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Norma Talmadge

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Cause of death
  
Pneumonia

Name
  
Norma Talmadge

Years active
  
1909–30


Occupation
  
Actress, producer

Nationality
  
American

Role
  
Actress

Norma Talmadge The Talmadge Sisters Women Film Pioneers Project

Born
  
May 26, 1894 (
1894-05-26
)

Died
  
December 24, 1957, Las Vegas, Nevada, United States

Siblings
  
Constance Talmadge, Natalie Talmadge

Spouse
  
Carvel James (m. 1946–1957), George Jessel (m. 1934–1939), Joseph M. Schenck (m. 1916–1934)

Parents
  
Margaret Talmadge, Frederick L. Talmadge

Movies
  
Kiki, The Woman Disputed, New York Nights, The Forbidden City, The Lady

Similar People
  
Natalie Talmadge, Joseph M Schenck, D W Griffith, George Jessel, Herbert Brenon

Movie legends norma talmadge


Norma Marie Talmadge (May 2, 1894 – December 24, 1957) was an American actress and film producer of the silent era. A major box-office draw for more than a decade, her career reached a peak in the early 1920s, when she ranked among the most popular idols of the American screen.

Contents

Norma Talmadge The Talmadge Sisters Women Film Pioneers Project

A specialist in melodrama, her most famous film was Smilin’ Through (1922), but she also scored artistic triumphs teamed with director Frank Borzage in Secrets (1924) and The Lady (1925). Her younger sister Constance Talmadge was also a movie star. Talmadge married millionaire film producer Joseph Schenck and they successfully created their own production company. After reaching fame in the film studios on the East Coast, she moved to Hollywood in 1922.

Norma Talmadge Picture of Norma Talmadge

Talmadge was one of the most elegant and glamorous film stars of the Roaring '20s. However, by the end of the silent film era, her popularity with audiences had waned. After her two talkies proved disappointing at the box office, she retired a very wealthy woman.

Norma Talmadge httpsuploadwikimediaorgwikipediacommonsthu

Movie legends norma talmadge reprise


Early life

Norma Talmadge Norma Talmadge Wikipedia the free encyclopedia

According to her birth certificate, Talmadge was born on May 2, 1894, in Jersey City, New Jersey. Although it has been widely reported she was born in Niagara Falls, New York, after achieving stardom, she admitted that her mother and she provided the more scenic setting of Niagara Falls to fan magazines to be more romantic. Talmadge was the eldest daughter of Fred Talmadge, an unemployed chronic alcoholic, and Margaret "Peg" Talmadge, a witty and indomitable woman. She had two younger sisters, Natalie and Constance, both of whom also became actresses.

Norma Talmadge Norma TalmadgeAnnex

The girls' childhoods were marked by poverty. One Christmas morning, Fred Talmadge left the house to buy food, and never came back, leaving his wife to raise their three daughters. Peg took in laundry, sold cosmetics, taught painting classes, and rented out rooms, raising her daughters in Brooklyn, New York.

Norma Talmadge Norma Talmadge Wikiwand

After telling her mother about a classmate from Erasmus Hall High School who modeled for popular illustrated song slides (which were often shown before the one-reeler in movie theaters so the audience could sing along), Mrs. Talmadge decided to locate the photographer. She arranged an interview for her daughter, who after an initial rejection, was soon hired. When they went to the theater to see her debut, Peg resolved to get her into motion pictures.

Early films

Norma Talmadge Silence is Platinum Miss Norma Talmadge

Norma Talmadge was the eldest of the three daughters and the first pushed by their mother to look for a career as a film actress. Mother and daughter traveled to the Vitagraph Studios in Flatbush, New York, just a streetcar ride from her home. They managed to get past the studio gates and in to see the casting director, who promptly threw them out. However, scenario editor Beta Breuil, attracted by Talmadge's beauty, arranged a small part for her as a young girl who is kissed under a photographer's cloth in The Household Pest (1909).

Norma Talmadge The Norma Talmadge Website

Thanks to Breuill's continued patronage, between 1911 and 1912, Talmadge played bit parts in over 100 films. She eventually earned a spot in the stock company at $25 per week and got a steady stream of work. Her first role as a contract actress was 1911's Neighboring Kingdom, with comedian John Bunny. Her first real success came with the first original screen version of A Tale of Two Cities (1911), a three-hour epic released in weekly one-reel segments, in which she played the small role of Mimi, a seamstress who accompanies Sidney Carton to the guillotine. With help from the studio's major star, Maurice Costello, the star of A Tale of Two Cities, Talmadge's acting improved and she continued to play roles from leads to extras, gaining experience and public exposure in a variety of characters—from a colored mammy to a clumsy waitress to a reckless young modern, she began attracting both public and critical notice. By 1913, she was Vitagraph's most promising young actress. That same year, she was assigned to Van Dyke Brooke's acting unit, and throughout 1913 and 1914, appeared in more films, frequently with Antonio Moreno as her leading man.

In 1915, Talmadge got her big break, starring in Vitagraph’s prestigious feature film The Battle Cry of Peace, an anti-German propagandist drama, but ambitious Peg saw that her daughter's potential could carry them further, and got a two-year contract with National Pictures Company for eight features at $400 per week. Talmadge's last film for Vitagraph was The Crown Prince's Double. In the summer of 1915, she left Vitagraph. In the five years she had been with Vitagraph, she made over 250 films.

In August, the Talmadges left for California, where Norma's first role was in Captivating Mary Carstairs. The whole enterprise was a fiasco; the sets and costumes were cheap and the studio itself lacked adequate backing. The film was a flop, and the small new studio shut down after the release of Mary Carstairs. The demise of National Pictures Company left the family stranded in California after only one picture. Deciding it was smarter to aim high, they went to the Triangle Film Corporation, where D.W. Griffith was supervising productions. On the strength of The Battle Cry, Talmadge got a contract with Griffith's Fine Arts Company. For eight months, she starred in seven features for Triangle, including the comedy The Social Secretary (1916), a comedy written by Anita Loos and directed by John Emerson, that gave her an opportunity to disguise her beauty as a girl trying to avoid the unwelcome attentions of her male employers.

Norma Talmadge Film Corporation

When the contract ran out, the Talmadges returned to New York. At a party, Talmadge met Broadway and film producer Joseph M. Schenck, a wealthy exhibitor who wanted to produce his own films. Immediately taken by Talmadge both personally and professionally, Schenck proposed marriage and a production studio. Two months later, on October 20, 1916, they were married. Talmadge called her much older husband "Daddy". He supervised, controlled, and nurtured her career in alliance with her mother.

In 1917, the couple formed the Norma Talmadge Film Corporation, which became a lucrative enterprise. Schenck vowed he would make his wife the greatest star of all, and one to be remembered always. The best stories, most opulent costumes, grandest sets, talented casts, and distinguished directors, along with spectacular publicity, would be hers. Before long, women around the world wanted to be the romantic Norma Talmadge and flocked to her extravagant movies filmed on the East Coast.

Schenck soon had a stable of stars operating in his studio in New York, with the Norma Talmadge Film Corporation making dramas on the ground floor, the Constance Talmadge Film Corporation making sophisticated comedies on the second floor, and the comic unit with Roscoe "Fatty" Arbuckle on the top floor, with Natalie Talmadge acting as secretary and taking occasional small roles in her sisters' films. Arbuckle brought in his nephew Al St. John and vaudeville star Buster Keaton. When Schenck decided it was financially advantageous to rent Arbuckle to Paramount Pictures for feature films, Keaton took over the comedy unit and soon married Natalie, bringing him more thoroughly into the Talmadge family fold, at least for a time.

Talmadge's first film for her studio, the now lost Panthea, (1917) was directed by Allan Dwan with assistants Erich von Stroheim and Arthur Rosson. The film was a dramatic tour de force for her in a story set in Russia of a woman who sacrifices herself to help her husband. The film was a hit, turning Talmadge into a sensation and established her as a first-rate dramatic actress.

Talmadge’s acting ability improved rapidly during this period. She made four to six films a year in New York between 1917 and 1921. Under Schenck's personal supervision, other films followed, including Poppy (1917), in which, she was paired with Eugene O'Brien. The teaming was such a hit, they made 10 more films together, including The Moth, and The Secret of the Storm Country, a sequel to Tess of the Storm Country (1914), starring Mary Pickford.

In 1918, she reteamed with Sidney Franklin, who directed The Safety Curtain, Her Only Way, Forbidden City, The Heart of Wetona, and 1919's The Probation Wife. These films have small-scale settings and familiar actors appearing from one film to the next. An advantage of the East Coast locale was access to the country's best high-fashion designers, such as Madame Francis and Lucile. Between 1919 and 1920, Talmadge's name appeared on a regular monthly fashion advice column for Photoplay magazine; her publicist was Beulah Livingstone.

Hollywood films

Throughout the 1920s, Talmadge continued to triumph in films such as 1920's Yes or No, The Branded Woman, Passion Flower (1921), and The Sign on the Door (1921). The next year, she had the most popular film of her entire career, Smilin' Through (1922) directed by Sidney Franklin. One of the greatest screen romances of the silent film era, it was remade twice, in 1932 with Norma Shearer, and in 1941 with Jeanette MacDonald.

After Smilin' Through, Schenck closed the New York studios and Norma and Constance moved to Hollywood to join Keaton and Natalie. Talmadge's Hollywood films were different from her New York films. Bigger and glossier, they were fewer but more varied, often with period or exotic settings. She teamed with cinematographer Tony Gaudio and some of Hollywood's finest costume designers for a more glamorous image. She also worked with top-flight directors such as Frank Lloyd, Clarence Brown, and Frank Borzage. With help from films directed by her first husband Joseph M. Schenck, she became one of the highest-paid actresses of the 1920s.

In 1923, a poll of picture exhibitors named Norma Talmadge the number-one box office star. She was earning $10,000 a week, and receiving as many as 3,000 letters weekly from her fans. Her film Secrets (1924), directed by Frank Borzage, marked the pinnacle of her career, with her giving her best performance and receiving the best reviews. In 1924, Schenck had moved over to head United Artists, but Talmadge still had a distribution contract with First National. She continued to make successful films such as The Lady (1925) directed by Frank Borzage and the romantic comedy Kiki (1926) directed by Clarence Brown, remade later by Mary Pickford as a sound film in 1931.

One of the at least nine theories of the origin of the tradition for celebrities to stamp a hand in Hollywood involves Talmadge. According to it, in 1927, she accidentally stepped into wet concrete in front of Grauman's Chinese Theater.

Decline

Talmadge's last film for First National was Camille (1926), an adaptation of an Alexandre Dumas, ''fils'' novel later remade by Greta Garbo. During filming, Talmadge fell in love with leading man Gilbert Roland. She asked Schenck for a divorce, but he was not ready to grant it. Despite his personal feelings, he was not going to break up a moneymaking team and continued casting Roland in Talmadge's next three films released by United Artists. Talmadge and Schenck separated, though he continued producing her films. He was now president of the prestigious but theater-poor United Artists Corporation, and the rest of Talmadge's films were released for that company. UA’s distribution problems, however, began to erode her popularity. Her first films for this studio, The Dove (1927) and The Woman Disputed (1928), were box-office failures and ended up being her last silent movies.

By the time Woman Disputed (1928) was released, the talking film revolution had begun, and Talmadge began taking voice lessons in preparation. She worked diligently with voice coaches for over a year so she could make her sound debut. Her first talkie, New York Nights (1929), showed that she could speak and act acceptably in talkies. While her performance was considered to be good, the film was not. Talmadge next took on the role of Madame du Barry in the 1930 film Du Barry, Woman of Passion. With incompetent direction and Talmadge's inexperience at a role requiring very demanding vocal acting, the film was a failure, in spite of the elaborate sets by William Cameron Menzies.

On March 29, 1929, at the bungalow of Mary Pickford, United Artists brought together Talmadge, Pickford, Douglas Fairbanks, Charles Chaplin, Gloria Swanson, John Barrymore, Dolores del Río, and D.W. Griffith to speak on the radio show The Dodge Brothers Hour to prove that Griffith could meet the challenge of talking movies.

Talmadge's sister Constance sent her a telegram with this advice: "Quit pressing your luck, baby. The critics can't knock those trust funds Mama set up for us". As time passed, it became increasingly clear that the public was no longer interested in its old favorites, and Talmadge was seen as an icon of the past. Talmadge had been increasingly bored with filmmaking before the talkie challenge came along, and this setback seems to have discouraged her from further attempts.

She still had two more films left on her United Artists contract. In late 1930, Samuel Goldwyn announced he had bought the film rights to Zoë Akins' comedy play The Greeks Had a Word for It for her. She reportedly did some stage rehearsals for it in New York, but within a few months, she asked to be released from her contract. She never again appeared on screen. (Goldwyn eventually made the film version of The Greeks Had a Word for It under the title The Greeks Had a Word for Them in 1932.)

Retirement

Upon leaving the movie world, Norma Talmadge rid herself of all the duties and responsibilities of stardom. She told eager fans who were pressing her for an autograph as she left a restaurant, "Get away, dears. I don't need you anymore and you don't need me."

Some time before late 1932, Talmadge decided against marrying Gilbert Roland, as he was 11 years her junior and she feared he would eventually leave her. Mother Peg fell ill in 1931, and died in September 1933. In late 1932, Talmadge began seeing her ex-husband Joseph Schenck's poker friend, comedian George Jessel. In April 1934, Schenck, from whom she had been separated for seven years, finally granted Talmadge her divorce, and nine days later, she married Jessel. Schenck continued to do what he could for Norma and her sisters, acting as a financial adviser and guiding her business affairs.

Talmadge's last professional works consisted of appearances on Jessel's radio program, which was sagging in the ratings. The program soon ended, and the marriage did not last; the couple divorced in 1939. Schenck's business acumen and her mother's watchful ambition for her daughters had resulted in a huge fortune for Talmadge, and she never wanted for money. Restless since the end of her filmmaking days, Talmadge traveled, often shuttling between her houses, entertaining, and visiting with her sisters. In 1946, she married Dr. Carvel James, a Beverly Hills physician.

Later years and death

In her later years, Talmadge, who had never been comfortable with the burdens of public celebrity, became reclusive. Increasingly crippled by painful arthritis and reported to be dependent on painkilling drugs, she moved to the warm climate of Las Vegas for her final years. In 1956, she was voted by her peers as one of the top five female stars of the pre-1925 era, but was too ill to travel to Rochester, New York, to accept her award.

After suffering a series of strokes in 1957, Talmadge died of pneumonia on Christmas Eve of that year. At the time of her death, her estate was valued at more than US$1,000,000 (roughly $8,000,000 in 2012). She is interred with Constance and Natalie in their own niche in the Abbey of the Psalms in the Hollywood Forever Cemetery.

For her contribution to the motion picture industry, Norma Talmadge has a star on the Hollywood Walk of Fame at 1500 Vine Street.

A New York Times article from March 14, 2010, says that Talmadge

is misremembered, having inspired two unfair caricatures that have lived on in a pair of popular films. In Singin' in the Rain (1952), she is parodied as Lina Lamont ... More malignantly, Billy Wilder used Norma Talmadge as the obvious if unacknowledged source of Norma Desmond, the grotesque, predatory silent movie queen of his 1950 film Sunset Boulevard.

However, neither of these identifications is in the mainstream of critical opinion. Nearly all other writers regard both Norma Desmond and Lina Lamont as fictional composite characters, each mirroring some aspects of various faded silent stars, but neither of them primarily a disguised portrait of anyone in particular. Lina Lamont bears little resemblance to Talmadge's personality either on or off the screen, and unlike the delusional Desmond, Talmadge was not stuck in the past and had left her stardom behind her with considerable relief.

Talmadge is referenced by name in Woody Allen's film Sweet and Lowdown (1999), in which the Hattie character, played by Samantha Morton, is cast in a silent film as her younger sister, and described by one character as, "...a dead ringer for May Talmadge."

In the movie of William Inge's play of the same name, The Dark at the Top of the Stairs, young Sonny Flood, the son of Robert Preston's character Rubin Flood, collects pictures of motion picture stars. When he asks his aunt and uncle if they wouldd like to see them, his uncle asks, "Have you got any of Norma Talmadge?" Apparently the uncle's attraction to Norma Talmadge is a sore spot in the marriage, because Aunt Lottie (played by Eve Arden) goes on a rant about Norma Talmadge being a Catholic. She says, "Norma Talmadge! Norma Talmadge! That's all I hear, is 'Norma Talmadge'! Maybe you'd like to marry Norma Talmadge some day, and let the Pope tell you what to do with the rest of your life." She "gets even" with Morris, though, when she comments, seeing a picture of Rudolph Valentino, "I think it's a sin for a man to be as pretty as he is. I'd be scared stiff to let a man like him touch me."

Filmography

Actress
1930
Du Barry, Woman of Passion as
Jeannette Vaubernier aka Madame Du Barry
1929
New York Nights as
Jill Deverne
1928
Show People as
Norma Talmage (uncredited)
1928
The Woman Disputed as
Mary Ann Wagner
1927
The Dove as
Dolores
1926
Camille as
Marguerite Gautier (Camille)
1926
Kiki as
Kiki
1925
Graustark as
Princess Yetive
1925
The Lady as
Polly Pearl
1924
The Only Woman as
Helen Brinsley
1924
Secrets as
Mary Carlton
1923
The Song of Love as
Noorma-hal
1923
Ashes of Vengeance as
Yolande de Breux
1923
Within the Law as
Mary Turner
1923
The Voice from the Minaret as
Lady Adrienne Carlyle
1922
The Eternal Flame as
Duchesse de Langeais
1922
Smilin' Through as
Kathleen / Moonyeen
1921
Love's Redemption as
Jennie Dobson (aka Ginger)
1921
The Wonderful Thing as
Jacqueline Laurentine Boggs
1921
The Sign on the Door as
Ann Hunniwell / Mrs. 'Lafe' Regan
1921
Passion Flower as
Acacia - The Passion Flower
1920
The Branded Woman as
Ruth Sawyer
1920
Yes or No as
Margaret Vane / Minnie Berry
1920
The Woman Gives as
Inga Sonderson
1920
She Loves and Lies as
Marie Callender, aka Marie Max and June Dayne
1920
A Daughter of Two Worlds as
Jennie Malone
1919
The Isle of Conquest as
Ethel Harmon
1919
The Way of a Woman as
Nancy Lee
1919
The Probation Wife as
Josephine Mowbray
1919
The New Moon as
Princess Marie Pavlovna
1919
The Heart of Wetona as
Wetona
1918
Norma Talmadge and Thomas Meighan in a Liberty Loan Appeal (Short) as
The Girl
1918
The Forbidden City as
San San / Toy
1918
Her Only Way as
Lucille Westbrook
1918
The Safety Curtain as
Puck
1918
De Luxe Annie as
Julie Kendal (De Luxe Annie II)
1918
By Right of Purchase as
Margot Hughes
1918
The Ghosts of Yesterday as
Ruth Graham / Jeanne La Fleur
1917
The Secret of the Storm Country as
Tess Skinner
1917
The Moth as
Lucy Gillam
1917
Poppy as
Poppy Destinn
1917
The Law of Compensation as
Flora Graham / Ruth Graham
1917
Panthea as
Panthea Romoff
1916
Fifty-Fifty as
Naomi Harmon
1916
The Social Secretary as
Mayme
1916
The Devil's Needle as
Renee Duprez
1916
Going Straight as
Grace Remington
1916
The Children in the House as
Cora
1916
Martha's Vindication as
Martha
1916
The Missing Links as
Myra Holburn
1915
The Crown Prince's Double as
Shirley Rives
1915
The Battle Cry of Peace as
Virginia Vandergriff
1915
Captivating Mary Carstairs as
Mary Carstairs
1915
The Criminal (Short) as
Nell Wells
1915
A Pillar of Flame (Short) as
Madeline Danby / Vashti Vetsera
1915
Elsa's Brother (Short) as
Elsa Smardon
1915
Janet of the Chorus (Short) as
Janet Carey
1915
A Daughter's Strange Inheritance (Short) as
Mlle. Lucille / Margaret - Her daughter
1915
The Barrier of Faith (Short) as
Rose, Their Daughter
1915
A Daughter of Israel (Short) as
Mother Who Abandons Child / Olga, The Child Grown Up
1914
A Question of Clothes (Short) as
Madge
1914
Sunshine and Shadows (Short) as
Edna Thompson
1914
The Curing of Myra May (Short) as
Myra May
1914
Goodbye Summer (Short) as
Valerie Sperry - the Wife
1914
The Mill of Life (Short)
1914
Under False Colors (Short) as
Marie - the Maid
1914
The Peacemaker (Short) as
Minnie Lee
1914
The Loan Shark King (Short) as
Helen Hartman
1914
Politics and the Press (Short) as
Nettie - Elijah's Niece
1914
The Hidden Letters (Short) as
Madge Hardy
1914
Memories in Men's Souls (Short) as
Eleanor Emmons
1914
John Rance, Gentleman (Short) as
Lesbia Vane
1914
Fogg's Millions (Short) as
Grace Marvin - The Wife
1914
A Wayward Daughter (Short) as
Betty Weston
1914
The Right of Way (Short) as
Ray Radford
1914
Miser Murray's Wedding Present (Short) as
Marion Murray
1914
Cupid Versus Money (Short) as
Mary Drew
1914
A Helpful Sisterhood (Short) as
Mary
1914
Old Reliable (Short) as
Doris Wray - Daniel's Daughter
1914
The Sacrifice of Kathleen (Short) as
Kathleen - The Slavey
1914
The Hero (Short) as
Maude
1914
Iron and Steel (Short)(unconfirmed)
1914
His Little Page (Short) as
Peggy Rainsworth
1914
Sawdust and Salome (Short) as
Mary - A Circus Rider
1914
The Vavasour Ball (Short) as
The Dramatist's Wife
1914
Officer John Donovan (Short) as
Daisy
1913
The Honorable Algernon (Short) as
Angela - Algernon's Fiancee
1913
The Blue Rose (Short) as
Agnes Keith - Matthew's Daughter
1913
Fanny's Conspiracy (Short) as
The Wife
1913
An Elopement at Home (Short) as
Mabel - the Judge's Daughter
1913
His Silver Bachelorhood (Short) as
Grace Dare
1913
Peggy's Burglar (Short) as
Undetermined Role (unconfirmed)
1913
Father's Hatband (Short) as
Doris Mason - the Daughter
1913
The Doctor's Secret (Short) as
Elsa
1913
Under the Daisies; or, As a Tale That Is Told (Short) as
Viola Martin
1913
The Other Woman (Short) as
Alice - John's Wife
1913
Extremities (Short)
1913
The Kiss of Retribution (Short) as
Edgar's Country Sweetheart
1913
He Fell in Love with His Mother-in-Law (Short) as
The Wife
1913
Keeping Husbands Home (Short) as
The Maid
1913
The Tables Turned (Short) as
Marie - Aunt Mary's Niece
1913
An Old Man's Love Story (Short) as
Ethel Marsham
1913
O'Hara as a Guardian Angel (Short) as
Aileen O'Grady - Tom's Wife
1913
Solitaires (Short) as
Julia
1913
Count Barber (Short) as
Belinda
1913
'Arriet's Baby (Short) as
'Arriet Rogers
1913
The Silver Cigarette Case (Short) as
Rita
1913
The Midget's Revenge (Short)
1913
A Lady and Her Maid (Short) as
Belinda
1913
Vampire of the Desert (Short) as
Ethel - Derrick's Fiancée
1913
Omens and Oracles (Short) as
Belinda
1913
O'Hara and the Youthful Prodigal (Short) as
Aileen O'Hara - Denis' Daughter
1913
Sleuthing (Short) as
Belinda
1913
Wanted, a Strong Hand (Short) as
Annie - Mr. Bahr's Daughter
1913
Let 'Em Quarrel (Short) as
Margaret - Maude's Friend
1913
Getting Up a Practice (Short)
1913
Belinda the Slavey; or, Plot and Counterplot (Short) as
Belinda
1913
O'Hara's Godchild (Short) as
Nora
1913
Just Show People (Short) as
Rosa - Piquet's Wife
1913
Stenographer Troubles (Short) as
A Typist
1913
Everybody's Doing It (Short) as
The Stenographer
1913
O'Hara Helps Cupid (Short) as
Aileen O'Hara
1913
Casey at the Bat (Short) as
Kitty
1912
O'Hara, Squatter and Philosopher (Short) as
Nora
1912
The Model for St. John (Short)
1912
Captain Barnacle, Reformer (Short) as
Ruth - Captain Bunce's Daughter
1912
His Official Appointment (Short) as
The Secretary of State's Daughter
1912
Faithful Unto Death (Short) as
The Younger Sister
1912
Father's Hot Toddy (Short) as
First Daughter
1912
Bobby's Father (Short) as
Jane Ramsay - Bobby's Mother
1912
Captain Barnacle's Waif (Short) as
Ruth - Captain Barnacle's Daughter
1912
A Fortune in a Teacup (Short) as
Mabel Brown - Walter's Sister
1912
The Higher Mercy (Short) as
Alice
1912
Mr. Butler Buttles (Short)
1912
The Lovesick Maidens of Cuddleton (Short) as
One of the Lovesick Maidens
1912
Wanted... a Grandmother (Short)
1912
The Troublesome Step-Daughters (Short) as
A Step-Daughter
1912
The Extension Table (Short) as
Ethel Brian, later John's Wife
1912
Fortunes of a Composer (Short) as
The Musician's Daughter
1912
Counsel for the Defense (Short) as
The Maid
1912
Mrs. 'Enry 'Awkins (Short) as
Liza - Mrs. 'Enry 'Awkins
1912
Mrs. Carter's Necklace (Short)
1912
The First Violin (Short)
1912
Captain Barnacle's Messmates (Short)
1912
The Meeting of the Ways (Short) as
The Maid
1912
A Romance of Wall Street (Short)
1911
The Four Poster Pest
1911
His Last Cent (Short)
1911
Her Hero (Short)
1911
Forgotten; or, an Answered Prayer (Short)
1911
The Child Crusoes (Short)
1911
The Thumb Print (Short) as
Undetermined Role (unconfirmed, uncredited)
1911
The General's Daughter (Short)
1911
The Sky Pilot (Short)
1911
The Stumbling Block (Short) as
Betty
1911
The Wild Cat Well (Short)
1911
A Tale of Two Cities (Short) as
Mimi - Woman on the Way to Guillotine
1910
The Household Pest
1910
In Neighboring Kingdoms (Short)
1910
A Dixie Mother (Short)
1910
Francesca da Rimini (Short)(unconfirmed)
1910
Uncle Tom's Cabin (Short)
1910
Love of Chrysanthemum (Short) as
Chrysanthemum
1910
A Broken Spell (Short)
Producer
1929
New York Nights (producer - uncredited)
1928
The Woman Disputed (producer)
1927
The Dove (producer)
1926
Camille (producer)
1926
Kiki (producer)
1925
Graustark (producer)
1925
The Lady (producer)
1924
The Only Woman (producer)
1924
Secrets (producer)
1923
The Song of Love (producer)
1923
Ashes of Vengeance (producer)
1923
Within the Law (producer)
1923
The Voice from the Minaret (producer)
1922
The Eternal Flame (producer)
1922
Smilin' Through (producer)
1921
Love's Redemption (producer)
1921
The Wonderful Thing (producer)
1921
The Sign on the Door (producer)
1921
Passion Flower (producer)
1920
The Branded Woman (producer)
1920
Yes or No (producer)
1919
The Isle of Conquest (producer)
1919
The Probation Wife (producer)
1918
De Luxe Annie (producer)
1917
Panthea (producer)
Soundtrack
1923
The Song of Love ("The Song of Love")
1922
Smilin' Through ("Smilin' Through")
Self
1935
Broadway Highlights No. 2 (Short) as
Self
1924
Screen Snapshots, Series 5, No. 1 (Documentary short) as
Self
1924
In Hollywood with Potash and Perlmutter as
Self
1923
Screen Snapshots, Series 3, No. 23 (Documentary short) as
Self
1922
Seeing Stars (Documentary short) as
Self
1922
Screen Snapshots, Series 3, No. 15 (Documentary short) as
Self
1922
Screen Snapshots, Series 3, No. 1 (Documentary short) as
Self
1921
Screen Snapshots, Series 2, No. 14-F (Documentary short) as
Self
1921
Screen Snapshots, Series 2, No. 9-F (Documentary short) as
Self
1920
Screen Snapshots, Series 1, No. 7 (Documentary short) as
Self
1918
United States Fourth Liberty Loan Drive (Short) as
Self
Archive Footage
2007
Anna May Wong, Frosted Yellow Willows: Her Life, Times and Legend (Documentary) as
Self
2006
The Woman with the Hungry Eyes (Documentary) as
Self
1964
Hollywood and the Stars (TV Series documentary) as
Jill Deverne (clip from New York Nights (1929))
- The Wild and Wonderful Thirties (1964) - Jill Deverne (clip from New York Nights (1929)) (uncredited)
1942
Screen Snapshots Series 22, No 10 (Short) as
Self
1939
Screen Snapshots Series 18, No. 12 (Documentary short) as
Self
1938
Personality Parade (Documentary short) as
Self (uncredited)
1937
Screen Snapshots Series 17, No. 1 (Documentary short) as
Self
1931
Thrills of Yesterday (Short) as
Self

References

Norma Talmadge Wikipedia


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