was "the only thing in my life. I know it. You know it. So why should I beat around the bush?" Nolan's tearful goodbye to Tinney was covered by the media which prompted Florenz Ziegfeld, who disliked negative publicity, to fire Nolan later that day. Ziegfeld said that he fired Nolan because she had promised to end her relationship with Tinney. He added, "She broke her promise and I discharged her on account of the notoriety and also to prevent a possible disruption of the morale of my cast." On September 20, 1924, Nolan set sail for France where she was scheduled to appear in vaudeville. She made her way to London in October, where she reunited with Frank Tinney. By December 1924, Tinney had resumed drinking and began to physically abuse her again. In early 1925, Nolan finally ended their relationship. She then traveled to Germany, where she worked in films for the next two years. German films While in Germany, Nolan performed under the name Imogene Robertson. Her first German film was Verborgene Gluten, released in 1925. Later that year, she appeared in Die Feuertänzerin for Universum Film AG. She received good reviews for her work in the film which prompted UFA to offer her a contract for $1,500 per week. Nolan worked steadily in Germany from 1925 to 1927, and continued to receive favorable reviews for her acting. While in Germany, she received offers from Hollywood producers to appear in American films but turned them down. She finally relented after Joseph M. Schenck offered her a contract with United Artists. She returned to the United States in January 1927. Hollywood years and decline Nolan's return to the United States was covered by the press who were still interested in the scandalous "Bubbles" Wilson. Several women's groups protested her making films in the States while Will H. Hays also expressed doubts about her embarking on a career in Hollywood. To solve the problem of audiences connecting her with her scandalous past, United Artists suggested she change her name to Mary Nolan. She made two films while under contract with United Artists; she appeared in an uncredited bit part in Topsy and Eva (1927), and a supporting role in Sorrell and Son (1927). In August 1927, she left United Artists and signed with Universal Pictures. Her first film for the company was Good Morning, Judge, starring Reginald Denny for