Everywoman … Yes or No (1920), with José María Serralde Ruiz, Giornate del Cinema Muto, Streaming Day Two

 

Which is worse? A woman who has love and no marriage or a woman who has marriage and no love?

This year’s festival has a welcome strand on the great but otherwise slightly neglected, Norma Talmadge. Norma’s star does not burnish quite as bright in comparison with some of her peers, Mary, Lillian, Gloria and Mabel and they were all born between 1892 and 1894. Talmadge started at about the same time, with her first film in 1909, aged 15, and made hundreds of shorts before establishing her own production company with husband, producer Joseph M. Schenck in 1917 and going on to greater heights. A poll of picture exhibitors named Norma the number-one box office star in 1923 and the following year she starred in Frank Borzage’s Secrets, perhaps her best film alongside The Lady (1925) with the same director - and screening later this week! – Sidney Franklin’s Smiling Through (1922) and the comedy Kiki (1926) directed by Clarence Brown.

Perhaps she is too associated with Schenck in some minds and, for one reason or another, her career declined after their split in 1926, after she’d fallen for Gilbert Roland, even though Joe kept on supporting her commercially even as the ticket sales slowed and talkies loomed. New York Nights (1929) showed she could have cut it, there’s little of her Brooklyn accent, but when you’ve spent two thirds of your life acting, and you don’t ever need to work again, you can imagine why she would walk away.

Norma as the wealthy socialite

On her day I would contend that she was technically as good as anyone in terms of controlled screen emoting, beautiful and believable and just very, very competent without the intensity of Gish, the universality of Pickford or the quirks and comedy of Swanson or Normand. She was a kind of everywoman who excelled in melodramas, a big hit performer but one more of her time (oh, how I hate that phrase) in terms of style and fashion. As a screen phenomenon she’s up there though and worthy of study and respect; historically important, a wizard and a true star!

So, what we have is what we have and it’s great to see the two films streamed today, one a punchy short from early in her career, Mrs. 'Enry 'Awkins (1912) and the other a typical hit from her imperial period, Yes or No (1920). Based on an interesting stage experiment written by Arthur Goodrich, which featured a split stage showing a rich and poor wife as they reach a crisis in their marriage, it allows Talmadge to play two characters, in the manner of say Mary Pickford in Stella Maris (1918) and, indeed, herself in The Forbidden City (1918) and Smilin’ Through, whilst she doesn’t match Pickford’s physicality, she does convince in both roles.

“Miss Talmadge wears a wig and some fine clothes in the one character, and her own tresses and calico in the other role, with equal grace.” J.S. Dickerson in Motion Picture News (17.07.1920)

Natalie Talmadge giving screen brother some stick.

Directed by R. William Neill, this Yes or No, splits the action between the two worlds with the emphasis more on the less predictable and more dramatically rewarding “poor story”. It’s a century old morality play and you really have to take that for what it’s worth.

We start in the spacious boudoir of the rich Margaret Vane who is fretting over a party she wants to have knowing that her businessman husband, Donald (Frederick Burton) is unlikely to be free to attend. Donald has health issues but he works his failing heart out for his wife to keep her in the manner to which she is accustomed to. It’s a miscommunication of almost Antonionian proportions and the harder he tries for her the more she feels ignored.

Margaret’s maid is Emma Martin played by Natalie, Talmadge Sister No. 3, as a feisty character who gives far better than she gets with the mostly useless men, whist also providing steadfast service for Margaret Vane. It’s good to see this most neglected of Talmadges in a dramatic role, she’s not got Constance’s pep nor Norma’s beautiful range but she’s no slouch as I’m pretty certain Mr Keaton discovered… Peg Talmadge didn’t raise any pushovers.

Gladden James up to no good...

Emma, appropriately enough, is sister to Minnie Berry (Norma again) who is the hardest-working mother in the bowery, feeding her two kids, husband, Jack (the always upstanding Rockcliffe Fellowes), and their lodger, Ted Leach (Gladden James who, lets be honest, is always trouble). Jack works all the hours God sends and studies in the evenings, desperate to make a better future for his family but this leaves Minnie at home and just a little bored. This Ted notices and he has plans to split the marriage just as, uptown, the sleazy Paul Derreck (Lowell Sherman), aims to woo Margaret away from her all work and no play hubbie.

Remembering the film’s called Yes or No, the women may have different answers to these propositions and to find out… you’ll have to seek this film out. Certainly, this is an impressive example of Peak Norma and you can fully understand how her millions of female fans would have responded to this fundamental answer to eternal questioning. Maybe because we’ve moved on so much as a society, we can be too complacent about the moral implications but not always and not all the time. No means no, means no.

Norma's character is very unsure of Paul...

Almost a decade before, a teenage Norma was playing her part in Mrs. 'Enry 'Awkins (1912) a light comedy about a feuding family with father Noah (Van Dyke Brooke) who prefers the rough charms of bullying pugilist (Bill Brown) to his daughter Liza’s favourite ‘Enry (Maurice Costello). It’s knockabout fun and Norma stands out for having more about her than anyone else amongst the chaos. This was how to make your way in pictures; keep on top of the brief and get noticed.

José María Serralde Ruiz played along with suitable gusto and in that way the best players do, minded the viewer of 1920 emotionally as well as musically.

Talking of which, we also had maestro Stephen Horne streaming on Day Two… more on that later.

Larks in Mrs. 'Enry 'Awkins 

A game of two Talmadges… The Heart of Wetona (1919) vs Secrets (1924)

Of all the major stars of the silent ere – and I mean major - Norma Talmadge seems to be one of the hardest for modern viewers to connect with. Jeanine Basinger* is particularly good value of this point suggesting that whilst sister Constance had a definite persona that rises above her films, Norma was a more protean presence dependent on the strength of her material and that material was very much attuned to the tastes of the time.

For me, there’s no doubt Norma was the better dramatic actress, had greater performing ambition and more range – no matter how much I love “Dutch” as well. Her controlled expression was certainly put to good effect in Going Straight, Smiling Through and The Devil’s Needle and even lighter fare such as The Social Secretary. She could hold the camera’s gaze as well as Mary and Lillian and she was more womanly-grown-up than either and maybe that’s part of the problem.

Norma was often cast, even by herself,  as a lower middle class woman in situations of moral compromise and the audiences lapped these films up even if now their story lines are too over-used to generate much dramatic impact , no matter her skills as an actress. Perhaps she and husband/producer Joseph Schenck targeted the Norma Talmadge Film Corporation too firmly at their winning formula: the popular middle ground?

And how tastes change.

These two films represent extremes of Norma’s career: one an almost risible western and the other a far classier affair well directed by Frank Borzage and allowing the actress to really show her ability. They show what she could do and what she clearly chose to do and the day job served her very well…

Wetona worries...

The Heart of Wetona (1919) features Norma as the daughter of a white mother and an Indian chief Quannah (Fred Huntley), she has been educated in the East but still speaks in broken English… This is a film about the nobility of the savage as well as their hot-headed-ness and adherence to strange old religions. Of its time… naturally.

It’s also a remarkably frank film in terms of young Wetona’s sex life. She creates a scene at the tribe’s tribute to their gods by revealing her inappropriate casting as their “vestal virgin”: she has been having relations with a white man and father, severely unimpressed, plans to exact messy retribution.

Gladden James looking shifty

The guilty man is irresponsible Anthony Wells (Gladden James – who always looks a wrong ‘un) a young man who avoids responsibility at every turn in spite of the patronage of Government agent, Hardin (the asdmirable Mr Thomas Meighan).

Hardin offers to take responsibility until such time as Hardin is “ready”… it sounds a bit vague but we get the drift. Wetona goes along, her faith in Tony remarkably unshaken… even though we’ve worked him out long ago.

Wetona about to fail the vestal medical...

No spoilers… you can probably work it out for yourself. Needless to say, James is suitably craven, Huntley is a very noble savage and Meighan is excellent as the stand-up, stand-by guy.

Norma has a lot of screen time and a fair amount of close-ups to allow her to show her skill but the story rings slightly false in spite of some genuine conflict and peril, most of it constructed on narrative sand…  That face simply isn’t given enough emotional to work with and the close-ups only serve to remind the viewer how much real drama is missing.

Thomas Meighan and Norma

The Variety reviewer was unimpressed…  “…it is hardly a star part for Miss Talmadge. To be sure she is the pivotal character about which the plot revolves, but the role is purely a receptive one, and she is called upon to do little but pose as the bearer of the heavy burdens.”

Then again, Edward Weitzel was more positive in Moving Picture World, January 4, 1919 “…none of her impersonations has revealed deeper feeling or a better understanding of the art of acting. There is never the slightest doubt in the mind of the spectator as to what Norma Talmadge is trying to convey. …she is picturesque and beautifully human…”

See… even then “… the bearer of heavy burdens…” but "...beautifully human..." all the same.

Secrets (1924) is an altogether more satisfying film not just because of a superior story but obviously through Borzage’s inventive direction which provides a much richer dramatic scope. Based on a stage play – itself adapted from an opera – the film starts in the present and works forward from the past in a clever script from Frances Marion.

It’s 1924 and Norma is seventy-something Mary Carlton anxiously waiting for an improvement in the failing health of her husband John (Eugene O’Brien). She barely looks like Norma (30 at the time) and, even through the poor quality haze of the Silents are Golden DVD, she is clearly relishing the range of this role. She begins to look through her old diary and drifts off remembering her earlier life…

Norma goes from 1924 back to 1865...

We’re whisked back to 1865 when a 16-years old Mary is being prepared for a ball by her mother (Emily Fitzroy) and aunt. This is the lightest-hearted part of the film and there’s much fun to be had with the application of various large constructs that form parts of the tent-like evening wear… The joviality stops when Mary’s father, William (George Nichols) reveals that he has discovered her nascent affair with one of his clerks (O’Brien).

George O'Brien and Norma Talmadge

Mary is locked in her room but decides to elope – on a penny farthing no less – with young John and to head off for America…

Five years later and the couple have established a home stead and have a small baby. A doctor calls to tend to the sick infant and reveals that a gang led by local ruffian Jack are intent on gaining revenge on him for his part in capturing one of their own.

The gang duly arrive and John defends house supported by Mary who refuses to let him sacrifice himself. The tense battle is lent further poignancy when Mary discovers her baby has perished and confirms the death by using a mirror to try and detect any signs of breathing… the saddest of silent mimes. Realising her husband must fight on, Mary cuddles the dead baby pretending that he is asleep…and  you’d have to be made of granite not to be moved. Talmadge handles these moments with incredible grace.

Holding a mirror up to life

Moving forward to Mary’s 39th birthday in 1888 we hit one of the missing sections of this copy4 – by now Mary has three more children Blanche (Alice Day), Audrey (Mae Giraci) and John Jnr (Donald Keith – Merton of the Movies himself!). She has also been reconciled with her family.

But another crisis takes place as her husband’s affair with one Mrs. Estelle Manwaring (Gertrude Astor) is revealed by her parents. Matters come to a head when Estelle arrives and brazenly asks for Mary to let John go, claiming that she has ruined his life and cannot make him happy… it’s a point of view but we wonder what the steadfast Mrs Carlton could possibly have done…

Gertrude Astor, Donald Keith and Norma Talmadge

Mary being Mary she offers to let John go if he truly loves Estelle who senses victory only to have her hopes dashed as John returns and decides no contest… Norma’s performance of quiet resolution and dignity is persuasive and genuinely moving…

The scene shifts forward to the present day: will there be one last act for Mr and Mrs Carlton?

“It is a work of art, deftly handled with a divine touch that makes it stand out as one of the greatest screen characterizations in years…” raved Variety, before continuing...“The direction of Frank Borzage must be credited with a great part in the success that the picture is certain to have. He has taken Miss Talmadge and handled her in a manner that makes her reveal artistry such as she never displayed heretofore…”

Silent scream

Photoplay agreed saying that “The photography, particularly in the first part of the picture, is touched with real loveliness. And the scenario, by Frances Marion, is always searchingly human. But it is the personality, and the ability of Norma Talmadge that makes this a thing worth seeing.”

This final point takes us back to Jeanine Basinger’s comment: but here it was not just Norma’s talent that was engaged – there was a very personal investment in the performance that gave it such integrity. An actor must draw on personal experience to convince but there’s always control. Maybe with the right combination of director, script and circumstance, Norma Talmadge really put on a show?

We should see more… unfortunately only Wetona is currently available on DVD and it is to be hoped that Secrets and Norma's other film with Frank Borzage, The Lady (1925) will someday get the release and restoration they deserve.

*In her book Silent Stars - essential reading!
** Press comments lifted from Greta de Groat's superlative Talmadge site. Go straight there now!

Safety first… Norma Talmadge in The Safety Curtain (1918)

The Safety Curtain has one of the better reputations of early Norma Talmadge features. Made in 1918 by the Norma Talmadge Film Corporation – the company she founded after leaving Vitagraph at the age of 23 – it was directed and written by Sidney Franklin from a story by Ethel M Dell.

Norma plays Puck, a young “dainty dancer” on the London stage who is unhappily married to the shows’ strongman, Vulcan, played by Anders Randolf with a sneer and malicious intent. Puck is beaten and seemingly defeated by this monstrous man who makes merry with other women in the cast whilst expecting Puck’s total loyalty under threat of his corporal punishment.

A dastardly nobleman, Lord Sylvester played by Gladden James (also with Norma in The Social Secretary as covered below…), tries to take advantage but Puck is not interested in following her husband’s path of dishonesty.

Puck comes to life on stage and if it is the quick feet of Ms Talmadge we see during her dance, her early ballet training did not go to waste. Amongst the audience is a British soldier, Captain Merryon (Eugene O'Brien) at home from India on leave. He watches enthralled until suddenly there is an explosion on stage.

Puck tries to calm the audience and calls for the safety curtain to be lowered, but it is not enough to prevent the fire and she ends up being carried to safety by Captain Merryon whilst others, including Vulcan apparently perish.

Puck agrees to marry Merryon and to begin a new life in India. There is nothing to keep her as she is thought to have died alongside her husband.

Time passes and the two enjoy happiness in the Raj. All changes though when Puck is sent to stay in cooler climes during the brutal summer. She re-encounters Sylvester who once again tries to take advantage. Refusing his advances Puck races back to Merryon through torrential rain.

Just when she thinks she has finally escaped her past a knock at their door sometime later reveals Vulcan, very much alive and looking to “re-possess “his wife.

Merryon sees him off but Puck does not want to bring disgrace to her captain and goes after the man who has brought her so much misery… The “safety curtain” Puck had attempted to bring down on her old life appears to have burned down completely…Will there be any happiness for Puck and Merryon?

The Safety Curtain is a well-constructed film which has you rooting for the characters throughout its incident-packed 50-odd minutes. Franklin directs well with some excellent cutting, especially during the theatre fire and towards the final climax. He also knows how to bring out the best from his major asset and there are ample close ups for Norma to show her superb acting ability.

O’Brien is also good as her steadfast Captain whilst Gladden James is thoroughly horrible as the weasely Sylvester. As for Vulcan… you really wouldn’t want to meet Anders Randolph in a dark alleyway!

But it’s all about Talmadge and a performance that matches the one she gives in Going Straight. This story could so easily have slipped into more basic melodramatic territory but, as ever, we *believe* in Norma Talmadge. She doesn’t let us down.

I got my copy from one of those online purveyors of out of print and copyright DVD-Rs. It’s in better quality than anything on the Classic Movies Streams DVD and I’d recommend it to anyone who wants to get a clearer view of this great actress doing what made contemporary audiences love her as much as Pickford and Gish!

I would also highly recommend Greta de Groat excellent Norma Talmadge Website - an incredibly well-informed and researched site covering all things Talmadge!

Office politics... The Social Secretary (1916)

When I started work in the tallest tower block in Croydon (if you can make it there…you can make it anywhere…) it was in the early days of word processing when there were still “elevenses”, a staff canteen and a row of glamorous secretaries chosen to keep the marketing managers happy.

After three years of university politicisation, I was fairly appalled by this. Why, some of these men (and they were almost all men) were married whilst others were just unsavoury…yet, still the flirting and the ogling carried on. (Have things improved "post feminism"...when the British PM is openly condescending to female colleagues?)

I therefore found the premise that Norma Talmadge's character in The Social Secretary was too attractive to be left alone to do her secretarial work quite believable. I’d seen such things with my own eyes, even if the brand managers were less physically direct (at least whilst sober).

A Social Secretary, directed in 1916 by John Emerson from a scenario by Anita Loos amongst others, shows Norma’s character, Mayme, go through a succession of jobs in which her bosses waste little time in hitting on her.

She resolves to beat this by making herself look as frumpy as possible and wearing big round glasses with her hair tied back in a way that kept on reminding me of Julia Sawalha’s Saffy in Absolutely Fabulous: she still looks eye-catching...there's Hollywood "plain" for you.

This disguise helps her to establish herself as the personal secretary in the house of Mrs Van Puyste (Kate Lester), a widower who’s children still live at home the occasionally inebriated Jimmy (Gladden James) and his young sister Elsie (Helen Weir).

Things go well until the family are targeted by one of Mayme’s former letching bosses, Count Limonittiez sleazily played by Herbert Frank. He resolves to marry Elsie and thereby regain the fortune and position he has frittered away.

Jimmy returns too drunk to enter the house through the usual means and crashes through a window. Thinking him to be a burglar, Mayme crowns him with a vase but, after dragging him to his room he discovers that, hey, she’s actually quite a looker.

Jimmy’s memory survives his hangover and the two begin a liaison out of sight of Mrs Van Puyste. They are spotted by an eagle-eyed muck-raker, The Buzzard played by a marvellously creepy Eric von Stroheim!

Whilst they try keeping the press at bay, The Count succeeds in romancing Elsie and is set to announce their engagement. Mayme exposes his true nature in front of Mrs van Puyste but he cunningly lures Elsie away to his hotel where he aims to elope.

Mayme and Jimmy race over with the Buzzard not far behind. Reputations and fortunes are on the line!

This is a straight-ahead romp in which gives Norma Talmadge the chance to show how well she could do comedy. It’s a winsome performance and a likeable film with good support notably from Gladden James and, especially, von Stroheim.

My only gripe would be the quality of the print. It’s good in parts and mostly bearable but the Classic Video Streams DVD could have come from a better source. Still, it exists, and for the Talmadge fan – a century too late to catch her peak – it’s most welcome.

The DVD also comes with a selection of shorts of varying length and quality. These include The Helpful(?) Sisterhood (1914) about a young student led astray by her college soriety group – it includes sister Constance amongst the girls who lead Norma off the straight and narrow.

His Official Appointment (1912) is a sad little tale about a retired Colonel who waits for an appointment that never comes - he rescues Norma’s character from a runaway horse but to no avail. Nobility trampled by indifference in the end.

Then there’s an excerpt from The Devil’s Needle (1916) a harrowing account of morphine addiction which features Norma as an addicted artist’s model who starts off her painter on the road to ruin. Interesting how this subject was handled a century back… is there nothing new except what has been forgotten?

These Vitagraph films showcase the dawn of Norma Talmadge’s career and her growth to pre-eminence. Through the darkly shaded, scratched and bleached out images you can clearly see why her acting stood out and why her expressive and well proportioned features enabled her to present a more grown up and credible girl next door than maybe even Mary Pickford.

A Social Secretary is available from Amazon.com or direct from Classic Video Streams themselves. It must be hoped that the recent Kino Talmadge twofer, Kiki and Outside the Law, will encourage more of her films to be restored and re-released.

She’s proof absolute that naturalism was a key asset in the Hollywood cinema of the teens.