What really happened on October 24th, 1926 between the train arriving and the show in Detroit?

What really happened on October 24th, 1926 between the train arriving and the show in Detroit?

Let’s see what the biographers have to say.

According to Williams & Epstein [1951]:

he took his scheduled train that evening, to Detroit. The doctor’s summoned to meet him at the station in the morning diagnosed appendicitis and ordered an immediate operation, but Houdini insisted that he must appear in the theater that evening. When he walked out on the stage he had a temperature of 104 degrees.

According to Gresham [1959]:

Urged by Bess, Collins sent a wire ahead of them from the train. When they pulled into Detroit, they were met by a doctor. Houdini’s temperature was one hundred and two degrees.

He scorned going to a hospital. But when they got to the hotel he crawled into bed and had Bess pile blankets on him. His chill, which shook the bed, lasted a half hour.

In spite of his loud refusals, Bess sent for a committee of doctors. They were unanimous—Houdini had appendicitis and needed an operation at once. Bess wept and argued all day when Houdini was not dozing uneasily. When curtain time approached he asked for news from the box office. The report came back, “Sold out. Not a vacant seat in the house.” That settled it, “Help me up. They’ve paid their money to see Houdini. “By God, they’re going to get a show.” His temperature was now one hundred and four.

According to Kendall [1960]:

“You can’t take that train to Detroit tonight,” Bess insisted, “show or no show”. He was scheduled to appear in Detroit the next evening.

“A train ride won’t hurt me. I always do my best thinking on trains.”

Stubbornly, he had his way. But as the train clacked onward across the autumn-colored landscape, all thought was driven from him. He was conscious of only one thing, pain driving through him with every turn of the iron wheels on the rails. At last he was forced to give in to the pleas of the nurse and Bess that a wire be sent asking a doctor to meet the train at the station in the morning.

The doctor was there. As soon as Houdini could be gotten to a hotel, the doctor his temperature and examined him. The thermometer measured 102 degrees. Then a severe chill gripped him and he lay shaking for almost a half hour. Other physicians hurried to his bedside.

“Your symptoms indicate acute appendicitis,” one of them told the shivering and sweating magician. You must be operated on at once.”

Houdini clenched his teeth and asked Bess, “How many tickets have been sold for the show tonight?

“All of them, someone else spoke up. “A full house.” “I’ll go through with my act,” Houdini said.

That evening when he walked out onto the stage his temperature was 104 degrees.

According to Christopher [1969]:

A telegram was hurriedly dispatched to George H. Atkinson, the show’s advance man in Detroit, when the train made a brief stop at London, Ontario. He was instructed to have the best doctor in the city ready to give Houdini a thorough examination before the opening, Nurse Rosenblatt took Houdini’s temperature, it was 102 degrees.

The Montreal train arrived late. Collins doubted they could track the equipment to the theater, hang scenery, and get the magical apparatus uncrated and assemble before curtain time. Rather than check in at their hotels, the entire company went directly to the theater. There was no doctor waiting at the Garrick despite the urgent wire. Houdini pitched in and helped stagehands and his assistants set up the heavy gear.

Dr. Leo Dretzka and the show’s advance man paced the lobby at the Statler Hotel. The doctor had to leave for a medical convention that night, but he had promised to examine the ailing escape artist first. After asking a dozen times at the desk if Houdini had checked in, Atkinson finally phoned the theater.

There was no cot in Harry’s dressing room at the Garrick. He stripped off his clothes and stretched out on the floor. Dr. Dretzka knelt and touched the inflamed stomach. Bess didn’t hear the doctor say that an ambulance should be called immediately, that Houdini was suffering from acute appendicitis. Had she known the danger her husband was in, there would have been no performance that night.

Harry dressed for the show. The theater manager had stopped to say the house was sold out and standees were lined outside to get in. “They’re here to see me,” Harry explained as the worried doctor rushed away to make his train. “I won’t disappoint them.”

According to Fitzsimons [1981]:

After the show the company boarded the train for Detroit, where they were booked for a two-week run. When the train started, the pain was so intense that he could hide it no longer. He told Bess about the blows to his stomach. Nurse Rosenblatt took his temperature and it to be 102 degrees.

The train was scheduled to stop at London, Ontario, and from there a telegram was dispatched to the show’s advance man in Detroit, instructing him to have a doctor waiting. When Houdini arrived the doctor examined him. He diagnosed acute appendicitis and ordered an ambulance to be called immediately. But Houdini refused to go into hospital right away. The theatre was sold out and he would not disappoint the audience.

According to Brandon [1993]:

Houdini closed in Montreal that Saturday, 23 October, and was due to open in Detroit the following day for a two-week run. On the train he was no longer able to conceal his suffering. Bess, distraught, and barely recovered from her own illness, telegraphed ahead to the show’s Detroit advance man instructing him to get the best doctor in Detroit ready to examine Houdini before the opening.

The train was late – too late for them to check in at the hotel before leaving for the theatre. The doctor was waiting, meanwhile, in the hotel lobby. Finally the advance man, waiting with the doctor, thought to telephone the theatre. The doctor rushed round and examined Houdini on the dressing room floor, there being nowhere else he could lie down. He diagnosed acute appendicitis and said an ambulance should be called at once to take Houdini to hospital. Bess did not hear this, and Houdini did not tell her. Nor did the theatre manager, who was present during the examination. He had his own worries. The house was sold out and queries were still waiting outside the theatre. He said, “We have a $15,000 advance sale. What are we going to do? to which Houdini replied, “I’ll do this show if its my last”.

He was now running a temperature of 104 degrees.

According to Silverman [1996]:

Scheduled to open in Detroit the next evening, he, Bess, and their entourage got to the train late that night. Once on board he experienced such severe stomach pains that a wire was sent ahead asking for a physician to meet the train at the Detroit station in the morning.

Houdini arrived in Detroit with a temperature of 102. After examining him hurriedly, a physician found signs of appendicitis. Houdini nevertheless checked into the Statler Hotel, where for a half hour he shook with chills. He was determined to give his opening night show, even though at curtain time his temperature had risen to 104.

According to Kalush [2006]:

After Saturday’s evening show, the troupe prepared to take an overnight train to Detroit, where they were scheduled to open their run on Sunday night.

The opening night sold-out crowd at the Garrick Theater in Detroit was getting antsy Houdini’s show was scheduled to start at eight-thirty, but after a short announcement that there was a delay due to the late arrival of personnel and equipment from Toronto, it was almost nine and there was still no sign of the mystifier. Suddenly, the familiar strains of “Pomp and Circumstance” echoed through the theater and Houdini walked onstage.

“We have just made a thousand-mile journey from Montreal, and we are tired,” he exaggerated, as he began to perform magic.

A doctor had examined him before the show and had urged him to the hospital immediately, but Houdini had refused. “They’re here to see Houdini,” he spoke of the sold-out house. “I won’t disappoint them.”

So what is the source for these different versions.  It appears, Williams & Epstein, Gresham, Kendall, and Silverman’s source was Kellock [1928] and the New York Times, 1 Nov 1926.

According to Kellock [1928]:

He had to make a train for Detroit, where the show was due to open the next evening.

Houdini was so ill on the train that his attendants wired for a physician to meet him at the station in the morning. His temperature on arrival was 102. As soon as he reached his hotel in Detroit he had a chill which lasted twenty-five minutes. Several physicians, who had been called insisted that he cancel his performance. They said that his symptoms indicated appendicitis, and an immediate operation was imperative.  Houdini, informed that the house was sold out, doggedly declared that he must go on. Just before the curtain went up his temperature was taken at 104.

According to NYT:

He suffered no distress at the time but after he had boarded a train for Detroit, he complained of pain. At first he attributed it to something he had eaten but as it increased he called in the company’s nurse, who in turn arranged by wire to have a physician meet the magician in Detroit.

Dr. Leo Kretzka, a prominent physician, made a hurried examination and told the patient there were symptoms of appendicitis. He left it to Houdini to decide whether it would be advisable for him to appear that evening at the Garrick Theatre for the opening night of the show. Houdini would not disappoint his admirers.

Fitzsimons, Brandon’s and Kalush source was Christopher, although neither mention a Dr. Dretzka. And Christopher’s source was the Conjurer’s Magazine May 1948 article, The Last Man to see Houdini Alive, by Bruce Reynolds:

George Atkinson, Dean of Theatrical Press Agents, told me the story one evening in the Lambs Club in New York City. “Then the fateful day when I was in Detroit where Houdini was to play next. I received a wire from his manager who was in Montreal, that ‘The Great Man’ had suddenly been stricken ill and that I was to have a doctor meet the train upon his arrival.  He was due in Detroit on Sunday afternoon and was scheduled to give a performance that night. I had a doctor waiting at the hotel but Houdini did not come to the hotel; instead he went directly to the theatre, and there in grave alarm I found him running hither and thither, anxious about his props. I quickly phoned the doctor back at the hotel. The doctor rushed to the theatre and found Houdini sitting on a packing case, with his funny little hat pulled down over his eyes. His temperature was 103. The doctor hurried him into his dressing room, laid him on the floor and made an examination. ‘Appendicitis,’ the doctor said. He ordered Houdini to his hotel and to bed. Cold compresses were to be administered at regular intervals. Houdini scoffed at the doctor’s orders. Defiantly, he went on about arranging his props and he gave a show that night.”

So did a physician see Houdini on the train, the floor of the dressing room at the Garrick Theatre, or at the Statler Hotel? Did Houdini go to the Statler Hotel before going to the Garrick Theatre, or did he go directly to the Theatre?  I tend to believe the following:

According to Sophie Rosenblatt’s (nurse) affidavit [Feb 15th, 1927]:

He had to leave Montreal that night for Detroit and on the way to the railroad station and at the station itself, he was very sick and constantly complained of pains in his stomach. I took him in a restaurant to get a cup of hot boiled water and took a bottle of black coffee for him on the train. He was unable to sleep all that night after leaving Montreal and constantly stated that he had pains in his stomach.

The following morning I took his pulse and told Mrs. Houdini that her husband was a very sick man. I asked Mr. Stuckel, his manager, to have a physician meet the train at Detroit as I realized that Houdini was very ill and was getting worse ever since the blows were struck in his dressing room. Dr. Leo Dretzka of Detroit was the physician who first saw him in Detroit. His temperature was 102, his pulse from 120 to 128 and his respiration 46. At the hotel in Detroit where he went upon leaving the train, he had severe a severe chill which lasted for about twenty-five minutes. At that time his temperature was 103.6, his pulse was 130 and his respiration 48. We then called Dr. Richards, the hotel doctor, who saw Houdini at about 6:30 in the afternoon and prescribed pills for Houdini to take every half hour for his pulse and respiration. He went to the theatre to give his evening performance. He was practically helpless and was unable to dress himself for the performance. We took him to the theatre and he was in bad shape throughout the performance. It seemed that he was unable to open his eyes while he was putting on his make-up for the performance. After each act he literally fell down almost helpless and dragged himself on the stage again. After the performance he was carried to the hotel and his condition was reported to Dr. Richards who was then out of town. Dr. Richards recommended Dr. Cohn and Dr. Cohn called on Dr. Owen who took a blood count. It was then decided to call in Dr. Watkins and Dr. Kennedy, distinguished surgeons of Detroit, to examine Houdini. He was taken from the hotel to the Grace Hospital in an ambulance and an operation was decided upon.

I suppose its also possibly that Houdini went to the theatre first, saw Dr. Dretzka, who ordered him to his hotel where he saw Dr. Richards and then returned to the theatre to perform.

What do you believe?

Related:

100 Year Anniversary – Private Showing of The Grim Game In New York

MUM-New-York-August-1919-page-17

One Hundred Years ago, Houdini gave a private showing in NYC.

The following passage is excerpted verbatim, even to the punctuation from a private letter WRT to a private showing of The Grim Game on August 18th, 1919:

Monday night 8 o’clock shapr [sic] there will be a private show of my latest picture The Grim Game which will be shown only to a few chosen magic friends before the regular trade showing and if you have desire to see same would like to have pleasure of having you attend.  Takes place at the production room of Lasky Famous Players offices, 400 [485] Fifth Ave near 42nd St. Monday August 17th [Note: Monday was really August 18th] Tried to get you twice on phone and no answer. Regards sincerely yours Houdini. [The Houdini Code Mystery by William V. Rauscher, page 106]

Note:  Koval places the private showing at 485 Fifth Avenue, which was the address of the corporate main office right across from the New York Public Library.

Aug 18 – A private showing of “The Grim Game” is given to Houdini’s chosen friends at the Lasky Famous Players Offices at 485 Fifth Avenue, New York City.

The Society of American Magicians officially endorsed The Grim Game at this private showing:

The endorsement was given at a private showing of the picture for the members of the society in New York, which was attended by Messrs. Houdini, Howard Thurston, Francis E. Werner, G.G. Laurenz, Hardeen, William J. Hilliar and about forty others.

…

After the showing,  Mr. Howard Thurston said: “I have always thought Houdini was a great showman, but I expected nothing like this.  It leaves nothing undone.  Houdini may now retire, confident that he has done his greatest work.  It is one of the most wonderful things I have ever seen”.  At the conclusion of Mr. Thurston’s speech, Oscar S. Teale, Secretary of the S.A.M. said:

“Gentlemen, I move that the Society of American Magicians pronounce the picture a glowing success, worthy of highest commendation, and that it go forth as officially endorsed by this society.”

[The Sphinx, September 1919]

Bonus:

According to a 17 September 1919 New York Clipper article, the Famous Players also had New York City offices at 428 Fifth avenue, 729 Seventh avenue and at 469 Fifth avenue, but at the termination of the leases, the company will use the entire front of the Putman Building [at Forty-Third street and Broadway] for its offices:

NY Clipper 17 Sep 1919 Putnam Bldg To Become Theatre

Next week:

  • 100 Year Anniversary – B.S. Moss Broadway Theatre Screening

 

100 Year Anniversary – M U M SAM Monthly

This month marks the 100 Year Anniversary of the Society of American Magicians endorsing The Grim Game. To celebrate, thought I would share some interesting things from my personal copy of the Magic—Unity—Might M U M The Society of Americans Magicians Monthly Vol 9 No. 3 New York August 1919.

The first is a photo of Dean Kellar, Wizard of Wizards, Irvin W. Willat, Wizard of the Camera, who directed “The Grim Game”, and Houdini, Wizard of Escape. This picture was taken while Dean Kellar was visiting the studio during the picturization of the great story.

Second, Houdini shares new light on the bullet catching trick:

Third, is a highly sought after four-page color insert:

And last, is an exchange between a Mr. Levett and Houdini regarding Robert Heller and Laura Keene:

 

Escape From a Nailed Packing Box – Advertising Calendar

Back in 2017, five of the six 1977 Stuart Pharmaceutical calendars from the series numbered DM-73301 to DM-73306 were shared:

  1. June: Escape from Prison when Manacled in Handcuff and Irons (HHCE Collection)
  2. July: The Celebrated Straitjacket Release (HHCE Collection)
  3. August: The Challenging Release From Wet Sheets (John Cox Collection)
  4. September: The Perilous Escape From the Spanish Maiden (HHCE Collection)
  5. October: The Spectacular Release From the Cannon (HHCE Collection)

Each featured Spectacular Houdini Feats and original artwork by James Barkly. At the time, we didn’t know what the number 6 (DM-73306) calendar was, but we do now.

It is for the The Daring Underwater Escape from a Nailed Packing Box and covers the month of November and December.
Stuart Pharmaceutical’s also created six 1978 Houdini calendars, of which five ot them I will be sharing at later dates; the September/October 1978 calendar still alludes me.

White Studio Houdini Movie Photos

The following two White Studio, NY “Houdini Movie Photos” advertised as “originals”  from an estate of magic and circus collection sold yesterday on eBay.

  • Original Houdini Magic Studio Photo #1 ($371.00 + $8.95 shipping):

Note: This is from Terror Island

  • Original Houdini Magic Studio Photo #2 ($515.09 + $8.95 shipping):

Note: This is from The Grim Game

The following White Studio photo below shows the above two White Studio photos (2 Terror Island, 8 Grim Game) plus other White Studio photographs from his movies (1 The Grim Game, 5 Haldane, 6 The Man From Beyond, 9-11 Master Mystery)

Note: This photo is courtesy of The New York Public Library for the Performing Arts, Billy Rose Theatre collection. It was also part of the Houdini Art and Magic exhibition/book.

Houdini items of Interest at Haversat & Ewing Auction

There were two Houdini items (Lot #260 and Lot#267) that I had my eye in in the July 12-13 Haversat & Ewing Howie Schwarzman Auction Part II.

Lot# 260 [Price Realized $1,925,00] :

Laurel Canyon, California. Bess Houdini writes in her hand: My home on Lookout Mountain, Laurel Canyon, Hollywood, Calif. Very rare! [Estimate $125-150]

Note: This is also the home that Houdini may have stayed in when he came to California in 1919 to film, The Grim Game.

Lot #267 [Price Realized $460.00]:

Small scrapbook with clipping mostly pertaining to Houdini. Other articles on Blackstone and Kellar. two dozen pages along with many additional blank pages.

[Estimate $80-100]

Note: The scrapbook contains an original 1925 Parson’s Theatre Program

I am not surprised that both items went for way more than their estimate.

Congratulations to winner(s).

Related:

The Amazing Exploits of Houdini – Out of The Sky

During my visit to the McCord Museum, I was fortunate enough to have read a compilation (April 24, 1920 v1 n1 to June 5th 1920 v1 n7) of “The Amazing Exploits of Houdini” found in The Kinema Comic.

  1. The Bride & The Orangutan.
  2. The Jewel Thieves.
  3. “Stop Thief!
  4. The Gold Melters.
  5. Adventure of the Midland Express.
  6. In The Dead of Night.
  7. OUT OF THE SKY.

Each issue contains a several page serialized fictional story (by-lined by Houdini). This week I share my paraphrased version of “Out of The Sky” found in the June 5 1920 v1 n7 issue:

One moment the plane was gliding smoothly on its journey, and the next it appeared to take a decided list and to wobble anywhere, with a peculiar fancy for a spiral dive.

Houdini climbed out of the passenger seat with a jack knife and a pair of pliers. He began to move forward slowly until he reached the damaged section. He hacked away at the woodwork, ripped the canvas, and then cut the whole section free of the wires. At the end of five minutes he had finished the job and watched the damaged part go sailing down to earth.

The pilot yelled: The balance! The balance!

Houdini moved toward the extreme edge of the plane, testing each inch as he went in the manner of a child on a see-saw. An equal balance was not achieved until he passed the place beneath where he had cut the damage away. The machine gradually righted itself and was able to land.

On their way to London, they landed somewhere between the border country of England and Wales. The countryside was particularly desolate. Not a house of any sort within view.

The pilot’s nerves were considerably shaken. For a long time, he remained in his seat, recovering from the strain of the landing.

Houdini crossed over to the pilot, who thanked Houdini for saving him.

Houdini and the pilot were interrupted by a clatter of hoofs on the hard ground, and the next moment a youngster on a pony swept round the end of the machine and asked if he could help anyway.

Houdini asked if he could direct them to the nearest house or railway station.

The youngster not more than sixteen years of age, directed them to his brother’s house. The youngster couldn’t accompany them, because there was a bit of trouble and he needed to stay on look-out. He would keep an eye on the machine and catch up with them later.

After thanking the youngster, Houdini helped the pilot from his seat and they walked to the farm house where they met the older brother and sister, who insisted they have a meal and spend the night.

During the meal, they learned that the older brother had been a major in the Army and on retiring had bought a stud farm from a widow who had been unable to carry on with it after her husband’s death.

Houdini asked about the trouble that the younger brother had mentioned. The major mentioned that the people in the district regard him in the light of an interloping foreigner. Somewhere at the back of their minds they believe that he did the widow wrong, but that is not the case.  The widow could not carry on, and advertised the place for sale, and he bought it at her price and is making it pay. That morning he got an anonymous letter, telling him that unless he makes preparations to leave the place, his ponies would be wiped out. It means that the youngster and his older brother have to be up and out all night. After hearing this, Houdini volunteered to be out all night, too.

Before setting out for the stables, Houdini procured a small quantity of flour and a white sheet.

They set out across a huge plain. It was decided to prowl about separately, and if anything should happen, they would call one another by firing a shot in the air.

It was a lonely job. There was no moon out, and the night, consequently, was pitch black. Houdini’s animal trotted along at a nice comfortable pace for about an hour, when suddenly he stopped and planted himself firmly on his four legs. They were at the top of a hill, and not fifty yards away was the damaged plane.

All of a sudden, a shot rang out on the clear night air, it was the signal. Stopping by the aeroplane had given Houdini an idea.

Carrying the sheet and the flour with him, Houdini rushed across the machine and threw them into the driver’s seat. He turned the nose of the aeroplane in the direction from whence the sounds had come and pushed the machine towards the slope, which was steep enough to carry her down. When the speed was sufficient, he jumped aboard and rigged himself has a ghost.

Houdini made a beautiful-staged entrance. The machine ran down the slope across the little valley, and came to stop a few yards on the other side.

Peeping over the side, Houdini discovered that he was in the midst of a crowd of about twenty men. Some were mounted, and other were on foot. On seeing them, Houdini rose to his full height and raised his arms above his head. Then, without uttering a sound, climbed from the pilot’s pit and walked with a stately tread along the broken plane. Every eye was on him.  They all stood still as if petrified or in fright.

Then, as Houdini came nearer, there was a stampede, as you heard flying hoofs and feet running away in fear.

Houdini then laughed out loud and removed the sheet from his shoulders.

100 Year Anniversary – Houdini Breaks Wrist

Photo courtesy of Marc Wanamaker, Bison Archives

On June 30th, 1919 Houdini informs Oscar Teale that he has broken his wrist while filming The Grim Game. [Silverman NOTES to Houdini!!!].

One paper reported:

HOUDINI, the handcuff king now working at the Lasky Studio on the Pacific Coast, met with a bad accident while filming a new thriller now in preparation. Houdini’s wrist was broken and he will be incapacitated for a fortnight or more. [Reading Times, July 4, 1919]

Another paper reported:

Houdini, star of “The Grim Game” now being filmed at the Lasky plant, broke his left wrist a few days ago while doing a simple trick for the picture. [Buffalo Evening News, July 19, 1919]

So how did he break his wrist?

One paper reported Houdini sustained injury in making “The Grim Game” doing the following stunt:

In a fierce battle in which Houdini fights with a quartet of burglar “extras” his wrist snapped in the midst of the action and, though the scene was finished, further work on the picture had to be postponed for several weeks for it was found that a large bone in his wrist had been broken clearly in two. [The Mt. Sterling advocate, March 02, 1920].

However, I can tell you that the incident described above was how he broke his wrist in “The Master Mystery” not “The Grim Game”. That is, he broke his wrist in the Master Mystery while swinging from a chandelier during the fight. So how did he break his wrist in “The Grim Game”?

Silverman has an answer:

And in escaping one of the prison cells, he again fractured his left wrist, not as badly as the year before [in making the Master Mystery], but enough to have his arm wrapped and delay completion of the film by two weeks. [Houdini!!! The Career of Ehrich Weiss by Kenneth Silverman]

According to Houdini:

“It is unexpected that always happens.” Though doing daring stunts thousands of feet above good old Mother Earth, flying in cranky aeroplanes, climbing the outside of buildings, swinging from the top of a swaying flag-staff a hundred feet in the air, leaping on and off heavy motor trucks and the like, I never got a hurt, but from a three-foot fall I again broke my left wrist, not so badly as before, however for then a bone was broken in three places, while this time I escaped with one fracture. This accident has detained me in California longer than expected, but my wrist is now rapidly completing its “knitting work”, and I shall soon be able to give the necessary personal attention to the finishing stunts of the picture and return to New York. [MUM July 1919]

BTW: On July 26th, The Los Angeles Times reports:

Mr. Houdini has just completed the making of his mystery serial entitled “The Grim Game.”

What effect did Houdini breaking his wrist have on the film?

It delayed completion of the film by two weeks, but had no effect on the aeroplane stunt despite what Silverman reports:

Houdini had been willing to attempt the transfer despite his arm sling, but Willat refused to risk aborting his picture by losing his star.

You see, the aeroplane stunt which Houdini was never scheduled to do, took place well before Houdini broke his wrist.

But it did affect other footage. According to the Paramount Script:

Houdini frees himself from a straitjacket, swings like a pendulum at the end of the rope, catapults his body through a small window; and then scales a wall and disappears over the other side.

Photo courtesy of John Cox

However, this changed to the following:

Captured after a fight, Houdini was taken to a rooftop, strapped in a straitjacket and suspended head down over the side.  He released himself, fell into an awning, then dropped to the ground [right hand is holding awning and you can’t see the left hand].

And, if you watch the movie closely, there are scenes filmed where the cast on his wrist is visible, despite the fact they try to hide it and not film his left-side. For example, before he boards the plane (when he is still on the ground), Houdini’s left arm is in a cast but when you see him on the wing, the cast isn’t there; obviously filmed at different times.

UPDATE: Houdini broke his wrist on June 26th, 1919.

This was reported in the June 27th Los Angeles Times with the heading, Houdini Breaks Finger [Wrist]:

After all, Houdini, the escape king, doesn’t bear a charmed life, as heretofore thought. Yesterday he had the misfortune to break one of the small bones in his left hand, while doing a very simple stunt in his current Lasky picture. He had completed a really hazardous feat high in the air, and came off safely. Then he got down to earth, and when about two or three feet from terra firma sustained the injury mentioned.
Luckily it will not seriously hamper him because it can be so bound as to avoid his feeling pain.
“It’s the irony of fate,” he said, “to have this thing happen in such an absurdly simple way after going through really difficult stunts on airplanes, roofs, flagpoles, walls, etc.

And on June 28th, Houdini wrote Quincy Kilby:

Broke my left wrist again. Luckily the picture is 90% finished. We can’t be back until end of July.

On July 12th, Houdini wrote Quincy Kilby:

My wrist getting along okay, July 20th, will try and finish the last few scenes and return to New York leaving on or about July 25th
…
The Grim Game will be finished next Sunday [July 20th], my wrist will be strong enough to do the finishing stunts.