Century Film Project

Celebrating the movies our ancestors loved

Tag: Pathe Freres

Max and the Statue (1912)

Another short film starring Max Linder that follows his familiar cycle of excited anticipation leading to disaster, but in this case the plot takes a bizarre, almost surreal, turn. Max has to use a great deal of physicality here, because his face is hidden for much of the movie.

We see Max reading the newspaper in a well-appointed home. A servant comes in and delivers a note, which causes Max to get up and dance about joyfully. He calls the servant back and has him bring his top hat, then goes out. The next scene shows him at a costumer’s, wearing a sort of outlandish Arabian Nights outfit, apparently very happy about how he looks in it, but the costumer suddenly realizes that all of his costumes are reserved for tonight’s party, and removes it. Max is very disappointed, and gets ready to leave, but the costumer calls him back: There is just one costume still available, a suit of armor. Max doesn’t seem to like the idea, but the costumer is persuasive, trying on the helmet for him to show him how it looks. Finally, Max agrees. At the party, we see a lot of people running about dancing in costumes. Max is quite noticeable in his full-length suit of armor, and he catches a tall woman in a hood and mask. He persuades her to come with him for a drink, trying to get her to remove her mask so he can kiss her, but she demurs. He orders Champagne, and lifts the faceplate of his costume, but she keeps her mask on throughout. We see a brief close-up of the two of them, Max leaning in for a kiss, she laughing and remaining aloof.

Later, Max, still in his armor, is slumped over the table and the woman is gone. The waiter wakes him up to present the cheque, but he cannot get through his armor to his pants to reach his wallet. In the process of trying, he drunkenly knocks the table over, and the waiter finally gives up and hauls him out to the street to sleep it off. Now we see a pair of thieves, who break into the Louvre, where they rather bizarrely decide to make off with a suit of armor, rather than an easier-to-carry item like a painting. When the night watchman discovers what has happened, he alerts two policemen, and together they go in search of the missing statue, only to find a suit of armor lying on the ground just in front of a nearby café. They haul the statue back, finding it difficult to stand it on its stand, and cover it over with a sheet. The next day (presumably), it is unveiled and the artist receives a medal. No one seems to notice that it is slouched over and occasionally moves or teeters a bit. That night (presumably) the thieves return and decide to steal the new statue, I suppose because they got so much for the first one. They haul Max back to their subterranean hideaway and pull out tools, apparently planning to cut him into smaller pieces for easy transport. When they start to saw into his stomach, Max wakes up and they both run out in horror, running into the arms of the police, who have apparently successfully tracked them this time. The police insist that they show them the statue, but when they get back to the table they left him on, it is empty. Suddenly Max staggers back on screen, playing a guitar, still in his suit of armor. Police and thieves both run out in panic.

Max has to use his body for a lot of the humor here, since his face is covered for about 2/3 of the run time. It’s remarkable how recognizable his body language is, particularly in the scene at the party where he meets the girl. He also gets to show off his “funny drunk” skills once again, as we saw in “Max Takes Tonics.” It strikes me that the more climactic, and slightly more believable, ending would have been for him to come to life during the ceremony instead of some number of hours later, at the hideout. The images of the thieves starting to cut him up, and of Max dancing about with the guitar were funny, admittedly, but it just seemed like an opportunity was missed when a crowd of Paris high society were solemnly saluting him. It would have saved them two camera set ups and some film as well, so Max must have been dedicated to the ending we see. Somehow the thieves’ hideout made me think of Feuillade, while the dancing suit of armor seemed straight out of Méliès, so this film was firmly grounded in the young French cinematic tradition.

Director: Max Linder

Camera: Unknown

Starring: Max Linder

Run Time: 10 Min

You can watch it for free: here (no music) or here (incomplete, but with music).

Max Takes Tonics (1911)

Alternate Title: Max, victime du quinquina

This short from Max Linder is basically an extended “funny drunk” routine and may have influenced later work by Charlie Chaplin, that use similar themes. Linder is able to go farther in some respects, and makes more use of class as a theme, perhaps because of the cultural differences between France and the US.

The movie begins with Max visiting a doctor’s office. The entire appointment is in medium shot, with the doctor behind his desk and Max seated before it. He tells the doctor that he’s been tired lately, and the doctor looks at his tongue before telling him it’s nothing serious, but he’ll prescribe a tonic that should help. He is to take it each morning. The next scene shows Max seated at a table with the tonic, which is labeled “Bordeaux of Cinchona.” His wife brings out a very large glass, which is labeled “Souvenir de Bordeaux” and he concludes that this is the correct dosage of the tonic he is meant to take. He pours out almost the whole bottle into the glass and drinks it with a straw. Thus fortified, he goes out on the town.

His first encounter is with another man in a top hat, who is trying to get into a cab. Max keeps trying to get in from the other side, and each time the two see one another, they walk around the back of the cab and argue briefly, seeming to come to some agreement, and then both walk back around to their respective doors and try to get in. Finally, the cab drives away, without either one on board. Rather than coming to blows, the two exchange cards. This first fellow, we learn, is the Minister of War. Next, Max goes to a nightclub and tries to get a young lady interested in him. Unfortunately, there is a grouchy older man at the next table, and Max keeps accidentally hitting him, or forgetting which table has the young lady at it. Finally, when the young lady’s real date shows up, he pushes Max into the angry customer, who gives Max his card. He is the ambassador of Styria. Max also exchanges cards with the date, challenging him to a duel for hitting him, and this man is the commissioner of police.

Drunk Max heads out on the street and has an encounter with a lamp post, with the result that he tries to put his jacket on while leaning against it, so that the back of the jacket is wrapped around the pole and he can’t move. A police officer, seeing a drunk, comes over to arrest him, and when he asks for identification, Max gives him the one of the cards he has received. The policeman immediately salutes and carries him to the address indicated. It is the address of the Minister of War, who is enjoying a late dinner. When he hears someone enter his apartment, he hides under the table. Max sits down and finishes his dinner, but then the minister leaps up and throws him out of the house, rolling him down the stairs and to the feet of a second policeman. Again, Max gives the wrong card and is taken to another posh apartment. Here, his over-consumption of alcohol (and perhaps the Minister’s dinner) catches up to him and he pantomimes an urgent need to vomit. He picks up a top hat and vomits into it just before the Ambassador comes out to investigate. The Ambassador, assuming that he is now ready to initiate the duel, gives Max the choice of swords of pistols, and then puts on his hat. He is so outraged at the result that he forgets the duel and throws Max out the window, where he crashes into a third policeman. This man now carries him to another apartment (although the same staircase is used as for the last one), where the exhausted Max takes off his jacket and tumbles into bed. Unfortunately, he is now sleeping next to the wife of the commissioner of police, who is sneaking in late after his date, only to find his wife in bed with another man. He also throws Max out, only to have him quickly returned by the same policeman. Finally, when he also hurls Max out of his window, Max crashes into a convocation of the three police officers, who are sharing a smoke and talking about the prominent drunks they’ve run into tonight. Each of them recognizes Max and they compare the cards he has given them, finally recognizing him for an impostor. The movie ends with the three of them beating Max up.

Charlie Chaplin famously referred to Max Linder as “the Professor” at a time when Linder’s star was in decline and the two of them became friends during Linder’s brief career in Hollywood. I’ve always felt that a bit too much is read into that – Chaplin didn’t know Linder before he started acting, and it’s not clear how familiar he was with his work. The compliment appears to have been written to help a friend through a difficult time, not to prove who was the better comedian. Still, this movie definitely has many elements of Chaplin’s work in it. It’s hard to know how much of it comes before his top-hatted drunk routines on stage with Karno, but in particular the sequence with the lamp post was familiar, and a lot of what Linder does here we’ve seen Charlie do in movies like “One A.M.” and “A Night in the Show.” On the other hand, and despite critics talking about “vulgarity” in Chaplin movies, it’s impossible to imagine Charlie using vomit in such an explicit way! And, of course, all of the business about calling cards and duels is pure European upper-class culture, with no place in an American film. Even the fact that all of these powerful people live in Paris apartments is a bit foreign.

By the standards of 1911, this is a somewhat long comedy, and Linder is at the focus of all of the humor. He has to appear drunk enough to be helpless in many situations, and yet also to be in complete control in reality. Physically, he had probably managed better work in “Max Learns to Skate” and other films with similar themes, but he definitely handles drunk well here. Most of the scenes are shot from a single camera angle, although the choice to shoot the cab-dispute from the rear of the cab was a very effective way to show the confusion over who was getting in first. For some of the violence, Max is replaced with a dummy that is tossed around, something we’ve seen in Méliès and other French movies.

Director: Max Linder

Camera: Unknown

Starring: Max Linder, Maurice Delamare, Gabrielle Lange, Lucy d’Orbel,

Run Time: 17 Min

You can watch it for free: here.

Max Fears the Dogs (1912)

This short shows Max Linder at the mercy of elements beyond his control. It pushes its comedic premise past the point of reality to a ridiculous degree, that still works in a slapstick context.

The film begins with a young woman sitting on a bench with a dog, two more dogs arrayed at her feet. Max Linder approaches from behind, and tickles her with a flower, gaining her attention. She is receptive, but he seems afraid to come any closer with the dogs present. A liveried servant comes and puts a leash on the dog sitting on the bench, then leads the others off screen, and Max finally sits next to the young woman. Then the camera cuts to a dog house with a firm gate on the front, and we see the servant locking the dogs in, under Max’s supervision (even though he was supposedly sitting next to the girl). The next shot shows the entrance to a ball room, with couples coming in to a formal occasion and being announced as they enter. The dogs now break out of their kennel and run into the house. Max sees them coming and flees in terror, the dogs in fast pursuit. He uses a piece of lumber to pole vault over a fence, but the dogs easily follow. He runs into an apartment building and tries to move a piece of furniture in front of the stairs to impede them, but again they simply leap over it. He runs through an apartment, over a man who is in bed sleeping, and up a chimney, and still the dogs relentlessly pursue. Finally, trapped on a rooftop, Max takes out a pen and paper and writes a note, which he gives to the lead dog. It reads “Don’t bite. I have rabies.” Luckily the dogs can read and the pursuit ends, although Max’s clothing and face are thoroughly soiled with soot from his ascent.

I found a couple of different versions of this movie, but still have the feeling that something is missing from all of them. The continuity error of Max sitting down with the girl and then suddenly being with the servant, as well as the sudden jump to the beginning of the party, leave me feeling that what we have today may be an incomplete print of a longer film. Still, in the tradition of the comedic chase, which was done at many studios for many years, this is a decent little example, and it ends with a funny twist on reality when Max writes his note. My only complaint is that we get fairly little of Linder being Linder, none of the little mannerisms that make his character so memorable, just a high-speed chase in long shot, which is nothing new by 1912.

Director: Unknown

Camera: Unknown

Starring: Max LInder

Run Time: 3 Min

You can watch it for free: here (no music, excellent print)

Max and the Lady Doctor (1914)

This short from Max Linder presents his typical character with an unexpected gender reversal, far from typical in the early twentieth century. Looked at today, Max’s responses to the situation make us think about what the average woman endured at a time when all professionals were (perceived to be) men.

We see Max in a stairwell, with a letter he has written to an attractive neighbor, requesting a rendezvous. She ignores him as she walks by, but then he has a bright idea to get in legitimately – he will ask for an appointment. He preens himself a bit before ringing the bell, as usual showing the audience his anticipation of pleasure-to-come with gestures and expressions. Max walks into a nicely-appointed apartment and is greeted by a servant, who for some reason does not take his hat and coat, but merely directs him to wait. After a moment, the woman emerges from another room and invites him in. This room also looks like the typical Linder interior set, except that there is a tray, evidently with some medical implements in the center of the room. Max takes some time figuring out where he wants to stash his hat and coat, and eventually sits down to explain his ailment to the woman, who asks him to stand up again. She tries touching him in a couple of places, each time Max gestures negatively – no, that’s not where it hurts. Eventually, she tries touching him in the stomach, around where the kidneys are, but this makes him flinch. At first I thought he was in pain, but as she tries a couple more times, it becomes obvious that he’s ticklish there. Eventually, by closing his eyes, he is able to endure her touch. She writes him a prescription and he leaves.

In the next scene, Max comes rushing back into the doctor’s office. He gets down on his knee and produces a ring. She looks thrilled, and accepts it. In the next scenes, the doctor wears a bridal gown. She very chastely accepts a kiss, but will not let him remove her veil. The servant now rushes in with a note telling her of an urgent case and she runs out, still in her bridal gown and veil. We see a scene in which she assists a woman with giving a man a foot-bath. Then she returns to Max, who manages to get her veil off before the next emergency is announced. Each time, Max shows his rage at these interruptions. This time, she is called on a poisoning case, and apparently wants to induce vomiting (we see a basin, but nothing truly vulgar happens on screen). This time, when she returns and the servant walks in, Max chases him out, tossing a pillow after him. He and the lady doctor laugh.

Next, we see the waiting room, which is filled with men. The doctor comes out to call in the next patient, and we see him showing her how bad his cough is. Now Max comes in to the waiting room carrying a baby, and looks around suspiciously. He looks into the office and sees his wife encircling the man’s chest with her arms (not really an embrace – sort of like a Heimlich Manuever, but with her ear against his back). He puts down the baby and flies into a rage, running into the room and ejecting the man, then proceeding to bully and abuse all the other men into leaving. The final shot shows Max and the doctor in their bedroom, the doctor is rocking the baby, and Max contendedly smokes a cigarette.

This is a rather odd story – ultimately what I’d call “a long walk for a short laugh.” Max evidently goes to the lady doctor in the first place as a form of courtship, and is punished at the end by the fact that other men are doing the same. His resolution is to deprive her of her career and turn her into a housewife. Ultimately the movie appears to condone sexism, but it certainly also highlights it in a number of ways. When it shows Max’s discomfort with partial disrobing and being touched by the lady doctor, it calls our attention to the fact that women going to the doctor at this time had to accept the touch and gaze of a man in order to get treated. Since Max is able to overcome his ticklishness by closing his eyes, it appears that he might not have so much difficulty with a male doctor, and that also raises questions about how we respond to gender. And, to begin with, Max is not really treating her as a professional, but rather as an object of desire, highlighting the harassment that working women receive and the difficulty they have being accepted in positions of authority, no matter their qualifications. I wouldn’t call this Linder’s funniest film, but it’s an interesting one nonetheless.

Director: Max Linder

Camera: Unknown

Starring: Max Linder, Lucy d’Orbel

Run Time: 12 Min

You can watch it for free: here.

Max’s Hat (1913)

This is a Max Linder short with a familiar structure of anticipation leading to ruin. Max has been invited to visit a nice home and must dress formally, but each hat he attempts to wear for the occasion gets destroyed.

The movie begins with Max opening a letter and giving his usual indications of happiness and excitement. But, a finicky note creeps in as Max prepares to go out – he seems to be detecting bits of dust or hair on everything, and he won’t go out until he is perfect. He nearly topples a vase from a tall pedestal, so busy is he checking and re-checking himself in the mirror as he goes out the door. On the street, he walks past a workman carrying a door. The man stops to light a cigarette, clumsily letting the door topple down on Max! He is unhurt, but his fancy top hat has been crushed. He goes to a local hatter and purchases a replacement, after trying on first a hat that is too large and then one that is too small. This time, he only makes it a short distance before a cat leaps down from a nearby balcony, not just crushing the hat but leaping right through it so Max can put his arm through it. He returns to the hatter and buys a second replacement. The hatter, perhaps jokingly, offers to let him keep his two ruined top hats. Now he hails a taxi, only to have the hat knocked off as the driver pulls up. Once again, he buys a new hat, and once again the hatter offers him his old ones back. This time, however, he leaves the hat in its box until he arrives at his destination – the only way to be sure it will survive. He refuses to let the servant take it, but then he is unable to find a good place to put it while he waits for his host, so he puts it on the floor. Then the family dog walks up and lifts its leg…And just as Max I dealing with that catastrophe, in comes the family he is visiting. The old gentleman thinks the hat is for him, and puts it on…Suffice to say that Max is given to understand that he won’t be welcome at this house again.

I was pretty surprised by the “vulgar” humor of the dog piddling in the hat at the end, but it certainly raised the stakes on this very simple little short. The version I watched lacked intertitles, so we didn’t know who he was going to visit, but one version in French says he is visiting future in-laws (the usual wealthy parents of a girl Max hopes to marry), and that works well with the story. But, we don’t really need to know. All we know is that it is an important social occasion and Max wants to look his best, but events conspire to keep that from happening. Linder adds a lot of little bits of business that keep the audience engaged through this relatively redundant set of situations. First, there is his excessive fastidiousness at the mirror. Then, when he speaks to the hatter, he keeps miming out the incidents that have caused the wreck of his hats. He shows us that he won’t put his hat on the end table at the house by wiping it with his finger and showing himself rubbing up bits of dust. It’s little actions like these that give his character so much interest, even in very simple storylines.

Director: Max Linder

Camera: Unknown

Starring: Max Linder

Run Time: 8 Min, 45 secs

You can watch it for free: here (incomplete, no music, best I could find on the Internet).

His First Cigar (1908)

Max Linder stars in this short from Pathé. As you might guess from the title, it depicts a man whose first time smoking doesn’t quite turn out as planned.

We see Max at a table in a well-appointed dining room, sitting with an older gentleman (his father, presumably). The old man suddenly gets up and leaves, leaving Max alone with his cigar box. Max jumps up and stuffs his pockets full of them, showing his delight at anticipating enjoying this illicit pleasure. A woman comes in (his mother, we assume), but does not suspect anything as Max prepares to go out for the day. He walks to a sidewalk café and sits down, ordering a drink from the waiter and flirting a bit with a woman from the next table. He gets out one of his cigars and lights it. The shot changes to a close-up as we watch Max smoking, drinking, and flirting. Things are fine at first, but gradually he begins to make faces suggesting nausea. Max throws the cigar down. The shot cuts back to long as he staggers off, to the amusement of the waiter and the people at the next table. He makes his way back home, but at first he can’t get in because he tries to use a cigar instead of a key, and then his hands re shaky so it’s hard to fit the key. He accidentally enters the wrong house and is kicked out by a man in his nightclothes wielding a gun. Then he makes it home, but his mother, disturbed that he is pulling down various decorations he tries to hang on to, tries to comfort him with a drink, which only makes him look sicker.

With this film, we return to the now-familiar pattern of Max anticipating a pleasure, only to be disappointed by the reality and ultimately be ruined by it. In this case, he’s also being punished for stealing from his parents, and perhaps for trying to put one over on the girl he flirts with. Given the simple plotline, I was a bit surprised at the number of set-ups used to tell the story, and especially with the use of close-up to show the transformation in Max’s mood. Other Linders from this period that we’ve seen have saved the close-up for the denouement. It was a good choice, however, because we needed to see how he went from happy and relaxed to nauseous and stumbling. The fact that much of the humor relies on a lengthy insert-shot of Max’s hand trying to fit a cigar then a key into a keyhole is more questionable, but different. It was also a little surprising to see Max portraying a man so young (the French title, “Le premier cigare d’un collegian,” suggests he is home from college). Linder was 25 at the time this film was made, and though he always shows youthful exuberance in his film, he doesn’t really come across as an adolescent. Still, twenty-somethings playing teenagers in cinema would remain a standard for most of the twentieth century, so it can’t be called out as a peculiarity of the time.

Director: Louis J. Garnier

Camera: Unknown

Starring: Max Linder

Run Time: 5 Min, 7 secs

You can watch it for free: here.

The Legend of Ponchinella (1907)

This early short from Max Linder demonstrates a very different style to what would become his established routine in later movies, seeming to draw from the work of Georges Méliès, as well as French folklore, for its inspiration. Rather than his usual fussy modern aristocrat, Max plays a fairy tale hero in this one.

The movie begins with a series of shots of Max, in Harlequin costume, leading a group of short masked people (probably intended to represent elves, dwarves, or goblins) through various medieval settings. Real locations are used for this, no doubt genuine castles and other ancient landscapes in France that were briefly closed off so that the costumed actors could appear to exist in some timeless period. The small band climbs a stairwell and enters a room, causing smoke somehow to start billowing up from the floor, then they all run off screen. The next scene is preceded by the intertitle “Harlequin rescues his love.” We see a group of well-dressed people surrounding a girl on a short pedestal. She moves in a mechanical way, turning and bowing to the people in the room, to their evident delight. Suddenly the smoke enters the room and all of the aristocrats flee, leaving the clockwork girl alone. She stumbles and collapses from her perch.

The room now transforms from a nice, well-appointed space to a ruin. Now Max enters and finds her in pieces on the floor. He gathers up the pieces of the girl and stuffs them into a sack and carries her away. The next shot shows Max, still with the sack, some distance from the smoking wreck of a castle. He uses a magic wand to create a bridge across a chasm and escape the wreckage. He brings the sack to a beautiful fountain and with a wave of the wand, brings the girl back to life. She now moves in a natural manner, embracing Harlequin and walking off with him. The final scene is called “Harlequin Triumphant” and it involves a series of fairy dances, in a set that closely resembles a Méliès movie, even to the point of having a face like a large moon presiding over the proceedings.

It’s important to realize that when this movie came out, Méliès was one of the most important and successful filmmakers in the world, and that much of the movies coming out imitated or outright stole from him. This is at least somewhat original, more of a homage than a rip-off, though it’s not really what we think of when we think of Max Linder. We hardly see Max’s face at all – most of the scenes are tableaux in proscenium-style sets in long shot. There is one rather lengthy pan as Max and his fairies move through the streets, but Max is always shown at full-figure, never in close-up. The use of actual castle locations is what gives the movie its distinctiveness, although most of the action takes place in sets like the one used for the final fairy dance. I believe that the final fountain where Harlequin resurrects his girlfriend may be at Versailles – possibly a good part of the movie was shot there. In all, it’s an amusing entry in French cinematic history, though not very representative of the work of Linder.

Director: Albert Capellani, Lucien Nonguet

Camera: Unknown

Starring: Max Linder

Run Time: 7 Min, 40 secs

You can watch it for free: here.

Max Takes a Bath (1910)

Max Linder is back with another comedy of errors. This time, he finds a simple matter of hygiene to be beyond his abilities.

We see Max at a store, purchasing a fancy new bathtub. He shows how thrilled he is to have something so elegant in which to wash himself. He takes it out to the street and tries to hail a taxi, but when the cab driver sees the tub, he abruptly drives on. Max is forced to lug the thing home on his back. He manages this, however, and soon after arriving, decides to fill it. There’s one problem – his apartment building has a single shared spigot, out in the hallway. He finds that the small containers he has will take forever to fill the tub, when filled up one at a time and brought back into the apartment, so he has the bright idea of bringing the tub out to the spigot and filling it right there. Then, when he tries to move it back into his apartment, he finds it much too heavy to push.

Not one to let a small thing stand in the way of achieving his goal, Max gets his soap and towel, then strips down and gets into the tub right there in the stairway. Everything is going fine until a neighbor walks by. Max tries to hide by sinking under the water, but of course, the neighbor notices the tub on the stairway landing and investigates, ultimately calling in the manager, then the police. Max tries to shoo them away by splashing them, but this simply results in his (and the tub’s) being hauled down to court. He tries the same tactics on the magistrate with as little success. When they try dumping Max and his water out, he rolls the tub over and scrambles out with it on his back like a turtle’s shell! He’s soon being pursued this way by police and the inevitable little dog.

Once again, this comedy follows the basic plot of Max eagerly anticipating some simple pleasure, only to be thwarted at every turn and ultimately humiliated and ruined. It’s quite funny, although it’s hard to imagine that any apartment house would provide no other way to get running water than a spigot in a common hallway. How was Max bathing before this? Maybe he’s a new tenant. The scenes of Linder in the tub made me think of Alice Guy films from around the same time, like “The Drunken Mattress” and “The Rolling Bed.” No doubt Linder was also familiar with these films when he made this one.

Director: Lucien Nonguet

Camera: Unknown

Starring: Max Linder

Run Time: 7 Min, 45secs.

You can watch it for free: here.

Max Is Stuck Up (1910)

This is another short comedy from Max Linder for Pathé Studios. It has a similar narrative structure to our last Linder film, “Max Learns to Skate,” but takes place in the more familiar bourgeois setting of Paris shops and homes.

Max is invited to dine with a young lady by his “future father-in-law.” We see Max in his apartment putting the finishing touches on his preparations, looking dapper as ever and quite excited to be going out. He twirls his cane and heads out the door. Along the way, however, he stops at a butcher’s shop. The butcher is having difficulty with flies, so has set out several pieces of flypaper. Max steps on one as he approaches the counter. The butcher runs off screen briefly to retrieve a parcel for Max, presumably a pastry that he will bring to the luncheon date. As he begins to leave, however, he notices the flypaper on his shoe. Unable to shake it off, he sits in a chair to allow the butcher to pull it off for him, but in the process he sits on another piece. As this is removed, he puts his elbow on yet another piece, which goes with him out the door. At his destination, the young lady is still getting dressed, and is having some difficulty zipping up her dress, even with her mother’s help. Max arrives and hands over the pastry, only now noticing the piece of flypaper on his elbow. In removing it, he gets glue on both his hands and once more on his shoe, and he tries to conceal this, making it impossible for him to be of service to the young lady. He lingers briefly in the living room, fighting it out with the flypaper, before joining the family at the table for the meal. Now everything sticks to Max. His napkin, fork, glass, even the carpet are all snares he falls into. When he offers to pass a plate to his host, his difficulties reach their peak; the plate is finally destroyed and the two come to blows. On his way out the door, he once again collides with the same butcher, and is seen at the end in tears, covered in glue, paper, and baked goods.

As with “Max Learns to Skate,” we watch Max descend from happy and confident, through frustrated and discouraged, to desperate and crying. Once again, the effect is good comedy, although in this case he is a bit less sympathetic (we get the feeling he’s not really interested in the girl, but rather in the father’s money). I was surprised by the number of camera set ups and the use of insert shots to show Max’s stickiness, but when I first watched it, the print claimed the movie was made in 1906. However, it appears that this version, at any rate, really comes from 1910, which makes this less surprising (actually it’s a bit simplistic for 1910). Like many films of the time, it may have been a remake of an effort from a few years earlier. Be that as it may, I still enjoyed watching Max go through his routine, which uses subtle physical cues to illustrate his changing mood and heighten the humor of the situation.

Director: Lucien Nonguet

Camera: Unknown

Starring: Max Linder, Gabrielle Lange

Run Time: 6 Min, 14 secs

You can watch it for free: here.

Max Learns to Skate (1907)

One of the earliest surviving films of one of the earliest film comedians, this is a fairly simple short about a man’s efforts to learn a simple physical skill – but which takes considerable athletic ability to pull off in a comedic manner. Max Linder succeeds with flying colors in this early outing.

Excited Anticipation

Taken mostly in long shot, this movie consists of just a few sequential scenes, each shot from a stationary camera and lasting several seconds to a minute or more. It begins by establishing a snowy path in a forest, with several people walking along, almost looking like an actuality of France in winter until the star finally approaches close enough to the camera to be recognizable. He stands out from the rest of the characters in the movie by his dandy-ish dress. Most of the men are wearing caps that indicate they are from the working class, while Max sports a shiny top hat. He’s also carrying a pair of skates, designed to be affixed to the bottom of his shoes when he finds a frozen lake. He stops a passerby and asks directions, is pointed the right way and exits, screen left. The next shot shows a table where skaters may check their overcoats and other unneeded items (Max checks his cane, but not his hat). He approaches enthusiastically, and pantomimes his excitement at the opportunity to glide across the ice. The next shot shows wooden chairs where people don their skates, and Max gets one of the local fellows to help him on with his. Next is a shot taken of the shore of the frozen lake, showing Max descending a short plank onto the lake. He is awkward, but stays upright until actually on the ice, where he quickly enters a kind of rapid dance before toppling (and losing his hat). Another local fellow eventually takes pity on him and rights him, giving him his hat back and holding him up as they skate offscreen.

The harsh reality.

The next scene shows Max and his tutor, still arm-in-arm, moving slowly. This shot is taken from the shore and we can now see all the other skaters, out having a grand time. One fellow is on a bicycle. Max eventually feels secure enough to try on his own again and the other fellow skates off. This time, Max is a bit more secure at first, but still wobbles more than he glides, eventually losing his hat again. His effort to recover it results in another pratfall, with him landing on it and crushing it. Another scene of the ice shows Max moving along cautiously, still with the crooked hat, when he is run into by a large child. He runs this kid off angrily, but his buddies show up with snowballs, pelting Max mercilessly. In trying to get away from this assault, Max crashes into another skater who is pushing a lady in a kind of sled-wheelchair. Everyone lands on the ground, and Max, in a fury, is trying to fight with all of them. A skating policeman skates up and removes him from the lake. Max is taken back to the table, where his skates are removed and he retrieves his goods. A final close-up shows Max in tears, his dream of a winter wonderland shattered.

Aftermath

This is a pretty basic film, not especially innovative for 1907, but not bad either. What makes it work is Linder’s screen presence, which keeps the attention and interest of the audience despite the very limited plot and film technique. Max is adorable in the early scenes in which he shows the audience how excited he is to go skating, which makes it all the more effective when he discovers that the sport isn’t as easy as he’d imagined. He only takes four falls, but each is a payoff of some kind of setup, and although we know they’re coming, we don’t know just when. The most surprising is the one where he’s hit from the side, the boy coming in from off camera to crash into him, and this escalates the situation to include others. I wondered, up to that point, if any of the other characters in the movie were “acting,” or whether they were just random people found at the location, behaving naturally. Once Max starts fighting them, we know it’s been set up, but the movie overall feels decidedly natural and unrehearsed. It’s worth noting that what I’ve called a “close-up” at the end of the film is more of a medium-shot, much further back than the camera got to the bandit at the end of “The Great Train Robbery.” It’s possible that the cameraman at Pathé was a bit skeptical of this new-fangled idea, and not willing to take it so far. We can still see enough of Max’s tears that it works, though.

Director: Louis J. Gasnier

Camera: Unknown

Starring: Max Linder

Run Time: 5 Min

You can watch it for free: here.