaurants at him 'Charlie, I'll be your leading lady yet!' Mabel being Mabel, she had miscalculated as usual, and failed to realize Charlie was not looking for an established, big-money star, but a cheap-jack newcomer who he could mold into his kind of leading lady. In addition Charlie was a rather nasty piece of work, who would certainly have planned to get his own back for Mabel's rejection of his amorous advances. We may like to think that Mabel and Charlie making their own films together would constitute a dream team, but their personalities were such that only disaster could have ensued. Charlie was no Mack Sennett, and Mabel was no Edna Purviance.
It has often been stated that Mabel contributed to Charlie's tramp character, but it is difficult to quantify this contribution. However, note that Mabel, in this film and others, pushes her hat aside and ruffles her hair when flustered, Stan Laurel style. Stan Laurel was a serial mimic, and after lacklustre performances as Charlie Chaplin's tramp, and a bland Keaton-like character, he ended up at Hal Roach studios. It was here, as a scenario writer, that there happened along a certain Mabel Normand, the naive character who was none too careful about which actions she let people see around the lot. It is clear that the classic Stan Laurel dumb face is also the face Mabel demonstrates early on in The Extra Girl. Armed with these assets, washed-up Stan was able to extend his career as the fool in the Laurel and Hardy pictures. Fortunately (for Laurel) Mabel was cold and in the ground by the time the L & H movies appeared.
The Flapper (1920)
Apogee of The World's Sweetheart
The radiantly beautiful Olive Thomas is just about believable as sixteen- year-old Genevieve King, although she was actually 24 or 25 at the time. It seems certain that the common, early movie practice of chest-strapping was used here. In the movie, in spite of the title, Olive plays what was known as a 'Baby Vamp'.
Genevieve is a bored upper-crust girl, who lives in a classic plantation mansion, well provided with colored servants. Unfortunately, the flighty, potentially vampish, teenager, was prone to disappearing with a male friend, and, after being double-crossed by a governess, father packs her off to a girl's boarding school. Here she falls in with some unsavory schoolgirls, and is easily led into being a naughty girl
.one who is keen to attach herself to a particular adult man whom she informs that she is 'about twenty' and not sixteen as she's meant to be in the film.
After many adventures and a ridiculous suicide attempt, Genevieve decides to transform herself into a flapper, although, in her new garb, she is not girly enough to be a flapper of the 1920s. It seems 1920 was a transitional year during which the line between vamp, flapper and even diva was blurred. Flapper, however, was the 'in' term.
Snow scenes always work well in black and white film, and the scene with the horse drawn sleigh and girls sledging is no exception. The scene where the girls turn over their sledges at speed on a downhill run is not as comical as it seems. These extras were in fact badly injured in the shoot, and they filled the local hospital with their broken bodies.
Ginger-haired, violet-eyed Olive Thomas (nee Duffy) was of Irish descent, and became the wife of Jack Pickford (brother of Mary). She had been in the Zeigfield Folies before entering the movies, but it was while on a European tour with Jack that she somehow ingested a solution of bichloride of mercury. It may have been accidental or, perhaps, suicide. She died five days later, leaving Jack devastated, although sister Mary seemed unconcerned for the 'World's Sweetheart' (Mary was only 'America's sweetheart'). One person who was concerned was Mabel Normand, a good friend of Jack. It seems Mabel never met Olive, but had a signed photo of the Baby Vamp in her dressing room and an album of her photos at home. After Olive died, Mabel spent many hours sitting with her grieving mother, and always remained very angry about the circumstances of Ollie's death. Jack Pickford built a mausoleum in New York and had Ollie interred within it. This had the Pickford name inscribed over its doorway, but no other Pickford was ever buried there. We can assume that the sweet Mary, who didn't bother to attend the funeral, saw to that.
Olive seems very modern-looking in her films, and very unlike, say, Mabel Normand who was an entrenched Edwardian. Ollie could easily be cast in a picture today, whereas Mabel is clearly the face of the 1890s (producers have never found any modern actress Mablescent enough to portray her accurately). The World's Sweetheart would undoubtedly have gone on to play more mature, womanly roles had she lived, while Miss Normand and Miss Pickford were hamstrung by their child-like appearance (off-screen as well as on-screen).
Oh, Those Eyes (1912)
Beware the eyes of Mabel
Always a pleasure to see the delectable Mabel. The film dates from Sennett's Biograph days, when he was deep in his French phase. This strange movie could have actually been produced in France with its weirdness and fake 'Frenchmen' (or perhaps Spaniards), although true slapstick is absent.
The film appears to be an extended screen test, in which the director is attempting to discover if the actress has an ability to be seductive with her eyes. Mabel succeeds in this 100%. However, her whole demeanor is devoted to this cause, and men follow Mabel by sheer instinct. Her fluttering eyelashes (seemingly two inches long) easily draw in two of her father's employees. The eyes go into action again when Mabel plots to agree to both men's proposal of marriage. Along the way Mabel uses the old 'drop the umbrella' trick to get some sad men interested, only to give them the dismissive Mabelescent pout.
Of course, we came to know Mabel later for her expressive eyes and 'get lost' pout, but this picture is something else. Mabel is telling us she is dangerous, and, furthermore, needs to be wooed and won. 'Chase me' she seems to say (and actually did say in a much later film). Her two suitors do attempt to chase her, but to no avail, and only learn the truth about Mabel the tease, when they enact a fake duel with dud ammunition. This girl is more interested in cosying up to wild animals than dumb men. How many actors discovered this reality only too late in real life. Charlie Chaplin, Paul Bern and Prince Ibrahim are just three examples.
That Ragtime Band (1913)
Ford the German and Mabel the Soaking Wet
Isn't Keystone Mabel simply gorgeous and ooh, soo sweet in this single reel of total nonsense. The lead is clearly meant to be Ford Sterling as the German (why were they always German?) bandleader. However, for us viewing today, the ex-circus clown comes over as a crazy, over-acting fool. We must remember that Edwardian audiences simply loved this type of stuff – Ford hadn't been over-exposed at this point. As for Mabel, she saves the film for us, and in her shimmering satin dress, goes through her entire repertoire. First we have the fickle Mabel gaily chatting up one bandsman, then, after a long pout, turning her attention to the band-leader. Her little girl lost routine with her mother (Alice Davenport) is delightful, and it is amazing how quickly her expression changes later, when the possibility of an engagement ring appears on the horizon (this could be the early real-life Mabel, before she became bored with shiny things). The excitable, bouncy Mabel is revealed when's she's ready to attend the band's practice session at the local hall.
At the hall there is some trouble between the band-leader and Mabel's first suitor. When Mabel arrives, she's delighted to see her bandsman, and thinks he's a cool dude with his crazy upside- down 'Kaiser Bill' mustache. Mabel's series of expressions, when the band-leader kicks the dude out, are a joy to see. Fickle Mabel then returns, when Ford makes a seemingly successful play for our girl. During the actual competition at the hall, bedlam breaks out among the various acts, and as usual Mabel is in her element among the chaos. The vegetables and pies hurled at the band are clearly expected, but the pie in Mabel's face, and the hosing down of the audience by Sterling is unexpected. Note that gum-chewing extra, Jewel Carmen, makes a very quick exit as the hose is turned on, while poor starlet Mabel, and her lovely dress, must stay and face the soaking. Mack Sennett, it should be noted, always disappeared from shot just before a drenching occurred.
At this time the word 'jazz' had only just arrived, so it is no surprise that this is a Ragtime Band and not a Jazz Band. Unfortunately, a Ragtime band has a (honkey-tonk) piano as its main instrument, so the title could merely be there to make the film seem trendy. However, this might well have been a joke, as audiences would have recognized that this was no Ragtime Band, and, consequently, was as false as Sterling's ridiculous gesticulating. It was many years later that some newspapers termed Mabel a 'Jazz Babe'.
The thinly disguised 'hookers', who perform on the stage are hilarious, but the people living at the real-life Los Angeles addresses shown on their advertising boards, could not have been amused. Of course, it could be that the addresses were those of genuine bordellos, which would make this, perhaps, an early example of advertising within a movie. Dead smart was Mack Sennett. It is interesting to note that an extra in this film, Jewel Carmen (alias Evelyn Quick), was herself involved in a sex for money and blackmail scandal at this time. She claimed immunity on the grounds that she was under-age and a white slave victim, although it was later found she was 23 years old. No other Keystoners were involved, but the majority of the company decamped for Mexico, and did not return until the case had been dropped by the police. Perhaps the 'hookers' in the film are there to give the 'finger' to the law, Keystone style. As a footnote, Carmen was later involved in the suicide, or murder, of actress Thelma Todd, Todd's body having been found in Carmen's garage.
Note: When the band march down to the hall, they do so along Allesandro Street, past the original building on the Keystone/Bison lot. All the buildings shown are probably around the Keystone lot. The line of trees, where the bandleader confronts the trumpet player, are the same ones in Mabel At The Wheel, where Chaplin and Mabel throw bricks at each other. Photos show a similar line of trees at the back of the Keystone lot.
His Trysting Places (1914)
Girl from Staten Island betrayed in the Big City
Wedded bliss for Mabel and Charlie (?), but just as well Mabel spurned the Tramp-man's real-life advances, and chose not to be the first to enter Chaplin's harem. The resulting chaos would have much worse than anything Keystone could ever conjure up.
Mabel positively dotes on her screen baby, as she seemed to do in studio stills and private photos with other children. Keystone claimed that children absolutely adored Mabel and were instinctively drawn to her (wasn't everybody?). Notably, Mabel never had kids of her own and apparently never wanted them. It's doubtful that Miss Keystone would have trusted herself alone with them – she once said she loved to 'pinch babies and twist their legs'. She also found it amusing when she once switched a baby left in a pram for one of a different hue, causing the mother to collapse in hysterics on her return. In this film, however, when Mabel leaves the kitchen, big bad Chaplin sets the baby crying. On Mabel's return its eyes light up and an arm reaches out for her.
Charlie plays the disinterested father and Mabel the poor drudge of the usual Keystone type. After Charlie almost burns everyone, and gives the baby a gun to play with, he decides it best to depart and head for a 'greasy spoon' eating joint. Here he helps himself to an old man's bread, prior to wiping his hands on the aging fellow's Zee-Zee Top beard. He then runs into old Keystone adversary Mack Swain, and Mack quickly receives a bowl of soup in the face. Following the ensuing fight, during which 6 foot-four Mack gets a good whipping from 5 foot-four Charlie, terrified Mack flees the scene taking Charlie's coat by mistake. Charlie himself bolts back to the perceived safety of the family home, but unfortunately he has Mack's coat, which contains a letter alluding to a meeting with a lover. Mabel searches the coat pockets for baby's promised present, but finds the letter. There follows some classic Mabel changes of expression, before she hurls a bowl of water at Charlie, and follows up by splitting an ironing board over the Englisher's head. The ironing board is a typical Keystone lash- up, which almost falls apart before Mabel reaches her spouse. Charlie proceeds to throw the 99 lb Mabel to the floor, but thinks it best to flee the coop before she can give him a mouthful of knuckles.
Charlie is next seen at Hollenbeck Park, talking to himself and wondering what has happened. The usual series of Keystone capers occurs when the lorn betrayed Mabel, and babe in shawl, catches up with Charlie, and Mack reappears on the scene. The scene is complicated still further, as Mack's wife (Phyllis Allen) is also in the park, and Mabel tries to strangle the seemingly 'loose' woman. Eventually, Charlie and Mabel return to wedded bliss, while Mack and wife remain at loggerheads. In Mabel's Married Life it was the other way round.
Note: Continuity obviously counted for nothing at Keystone, as, for some reason, when Mabel departs the kitchen she takes her rolled pastry with her, but returns to find the same pastry attached to the baby's bottom. She had clearly forgotten that she'd walked out with this stuff earlier. The rolling pin Mabel's been using mysteriously disappears just before she leaves the kitchen, but miraculously reappears just prior to her return. Clearly a gag had been added after the original scene was filmed, but, film costing what it did, this was retained in the movie. Mabel's attempts at rolling pastry with one hand, while holding a baby in the other, are amusing, as are her attempts at ironing, which involves the use of water by the gallon. Fortunately, the real-life Mabel had a house-full of servants!
What the Doctor Ordered (1912)
Frolics on Mount Lowe
One of Sennett's pictures for Biograph, filmed on the company's second trip to LA. We can assume that Mabel Normand is only on the trip, due to her being part of Sennett's comedy cast, and his responsibility. On Biograph's first trip, Griffith left the insolent Mabel behind.
Sennett's Biograph movies are very different to his crazy Keystone 'melange of rough and tumble'. This one is almost naive by comparison,and rather gentile Edwardian. However, Mabel and that young scalawag Jack Pickford make a dull sequence of scenes come alive, with their high frolics and snowball fight.It is noticeable that adolescent Jack can't keep his hands off Mabel, and makes the most of the opportunity presented when the family have to haul Mack up out of the canyon.Jack and Mabel were always good friends, and Mabel later adored his wife, the beautiful but tragic Olive Thomas. One English movie magazine was so convinced that the two were an item that they ran 'Jack and Mabel' cartoon strips. Although different ages, they had similar child-like personalities.
To sum up, Mabel is hyperactive Mabel in the picture (could she be anything different?) whilst Mack is nothing like his normal self - but then he is meant to be dangerously sick. The visit to picturesque Mount Lowe is typical of later Keystone films, where scenery (and animals) are used for effect.
Mabel at the Wheel (1914)
Mabel vs Charlie Part 2
The background to this movie is interesting. Mabel and Charlie had not appeared together since Mabel's Strange Predicament. Sennett brought the petulant pair together again in this film after 2 months, but when Charlie arrived for the shoot he was enraged to find Mabel behind the camera. Charlie felt women were best kept in the kitchen - he later had his many young and foolish wives locked up at home. While Mabel wanted to follow a script set by Mack Sennett, Charlie thought the new film needed gagging up. As the proposed gags would boost Chaplin's standing, Mabel refused to entertain them. Charlie immediately went on strike. On hearing this Sennett flew into a rage, storming into Charlie's dressing room shouting 'You'll do as you're told or get out!' However, the balance of power at Keystone was changing. The Englishman was a rising star, and his popularity could eventually equal or eclipse that of the lovely Mabel. Sennett had to keep the two together, or risk becoming the knucklehead who sacked the world's greatest comedian. He decided the two should bury the hatchet, and he directed the film himself (Sennett/Chaplin autobiographies).
Mabel was all sweetness after the furore, although she was unsure about riding pillion with Charlie on the Keystone motorbike – a type of machine he claimed to have ridden before. According to Mabel, the crazy Briton crashed the bike into a ditch before they'd gone twenty yards. He'd lied! Once he'd mastered the technique, all was set for a mad ride along a muddy track, where the hapless Mabel would be dumped in a mud pool. This was the cue for the usual Keystone battle of bricks between Mabel plus boyfriend and Charlie. Interesting how there are always some handy bricks lying around to be thrown by inmates of Sennett's 'University of Nonsense'. Charlie becomes a Ford Sterling- type villain for this film, and initiates various dastardly deeds, such as sticking a pin into Mabel's leg, thumping her in the face, and tying her boyfriend up. Without wishing to give the whole plot away, Mabel ends up taking over her boyfriend's racing car drive. The whole film is clearly based around a famous race filmed in Santa Monica, where a front wheel breaks off a car at Dead Man's Curve, causing it to overturn in spectacular fashion. Mabel openly enjoys the adulation she receives from the spectators and team at the conclusion of the race. Oh, how the cast adored their Keystone Girl!
Things to Note: [1] Charlie's motorbike is a chain drive 1912 Thor IV model. [2] The No. 4 racing car could be Sennett's own Stutz. [3] It is amusing to see the startled old fellow in shirtsleeves and braces,standing in his garden watching Charlie restart his motorbike – he thinks the Hell's Angels are in town. [4] Many roads around Hollywood in those days were seemingly rutted, muddy tracks. [5] When Mabel and Charlie have a fight, a seated spectator looks bemused,then positively scared.[ 6] The entire Keystone company appears to be in this film. [7] The race team's toolkit consists of one spanner, a file, a hand drill, and a bucket. High-tech that. [8] Mabel thinks race preparation comprises taking out a compact and powdering her nose. [9] The mechanic is in the race car to pump fuel and oil (furiously). [10] When the actual race car crashes, the mechanic is thrown out onto his feet. In the faked keystone crash scene the mechanic ends up under the vehicle.[11] There are plenty enough gags for Charlie in the film, and the lack of the standing on the hose gag (which caused the two stars to fall out) does not detract from the film. [12] Charlie reverts to a type of Ford Sterling costume for this film. Could it be that Mabel refused to work with the Tramp, as she feared being upstaged by the scruffy character? She might also have been fearful of the filthy Tramp outfit (Mrs Arbuckle claimed that Mabel used to buy Charlie new clothing, as he never washed his attire).
Mabel's Strange Predicament (1914)
Chaplin vs Mabel vs Lehrman
A great film to watch – and it is the first movie in which Chaplin plays the Tramp. What did the cast think of it? They were absolutely stunned at Charlie's actions on set. Charlie's initial lobby scene used 75 feet of film, an unbelievable occurrence at Keystone, and title-lady Mabel barely appears in the shot! If you're wondering what Mabel's saying in the lobby, she's probably cursing Charlie, who goes on to steal the entire scene from 'Our Cutest Trick' (as Sennett called her).
From this time onward Chaplin began to build his super- star status, and within three months he was the world's most loved comedy character. We can see that the early Tramp was very mean and cruel - he'd kick women in the derriere or stomach, punch them in the face, and steal sweets from babies. Keystone's remit after all was to offend polite society. The Tramp with pathos only began his genesis many months later, due to diligent reworking by the 'Englisher' (probably with help from a slapstick-weary Mabel).
In the film Mabel gets her chance to reign in the upstairs part of the hotel, which becomes the Queen Bee's kingdom. Here she runs rampant and gets into all kinds of scrapes over a dog, a ball and a bed. Eventually, Charlie invades the Kingdom, virtually molests pajama- clad Mabel and kicks, slugs and otherwise abuses everyone on that landing. Then there is the almost inevitable Keystone happy ending.
There are several interesting features in the film. The 'Fake Frenchman', Pathe Lehrman, appears in this film as an extra! After explosive arguments with Chaplin, his directorship of the film was revoked by Sennett, who took on the job himself. Lehrman later tried to have Chaplin's lobby scene cut, but failed. A cute touch occurs in some of the longer shots where Mabel's sweet face is just seen peering out from under a bed where she's hiding.
Mabel's dog is part of the action. Why is prim and proper Alice Davenport so infuriated at the sight of Mabel entering her room with a canine companion? Perhaps she knows the fancily-dressed maiden is going to frolic with the mutt in her pajamas.
This film seems to be the only one in which Mabel and Charlie really battle to outdo each other - Lehrman isn't even in the running. According to Minta Arbuckle (1970s interview), our little Mabel came to hate the unwashed and conceited Charlie. Had the Fake Frenchman been whispering in her ear? He loved her, you know. However at some point later, the Queen Bee and the coming Emperor of Comedy (Sennett was the King) appear to have called a truce and worked more harmoniously together.
Note the flowery bed cover that Mabel tries to hide her embarrassment with. It appears 10 days later on a washing line in Chaplin's 'A Thief Catcher'.