For my contribution to the “Food in Film” Blogathon, I’m taking a look at an early example of a typical gender-bending situational comedy: one in which a man is left to his own devices and has to perform “women’s work” for himself, including shopping for food and cooking. Max Linder runs with this premise in this Nickelodeon-Era comedy.
Unhappy home life.
The movie begins with Max having a meal with his wife. Max reads the paper and ignores her. She seems bored and agitated. She tries to speak to him and he ignores her until she snatches the paper away. He demands it back and she gives it to him but begins crying. Max puts his fingers in his ears. This causes her to get up, throw her napkin down and stalk across the room, to where she puts on her hat, takes her coat and leaves. Max gets up and dances a jig, then reads his paper.
The next scene begins with the intertitle “back to mother” and we see the wife enter a room and meet another woman who gestures with sympathetic horror. Then the intertitle says “washing the dishes.” We are back with Max, who has finished his paper. He gathers things from the table on a tray, pouring unfinished glasses of wine back into the decanter. As he piles up more and more of the service, it becomes increasingly awkward or him, and soon he is embracing the tray to keep it all from spilling off. He walks delicately into the kitchen, putting the tray on a cutting board, and brings over a basin of water. We cut now to a closer shot of Max gingerly wiping off the dirty dishes with a dripping brush. It finally occurs to him to put on some gloves, but he is just as delicate with the dirty items when he is wearing them. When he tries to wash a bottle, he can’t figure out how to get the brush inside to scrub. Finally, he takes the whole tray down to the street, where there is a hose in a bucket and he sprays all of his dirty dishes with the hose. Satisfied, he now returns to the kitchen, but he’s not paying attention when he tries to put the tray on the cutting board and it drops, all of the now “clean” dishes shattering on the floor. He sweeps them up with a broom, but then loses interest and leaves in annoyance.
Eeeww!
The next scene is labeled “the market” and it calls attention to the fact that men at this time were not expected to act as consumers. Max is in his silk hat and a topcoat and he approaches the front of a grocer’s, where a woman immediately comes out to serve him. She piles various goods on him and takes his money, but he has no bag or other method to hold his purchases, so once again he stands awkwardly embracing the items. He walks off, but as he reaches the corner he sees a young lady of his acquaintance, so he puts some of his haul behind him and holds the rest behind his back as he speaks to her. A street kid sees the goods he has left on the ground and snatches them, running off, and Max immediately pursues, which reduces his lady friend to laughter. Max catches the kid after a short chase and throws his carrots at him before retrieving his other groceries, all of which have now been on the ground at least once. Picking things up, he of course loses his hat, and there is quite a challenge getting his load back under control.
The next scene is “cooking dinner” and it is the real crux of this movie’s relevance to this blogathon. Max brings all his goods into the kitchen, still wearing his silk hat. He tries to move the basin of water but winds up spilling it all over. He takes off some of his fancy outer clothing and puts on an apron. Then he takes out a large bird for cooking and begins to pluck it. The camera once again switches to a closer angle, and indeed we seem to be in a completely different room as we watch Max’s half-hearted effort to pluck the bird. He takes out some scissors and snips off pieces of the wing, but the bird seems half-prepared at best when he puts it in the pot. He breaks an egg with a knife and drops it in, but most of the shell goes in with the edible part and he tries to scrape it out. He throws in various vegetables and peels a potato over the pot (so most of the peel goes in as well). He pours a copious amount of wine over the pot and sprinkles some spice. Then he lights a match and starts the fire underneath the pot, and makes a show of stirring the mixture. Then he seems to forget about it as he starts polishing a shoe right there on the counter. He spills most of the shoe polish and tries to spoon it back into the bottle, then he remembers his meal and stirs it with the same spoon. He tastes it and adds some more pepper, which makes him sneeze the pot off of the oven.
Clueless in the kitchen.
The next scene is labeled “Housekeeping.” Max comes into the bedroom and starts to undress, but he notices that the bed is a mess, he moves mattresses and sheets around, generally making the bed lumpier than before and them climbs in with most of his clothes on. The next morning Max cannot find his favorite tie. He gets out of bed and puts on a collar, then he starts looking in every possible place, including the bed, the dresser, and under the bed. Each place he looks, he throws the neatly folded contents on the ground, then moves on. He begins tearing up the drawers in the study and the sitting room, even looking inside potted plants. The house is rapidly becoming a disaster area, and this only reaches new extremes when he topples a secretary. Now his wife and her mother arrive to find him in the wreckage and he pleads with her to return to him.
The trope of the reversal of gender roles was a common one in comedy, right up to the Golden Age of television: “The Honeymooners,” “I Love Lucy,” “The Flintstones” and many others would use it decades after this. Max Linder probably didn’t invent the idea: in the nineteenth century gender determined the division of labor to an enormous degree, which would lend powerful comedic possibilities for use on the vaudeville stage and elsewhere. What this movie emphasizes for us is that even seemingly simple tasks like shopping and clearing the table (never mind the more obvious cases of cooking and washing dishes) were imagined as beyond the capacity of a man. The grocer’s is an alien environment for Max, and he daren’t allow a young lady friend to see him carting groceries. Food, in short, was entirely a woman’s domain, from the conception to the aftermath. All a man knew how to do was hold a knife and fork. That said, it struck me that Max was very “French” in his failed attempt at cooking – he even thought to use some seasoning on the bird, something which escapes first-time cooks today!
This has been my contribution to the “Food in Film” blogathon, hosted by Speakeasy and Silver Screenings. Be sure to head over and check out the other entries!
Director: Max Linder
Camera: Unknown
Starring: Max Linder
Run Time: 10 Min
You can watch it for free: here.
Century Film Project 