The Extra Girl

Plot

Sue Graham, a small-town girl with dreams of Hollywood stardom, mistakenly wins a movie contract when a photograph of a beautiful girl is submitted to a studio instead of her own. Upon arriving in Hollywood, the error is discovered, and instead of being sent home, she's given a job in the studio's props department where she attempts to learn the film business from the ground up. Complications arise when her parents visit California and invest their life savings with a smooth-talking con man who claims to be a film producer. Sue must use her wits and growing knowledge of the movie industry to expose the fraud, save her family's money, and prove that she belongs in Hollywood despite not having conventional star looks. The film culminates in a chaotic chase sequence through the studio lot where Sue's behind-the-scenes expertise helps capture the criminals.

Historical Background

The Extra Girl was released in 1923, during a pivotal year in Hollywood history. The film industry was transitioning from the wild west atmosphere of the 1910s to the more structured studio system of the late 1920s. This was the year that Hollywood became firmly established as the center of American film production, with major studios consolidating their power. The film reflects the growing public fascination with Hollywood and the movie star system, while also satirizing the often unrealistic dreams of stardom that drew many hopefuls to California. 1923 also saw significant technological advancements in film equipment and techniques, with cameras becoming more mobile and lighting more sophisticated. The film industry was becoming big business, with studios like Paramount (which distributed this film) establishing nationwide distribution networks. This period also saw the beginning of the Hays Code's influence, as moral concerns about Hollywood's influence on society were growing.

Making Of

The production of 'The Extra Girl' took place during a tumultuous period in Mabel Normand's life and career. Having been one of the biggest comedy stars of the 1910s, Normand's reputation had been damaged by her association with various scandals, including the murder of director William Desmond Taylor, with whom she had been friends. Mack Sennett, who had discovered and mentored Normand, remained loyal and continued to produce vehicles for her. Director F. Richard Jones, a frequent Sennett collaborator, worked carefully to showcase Normand's comedic talents while accommodating her health issues. The film's behind-the-scenes setting allowed the production to utilize the actual Mack Sennett studio lot and facilities, giving audiences an authentic glimpse into early Hollywood filmmaking. The cast and crew reportedly maintained a supportive atmosphere during filming, aware that this might be one of Normand's last major starring roles. The props department sequences were particularly challenging to coordinate, requiring precise timing for the comedy bits involving various movie props and equipment.

Visual Style

The cinematography by Fred Windemere and Herman G. Koefoed employs techniques typical of early 1920s comedy production while incorporating some innovative elements. The film utilizes the newly developing technique of tracking shots during the chase sequences, creating more dynamic movement than static camera placement. The studio scenes benefit from natural lighting supplemented by the artificial lighting equipment actually used in movie production, creating an authentic atmosphere. Close-ups are used strategically to highlight Mabel Normand's expressive facial comedy, a technique that had become standard by this period but is particularly effective here. The contrast between the small-town scenes (shot with softer, more romantic lighting) and the harsher, more industrial lighting of the Hollywood studio backlot effectively reinforces the film's thematic journey. The cinematography also captures the scale of early studio production, with wide shots showing the vastness of the movie sets and backlots.

Innovations

While 'The Extra Girl' was not a groundbreaking technical film, it employed several notable techniques for its time. The film makes effective use of multiple camera angles in the studio scenes, showing the growing sophistication of comedy cinematography. The chase sequences incorporate early tracking shots that follow the action through various studio sets and backlot locations, creating a sense of movement and energy that enhanced the physical comedy. The film also demonstrates the increasing complexity of studio production design, with detailed props and set pieces that add authenticity to the behind-the-scenes setting. The editing by William Hornbeck and Alex Troffey shows the growing refinement of continuity editing in comedy, with precise timing for gags and reactions. The film's preservation of actual studio operations and equipment provides valuable technical documentation of early Hollywood filmmaking practices.

Music

As a silent film, 'The Extra Girl' would have been accompanied by live musical performance during its original theatrical run. The typical score would have been compiled from various classical and popular pieces selected by the theater's music director to match the on-screen action and mood. For small-town scenes, lighter, more pastoral music would have been used, while the Hollywood sequences would have featured more upbeat, jazzy pieces reflecting the modern energy of 1920s Los Angeles. The chase sequences would have been accompanied by frantic, rhythmic music to enhance the comedy. Modern screenings of restored versions often feature newly composed scores by silent film accompanists like Ben Model or Rodney Sauer, who create period-appropriate accompaniment using authentic instrumentation and styles from the 1920s. The original cue sheets, if they exist, would have provided guidance for theater musicians on appropriate musical selections for each scene.

Memorable Scenes

• The opening sequence where Sue's father mistakenly sends the wrong photograph to the studio, setting up the mistaken identity premise
• Sue's first day in the props department, where she causes chaos while trying to handle various movie props
• The elaborate chase sequence through the studio backlot, with Sue using her props department knowledge to outsmart the criminals
• The scene where Sue's parents arrive in Hollywood and are awestruck by the movie sets
• The climactic confrontation in the studio where Sue exposes the con man during a film shoot

What Critics Said

Contemporary critics generally received 'The Extra Girl' positively, with many praising Mabel Normand's comedic timing and the film's clever satire of Hollywood. The New York Times noted that 'Miss Normand proves once again why she remains one of the screen's most appealing comediennes,' while Variety appreciated the film's authentic studio setting. Some critics felt the plot was somewhat formulaic but acknowledged that Normand's performance elevated the material. Modern film historians and critics view the film as an important artifact of early Hollywood comedy, particularly valuing its behind-the-scenes glimpse of 1920s studio operations. The film is often cited in discussions of Mabel Normand's career as evidence of her enduring talent despite her personal troubles. Recent restorations have allowed contemporary critics to appreciate the film's technical achievements and its place in the development of Hollywood self-reflexivity.

What Audiences Thought

Audiences in 1923 responded positively to 'The Extra Girl,' with the film performing well in major urban markets. The combination of Mabel Normand's established star power and the film's insider look at Hollywood proved appealing to moviegoers who were increasingly fascinated with the film industry. Rural audiences particularly enjoyed the small-town heroine finding her way in the big city, a theme that resonated with many Americans during the period of great migration to urban centers. The film's humor and physical comedy sequences were especially popular with family audiences. While it didn't achieve the blockbuster status of some of Normand's earlier films, it maintained her popularity with her core fanbase. Modern audiences who have seen the film through screenings at silent film festivals and archives generally appreciate its historical value and Normand's performance, though some find the pacing slower than contemporary comedies.

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