Black Film Center/Archive

Richard Edward Norman (1891-1960) began his film production career around 1912. His early work comprised mainly of contracting local events to film. Traveling the middle west, Norman invited interested local parties to act in skits which he filmed, then showed them for a price at the local theater, church, or school. One such local comedy Norman produced was entitled SLEEPY SAM, the Sleuth. Later, he settled in Jacksonville, Florida, where he made feature length films for national distribution.

In 1916, Norman made The Green Eyed Monster, an all white drama involving love and deceit in the railroad industry. He saw a new market in Black or race films being forged by such notable Black producers as Oscar Micheaux and the Lincoln Motion Picture Company.

He remade the film in 1919 with an all Black cast, adding new comedy scenes. However, the comedic aspect of the new Green Eyed Monster (Norman often publicized the film without the prefix) did not sit well with viewers. So Norman removed the new scenes using them to make a sequel to The Green Eyed Monster. called Love Bug (1919). The shorter, 5 reel, version of Green Eyed Monster was a hit with Black audiences, and spurred Norman to produce more films to cater to this new found audience. Black actors and actresses wrote to him after seeing Green Eyed Monster wanting to star in the next Norman production.

In 1921, Norman went to the all Black town of Boley, Oklahoma to make a feature film about Black cowboys entitled The Bull Dogger. The film was to focus on a famous Black cowhand on the Miller Bros. 101 Ranch named Bill Pickett. Although Norman found Pickett's bull-dogging performance exciting, Pickett was far from a handsome leading man, so Norman weaved a story around him starring New York actress Anita Bush.

Norman was able to shoot enough footage for The Bull Dogger to produce a complementary dramatic piece called The Crimson Skull (1921). The Crimson Skull starred Bush and Lawrence Criner in a tale about an outlaw gang's attempt to stir up trouble in the peaceful town of Boley. It featured Steve "Peg" Reynolds, a one legged star who also appeared in The Green Eyed Monster, and includes footage of Bill Pickett. Norman released the two pictures almost simultaneously to receptive Black viewers who had heard of, but never seen, true Black cowboys.

Norman's next feature film was Regeneration (1923) a story about lovers stranded on a desert island. Their happiness is destroyed when a dock worker and his gang come to the island searching for treasure. The film starred Stella Mayo of the Mayo family magicians, and M.C. Maxwell. Although Maxwell never starred in another Norman production, he and Norman corresponded regularly and Maxwell gave Norman many suggestions on story lines and actors. Maxwell tried to help Norman get his fifteen reel serial, Zircon, off the ground by referring some of the nation's best Black actors. However, even with these actors and intriguing episode ideas, Norman was never able to get enough capital to produce the serial. One episode of the serial, entitled "The Sky Demon," was an aviation adventure with a "colored" pilot. Although it was never made, Norman used the subject of "colored" aviators as the focus for his next film.

The Flying Ace, released in 1926, starred Lawrence Criner and Kathryn Boyd, two established Black actors. Criner played a World War I fighter pilot who returns home a hero. Peg Reynolds was Criner's side kick and together they rescue Boyd and her father from railroad thieves. The film played off the headlines of colored aviators including Bessie Coleman who wanted Norman to make a picture about her stunt flying exploits. Unfortunately she was killed in a plane crash before Norman released The Flying Ace. Ace boasted death defying feats in "the greatest airplane thriller ever filmed, but in reality, Norman shot all the airplane scenes with the plane on the ground. Even so, the film was a sensation and grossed close to $20,000 through Norman's distribution efforts.

Boyd and Criner were such a success that they starred in Norman's last colored production, Black Gold. Set in Oklahoma, Black Gold is a story of oil, greed, love, and heroism.

Although Norman made most of his films in lean economic times, he was able to generate enough of a profit to stay in business when many of his colored associates could not. He never crossed over from silent pictures to talkies, which he thought saved him a good deal of money. His policy was not to pay his stars more than $75 a week and he usually completed production in less than one month's time. He distributed his films himself concentrating his efforts mainly in the south, then selling the rights to other film exhibitors to distribute to various other regions. His films played from Texas to New York.

Norman kept in contact with both Black and white producers, often buying the rights to their pictures and showing them along with his own. He showed Oscar Micheaux films as well as Hollywood serials, and lesser features. In the forties, he began distributing Joe Louis fights and Black features starring Lena Horne and others.

Norman died in 1960. The accounts of his studio continue to attract scholars and lay people. His son, Richard Norman, Jr., graciously donated the Norman Studio records and materials to the Black Film Center/Archive in 1985 for further research of this phenomenal enterprise.

--Jill Moniz, BFC/A Archival Project Assistant

Date of Deposit
September 1984

For further information:

Lilly Library at Indiana University houses a portion of the Norman collection.

For a complete list of the films in the AFI Norman Collection, preserved by the Library of Congress, some of which Norman made, most of which he distributed, write or call:
Motion Picture Division, Library of Congress
Madison Building, Washington, DC
Phone: (202) 707-8572; Fax: (202) 707-2371

Inventory

CONTENTS

I. Distribution records

II. Correspondence

III. Publicity

A. Heralds

B. Lobby Cards

C. Title Cards

D. Posters

E. Press Sheets

F. Photographs

G. Hand Bills

H. Miscellaneous Publicity

IV. Miscellaneous

A. Printed Materials, Film Information

B. Passi-kola

C. Film Equipment and Props

D. Photographs

E. Stationery

F. Censorship Materials

G. Fiscal Statements

H. Miscellaneous

I. Distribution Records (Box 1-8)

Arranged alphabetically by state, city, then theater. Includes contracts for film screenings, box office receipts, Western Union and other telegram communicaes, railway receipts, travel expenses, and correspondence regarding films Norman produced and distributed (Boxes 1-7). Also includes records from Norman's management of Famous Theater, Winter Park, Florida as well as distribution records for non-Norman productions to churches and schools (Box 8).

II. Correspondence (Box 9)

Arranged chronologically. Primarily concerns film making and distribution information. Also includes some more general letters between Norman, actors, theater operators, and distributors.

III. Publicity

A. Heralds

ranging in size, short advertisement with highlights of the film, usually includes storyline

Green Eyed Monster (Box 10)

11 heralds 6"x9"

Characterizes GEM as a film that subtly suggests "advancement of the colored race along educational and financial lines." Plot includes battle by competing railroads for supremacy and two men fighting for the heart of a woman. Plots intertwine to help hero emerge victorious in railroad and love. Touted as "even more interesting than usual 'thrillers' because of the fact that the characters are colored people, splendidly assuming different roles..."

SLEEPY SAM, The Sleuth (Box 10)

14 heralds 6"x9"

touted as a local photoplay comedy, "acted by your friends." Tells of the comic exploits of Sleepy Sam as he attempts to solve a chicken caper crime.

A. Heralds; Norman Distribution

The Champion (Box 11)

33 heralds 9 1/4"x12 1/4"

Braddock Louis fight. Touted as "one of the Bloodiest and thrilling battles in ring history." "Better than a ring side seat."

Henry Armstrong (Box 11)

60 heralds 9"x12"

"15 rounds of thrills." Armstrong is the first man to hold three pugilistic titles at one time.

Her Unborn Child (Box 10)

(1) 5"x9 3/4", (20) 12"x6"

"Unfolding the powerfully dramatic and pitilessly revealing story of reckless youth and its terrible consequences"

Goin' to Town (Box 11)

12 heralds 9 1/4"x14

"[Mae] West goes modern in a big way as the cattle queen who tires of bad men and muscles into high society to pick herself a good one!"

Nobody's Children (Box 10)

1 herald 3 1/2"x7"

Maurice Film Corporation released picture about two children, brother and sister whose trials and tribulations are depicted in the film.

Roar of the Crowd (Box 11)

115 heralds 9 1/4"x12"

All the Joe Louis fights in one picture. Films shows Louis' "rise, his fall, his championship."

Roar of the Crowd (Box 12)

1. 2 heralds 6 1/8"x16 1/4" with tickets
2. 1 herald 8"x12 3/4" with tickets
3. 52 herald s 8"x18"

B. Lobby Cards

all 11"x14" - used by theater to advertise film. Each card depicts a different scene from the film

Black Gold (1927) (Box 13)

1. (1) Ace Brand (Criner) and Peg Reynolds pointing guns at 3 villains; inset: Criner pointing pistol at Pete Barkley
2. (1) Mark Ashton in jail; inset: men arguing
3. (1) Brand and Alice Anderson (Boyd) kissing; inset left: Barkley with horse; inset right: Peg holding crutch

Crimson Skull (1921) (Box 13)

1. (7) man standing with horse; man holding cheek on ground
2. (5) Anita Nelson (Bush) and Bob Calem (Chenault) with horse
3. (6) Two men in sombreros
4. (7) Calem with arms raised, surrounded by hooded horsemen and skeleton holding pistols
5. (7) Anita Nelson tied to chair; Peg being tied to a tree by hooded men
6. (7) Skeleton and Peg in front of horse
7. (7) Skeleton and hooded men on horses

Flying Ace (1926) (Box 14)

1. (5) entire cast in railroad office
2. (7) Sheriff hand cuffing Thomas Sawtelle while Ruth Sawtelle (Boyd) watches
3. (8) William Stokes (Criner) in military uniform with Railroad president
4. (7) Ruth and Stokes in field; inset: Ruth and Tucker
5. (7) Finley Tucker behind Stokes; Ruth in airplane
6. (6) In airplane; Ruth climbing ladder; inset: Ruth flying goggles, Criner in uniform
7. (7) Ruth, Peg in military uniform, and Stokes in front of airplane

Green Eyed Monster (1919) (Box 14)

1. (2) The wedding scene
2. (2) The proposal from Jack Austin to Louise Dunbar
3. (2) The abduction scene on train dolly: Dunbar tied and gagged, surrounded by 3 men pointing pistols
4. (6) Woman touching police officer's badge
5. (5) Catching the Green Eyed Monster: Peg Reynolds with two police officers

Regeneration (1924) (Boxes 15-16)

1. (21) Violet Daniels (Mayo) sitting with Jack Roper (Maxwell)
2. (25) Cast on ship: Violet Daniels pointing pistol at men kneeling over tied hero, Jack Roper; Knife Hurley behind Daniels; inset: Daniels with Roper at her father's hospital bedside
3. (23) Violet walking on moonlit beach; inset left, Roper; inset right, Violet
4. (20) Knife Hurley leering at bare-shouldered Daniels
5. (24) Hurley sneaking up on sleeping Mayo; inset: men beating Hurley
6. (20) Hurley, Roper, and Daniels
7. (22) On beach: Hurley holding knife over Roper; Peg behind villain; Daniels tied to a tree

B. Lobby Cards; Norman Distribution (Box 26)

Her Unborn Child

1. (3) Lovers, Dorothy and Stew, kissing on the back porch
2. (2) Lovers embracing on couch
3. (2) Dorothy in mother's arms; brother looks on
4. (2) Son and mother embrace
5. (2) Mother with doctor
6. (2) Dorothy embracing doctor, brother, Stew and his mother look on
7. (1) Brother confronting Stew and his mother in doctor's office; Dorothy at door

C. Title Cards (Box 17)- accompanied lobby cards.

Usually is same image as film poster or printed card with no images

1. Crimson Skull (5) 11"x14"
2. Flying Ace 11"x14"
   (4) printed
   (5) with photo inset
3. Green Eyed Monster
   10"x12 3/4"
   (5 damaged) 11"x14" color
4. Regeneration 11"x14"
   (2) printed
   (25) with photo inset

C. Title Cards; Norman Distribution (Box 12)

1. (2) Bronze Venus (The Duke is Tops) 11"x14"
2. (2) Exile (Micheaux) 14"x21 3/4"
3. Explorers of the World; Joe Louis; Cotton Club Steppers 4 7/8"x21 3/4"
4. Frontiers of '49 (with "Wild Bill" Elliot) 11"x14"
5. (2) Girl from Chicago (Micheaux) 14"x21 3/4"
6. (2) Her Unborn Child (printed) 11"x14"
7. (3) Her Unborn Child 11"x14"
8. Her Unborn Child 14"x22"
9. Joe Louis 10 1/2"x22"
10. The Monster Walks 14 1/4"x22 1/2"
11. The Radio Riots 10 1/2"x22"
12. Roar of the Crowd 8"x17 7/8"
13. The Virginia Judge (with Stepin Fetchit) 11"x14"
14. The Virginia Judge 11"x14"

D. Posters

1. (59) Black Gold (full color poster) 27"x41"
2. (1) Bull Dogger (red, black, white) in 6 torn pieces
3. Crimson Skull (in three sheets) 40 1/2"x26 1/2"
   (18) #1 title, (18) #2 lovers Nelson and Calem,
   (19) #3 Skeleton and Peg
4. (7) Flying Ace (full color poster) 27"x40 1/2"
5. (6) Green Eyed Monster (full poster) 27 1/2"x42"
6. Green Eyed Monster (in three color sheets)
   (4) #1 41"x13", (7) #2A 41"x26 1/2",
   (9) #2 41"x26 1/2", (6) #3 41"x12 1/4"
7. Green Eyed Monster (in six color sheets) 41"x27"
   (4) of each #1,2,3,4,5,6 sheet
8. (18) Regeneration 27 1/2"x42" (full poster)
9. (1) Regeneration (full color poster) 26 1/2"x29"
10. (31) SLEEPY SAM, The Sleuth (full poster) 28"x41 1/2"

E. Press Sheets (Box 18)

like small newspapers - made from theater operators. Detail film, advertising techniques, and biographies of stars

1. (36) Norman pictures (Book the 4) 9 1/2"x12 1/8"
2. Black Gold 14"x22"
3. (3) The Bull-Dogger 8 7/8"x24"
4. Crimson Skull 14"x18 1/2"
5. (18) Flying Ace 14"x22"
6. (5) Regeneration 14"x22"
7. Zircon 9 1/4"x11 3/4"
   * Also included in Box 18: 1975 newspaper article

E. Press Sheets; Norman Distribution (Box 18)

1. (2) The Bronze Venus 11 1/4"x17 1/2"
2. (2) Debtor to the Law 12 1/2"x19 1/4"

F. Photographs (Box 19) - used to make lobby cards

Black Gold all 11"x14"

1. Anita Nelson (Boyd) holding bandaged head of Ace Brand (Criner)
2. Peg Reynolds in western attire pointing pistol
3. Peg with Pete Barkley
4. Peg, Anita, Brand, and wounded Mark Ashton

Green Eyed Monster

1. (3) 7"X9"; Three men sitting in office
2. (3) 7"x9"; Dunbar and Austin next to lake
3. (1) 7"x9", (1)8"x10" Austin standing behind Dunbar
4. (1) 7"x9" Austin proposing to Dunbar
5. (2) 6 3/4"x8 3/4", (1) 7"x9" Dunbar and Austin embrace behind Dunbar's father
6. (2) 7"x9" Dunbar and Austin at train
7. (1) 7"x9" Dunbar rejecting man
8. (1) 6 5/8"X8 3/4" the wedding
9. (1) 8"x10" man holding triplets
10. (1) 7"x9" man leaning on train
11. (2) 7"x9" Peg with policeman; two men talking
12. (2) 7"x9" Peg with Sheriff and policeman
13. (2) 7"X9" Dunbar's father and man holding paper
14. (1) 7"x9",(1) 8"x10" men survey railroad area

Love Bug

1. (2) 8"x10" Two women sitting; each holding weapon
2. (2) 8"X10" cast scene

Regeneration

1. (2) title cards 11"x14"
2. (2) title cards 11"x14" Steve "Peg" Reynolds holding pistol; left inset: Peg with bottle; right inset: Peg pointing pistol
3. (1) 9 7/8"x12" Violet Daniels (Mayo) sitting with Jack Roper (Maxwell)
4. (1) 9 7/8"x12", (1) 11"x14" Daniels and Roper standing by her father's bedside
5. (1) 9 3/4"x12", (1) 11"x14" Men beating Hurley
6. (1) 11"x14" Cast on ship: Violet Daniels pointing pistol at men kneeling over tied hero, Jack Roper; Knife Hurley behind Daniels
7. (1) 11"x14" on ship: villain aiming pistol at Daniels, Roper held by 3 men
8. (1) 9 7/8"x10 3/4", (1) 11"x14" Violet walking on moonlit beach; inset left: Roper; inset right: Violet
9. (1) 9 7/8"x12", (1) 11"x14" Knife Hurley leering at bare shouldered Daniels
10. (1) 11"x14" Hurley, Roper, and Daniels
11. (1) 11"x14"; Hurley sneaking up on sleeping Mayo
12. (1) 9 7/8"x12", (1) 11"x14" Roper standing over Hurley; Daniels on cot

F. Photographs; Norman Distribution (Box 19)

Pair O' Dice (Talking Colored Comedy)

1. (2) 8"x10" 5 men and a goat shooting craps
2. (1) 8"x10" same photo as A. attached to title card
3. (2) 8"x10" Two men standing with goat

G. Handbills (Box 10) -small advertisements used as flyers

1. (188) Flying Ace 4 1/2"x7"
2. (194) Regeneration 4 1/2"x7"

H. Miscellaneous (Box 10)

1. Film Calendars, Famous Theater, Winter Park, Florida sheets showing which films show on what day
   (1) October 1950 8 7/8"x12"
   (9) January 1951 7 1/2"x10 1/2"
2. (2) Have You Talent? Norman Picture Brochures

IV. Miscellaneous

A. Printed Materials, Etc. (Box 20, files 1-10)

1. Includes blank exhibition contracts, Norman distribution file folder, signed film contract, film distribution information, theater information, and printed Norman Benefit Show tickets
2. Printed Norman tickets (Box 21) Printed Famous Theater tickets

B. Passi Kola (Box 20, files 11-20)

Includes Norman's handwritten advertisement drafts, ad slogans, correspondence, Passi Kola labels, notes, advertisement printing instructions, Passi Kola recipe, trademark information, and related items

C. Film Equipment and Props (Box 20, files 21-27)

Includes film equipment advertisements and flyers

Advertisement of Norman's Camera Phone (Box 22)

Flying Ace

Inter Title Card 11"x14" - used to inform viewer of story line in silent picture(Box 22)

Hand Cuffs used in feature

Regeneration (Box 23)

Half-tone printing plate used to create lobby cards

Beach with insets of Mayo and Maxwell

Norman Pictures (Box 24)

38 various glass negatives - used to inform

viewers of events and other information

* see appendage A

D. Photographs (Box 25)

1. 8"x10"; Richard E. Norman circa 1925
2. (1) 7 7/8"x9 3/4", (3) 8"x10" woman in Black bathing suit standing with man in Blackface
3. (5) 9 7/8"x8" Two men in Blackface looking at 7 women in flowered headdresses; 9 women dancing in front of band
4. (1) 8"x10 1/8"woman in white bathing suit standing with man in Blackface

E. Stationery (Box 20, files 28-29)

Includes several types of Norman Laboratory stationery and envelopes, and Norman business cards

F. Censorship Materials (Box 20, files 30-32)

Arranged alphabetically by state. Includes licenses and payment receipts regarding

Norman films from censor boards of several states

G. Fiscal Information (Box 20, files 33-35)

Includes information on Norman's earnings from feature films in 1928 and 1929, and fiscal data by state

H. Miscellaneous

1. (Box 20, files 36-37) Miscellaneous notes written by Norman
2. (Box 20, file 38) Superior Film Company envelop addressed to Norman
3. (Box 22) (4) Post Marked envelopes; 2 from National Screen Service Corp. to Famous Theater, Winter Park, Florida; National Audio-Visual Association to Norman Labs; and E. Morton

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APPENDIX A

Inventory of Norman Collection glass film negatives

1. Gentlemen will not - others ought not to spit on the floor (with theater stage)
2. If you like our show tell your friends, If not tell us.
3. Something new tomorrow Don't miss it! (with woman pointing)
4. Extra special program tomorrow (with boy in seersucker delivering papers)
5. We appreciate your patronage Come again. (yellow)
6. Ladies please remove your hats so those in rear can see (with large-nosed woman in large-brimmed hat)
7. Please move to center so patrons coming in late may have seats.
8. Pictures will continue in one minute Please wait.
9. (from Hampton's Magazine Advertiser) Ladies and Gentlemen please remove your hats (with man in top hat and woman in large-brimmed hat)
10. Program changed daily
11. Good night (with scene of mother kissing child)
12. Just a moment please (with scene of woman holding camera)
13. Our aim is to please We are open to suggestions. (yellow)
14. Bald headed ladies not required to remove their hats
15. Our martyred presidents (3 pres. in federal seal)
16. Our shows are fresh, clean & entertaining (with clown)
17. All over! (with two cats salivating on moonlit rooftop)
18. Ladies wearing large hats Kindly remove them.
19. Those not seeing the entire show may remain seated
20. Wishing you a Merry Xmas (with St. Nick holding lantern)
21. We do not hold you up But give you a show for your money (with cowboy pointing pistol)
22. New pictures and songs to-morrow night (with woman at easel)
23. All those seeing entire show please pass out so late patrons may have seats.
24. Just to remind you There are others behind you (with girl in large hat)
25. This house will be light for a moment for all to find seats.
26. Intermission! For change of reels (with two cats salivating in moonlit on rooftop)
27. Scene: man and woman imaged in the smoke of a pipe; coffee mug filled with pencils sits in ashtray with cigar and cigarette
28. Scene:living room; armchair, Tiffany lamp on table, etc.
29. Scene: man and woman dancing under shell
30. Scene: Roses surrounding framed picture of woman holding rose
31. Scene: Woman next to flowering bush above wall looking at man carrying suitcase below
32. Scene: man and woman carrying suitcases by wall; four women in large hats watch from above
33. Scene: woman in middle of clover leaf looking at man with suitcase
34. Scene: woman standing above heart; man seated on couch inside heart
35. Scene: man and woman walking on rope through clouds
36. Scene: woman writing; seven images of woman form an arch
37. Scene: Cherub asleep on the ground
38. Scene: flower with spider