Century Film Project

Celebrating the movies our ancestors loved

Tag: slapstick

Back Stage (1919)

Buster Keaton and Roscoe “Fatty” Arbuckle team up again for this short from Arbuckle’s Comique Film Corporation. Keaton has a very prominent co-starring role in this, although Arbuckle is still the center of attention.

Like a lot of these two-reel Comique shorts, this movie is divided into two very short story lines. True to the title, the first focuses on the backstage antics of a small theater troupe, while the second shows a performance, disrupted by hecklers. The movie begins by showing two men (Buster and Al St. John) re-arranging furniture in what seems to be a small bedroom. Suddenly, they grab hold of the flats that serve as the side walls and move them, then the backdrop is raised into the ceiling, showing that we have been looking at a set. Arbuckle is now seen, pulling the rope that lifts the backdrop. This sets the stage for the many sight-gags we’ll be seeing throughout. An intertitle informs us that Arbuckle is in charge of the theatrical company, and we see him outside the theater, trying to paste up a new poster for a coming attraction, but a small child takes an interest in his work and keeps getting in the way. Arbuckle finally pastes him to the wall to keep him out of trouble. He then tears him down and sends him on his way, pasting a bit of poster to his bottom to hide where his pants were torn in the process. When he’s done, the sign advertises a famous star, but the sliding door to the theater obscures half the message when left open, and the remaining text appears to promote a stripper. Inside, Keaton is dealing with a touchy star who insists on having a dressing room with a star over it. Once he’s inside, Keaton pulls the string that moves the star over another dressing room.

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Uncle Josh at the Moving Picture Show (1906)

This early short from Edison incorporates several technical advances worthy of Méliès, but employs them in a decidedly different manner, producing a very “American” special effects comedy, despite its being a remake (not to say outright rip-off) of a British original. It’s particularly interesting as one of the first iterations of a persistent early cinema myth.

The classic proscenium-style frame actually does depict a stage in this instance, a stage on which a screen has been set up for projecting motion pictures. There is a box visible to the left of the screen, and a man sits in it, presumably part of a larger, invisible audience. The first movie begins with a title telling us that the program is “The Edison Projecting Kinetoscope.”  The actually movie’s title is “Parisian Dance.” We see a young lady in modest attire come on the screen and do a dance, which does involve raising her skirts for a a few kicks. The man in the box gets increasingly excited, eventually jumping down onto the stage to join the filmed lady in the dance. She disappears and a new title tells us we will next see “The Black Diamond Express.” A train track appears and our rube again gets very excited, leaning forward into the screen to see the oncoming train. As the train rushes past the camera, he panics, and dives back into his box for safety. The final film is “The Country Couple,” and it involves a rustic young man and woman having a brief romantic interlude. The man again leaps onto the screen, perhaps jealous or perhaps angry because the girl reminds him of his daughter. He attempts to attack the young man, pulling down the screen as a result and revealing the projectionist behind it. He and the projectionist proceed to get into a scuffle, rolling across the stage in combat.

It was a pretty clever idea, using a series of old Edison pictures to fill in as “movies-within-a-movie” to develop a whole new plotline. It also required some technical understanding of how to handle split screen effects. Unfortunately, it doesn’t work as well when “Uncle Josh” gets in front of the screen: he tends to disappear as if he’s gone behind the screen, or to become transparent so we can see the movie projected on top of him. Still, this movie gave us a kind of “Shadowrama” almost ninety years before MST3k. I’m pretty sure that films were not rear-projected at the time, as we see here, and that in a real situation the projectionist would have been situated in front of the screen, not behind it, approximately at the position that the camera is for the purposes of shooting this movie. I suspect that the reason he is moved is so that he can be revealed to the audience when Uncle Josh pulls down the screen, since editing and multiple camera set ups are not within the framework of this movie, and also the reveal works dramatically much better than someone yelling at Uncle Josh from behind would. The “cinema myth” I refer to above is the commonly-recurring trope about people panicking and running from theaters when a train was shown coming at the camera. It appears unlikely that this ever happened, but the story expresses the power of cinema to move people, something that apparently film makers were already aware of in 1902.

Director: Edwin S. Porter

Camera: Edwin S. Porter

Starring: Charles Manley

Run Time: 2 Min

You can watch it for free: here.

Max Juggles for Love (1912)

Max Linder stars in this comedy short about a man’s attempt to woo a young lady with an odd requirement for her paramour. It seems like some of the footage might be missing, but there’s enough here to get the story across.

The movie begins with Max in a room with a young lady, and her father standing between them. Max reveals an enormous bouquet of flowers, which seems to delight the girl, and she ushers her father out of the room. As soon as they are alone together, however, she attacks him, and Max runs in panic from her blows. She forces him to sit down and exits the room. We cut to her father’s office, where he is working on some papers. She comes in and uses a feather pen to tickle his ear, smiling and laughing and jumping about. When he gets up to urge her to see to her guest, she sits on the desk and writes out a letter. The letter states that while Max is attractive, he doesn’t “seem too healthy.” She insists that he demonstrate an ability to juggle three balls in order for her to consent to marriage. The father delivers the letter, which reduces Max to tears, and he commiserates for a moment until Max resolves to learn to juggle. He makes a brief effort with his hat and cane as he walks out the door, but the girl is standing on the balcony above. When he throws his cane too hard, she catches it and substitutes an umbrella, which consternates Max. He walks further down the street and finds some fruit at a fruit stand to practice with, but he bumps into a passerby who starts throwing fruit at him until a policeman arrives. Next, we see Max in the shambles of his apartment. Apparently he has tried juggling everything (right now he’s practicing with pillows) and he just can’t get the hang of it. Suddenly, his face lights up and he dashes off a note to the girl telling her to bring her father over to see him juggle. They receive the letter and look dubious, but prepare themselves and go to his apartment. When they arrive, there is a large screen set up in the room, and Max goes behind it, sticks his arms out and easily juggles the balls. She insists on a second demonstration, and knocks the screen down while he is doing it, revealing a hunched-over juggler substituting for Max! Max is once again in tears as she laughs at him.

I wonder if the original movie didn’t show more of Max’s attempts (and failures) at juggling. It seems to move rather quickly from his efforts on the street to his ruined apartment. The (uncredited) comedienne in this movie contributes a great deal to it with her apparently sudden mood swings and childish body language, especially in the scene in her father’s office. She seems to really enjoy tormenting Max, which makes her the perfect foil for his exaggerated emotional reactions. Linder himself is a pleasure to watch, as always. The camera work remains pretty standard, and the editing structure simply follows a linear thread, but the movie works as comedy because of the performances. However, the logic of the set doesn’t really work at the end – the girl and her father enter from behind the screen and should be able to see the juggler as they are shown to their seats. It is assumed that since the audience can’t see behind the screen, they accept that the characters cannot either.

Director: Max Linder

Camera: Unknown

Starring: Max Linder

Run Time: 6 Min, 30 secs.

You can watch it for free: here.

Max and His Mother-in-Law (1914)

This short film stars Max Linder as an unfortunate husband who brings his mother-in-law along on his honeymoon, with the expected frustrations and pratfalls ensuing. It’s one of the longest (2 reels!) Linder films I’ve seen.

The movie begins just after the wedding, at home, with Max and the bride still in their wedding finery, and the new mother-in-law in tears. Each time Max tries to get his wife alone, the mother bursts in crying and clutching at her little girl. Finally, Max leads her out to the train station, apparently resolved to begin the honeymoon early, but the mother pulls her daughter off the train and Max is stuck alone, getting off at the next station and running all the way back to find them. After appearing to threaten his mother-in-law, he agrees to the three of them going together. They return, apparently the next day (Max and wife are now in appropriate travel garb) and board the train together, arriving at an alpine lodge and taking a horse-and-sleigh from the station to their destination. Because the mother-in-law is so large, Max has to sit in front, with the driver, instead of with his wife.

The next day is a series of follies, similar to “Max Learns to Skate,” except this time he’s perfectly capable of snow-bound sport, but the mother-in-law is a consistent foil. First, when they go skating, Max’s skating lesson to his wife is interrupted because the mother-in-law doesn’t dare to move at all. When he tries to help, she falls over repeatedly, bringing max down with her and injuring him so he skates badly. Then, they try sleds, but Max’s wife insists that he ride with her mother and take care of her, but she keeps screaming and throwing her arms around him so he can’t see or steer. Finally, she is dumped off the sled and rides to the end on her bottom. Then, they try skiing, and once the mother-in-law has hers on, Max gives her a shove and off she goes, soon with Max and wife in pursuit (on foot). When they find her, she’s upside-down in a snowdrift. They pull her out and try to get her on to a train back to the lodge, but she still has one ski on and can’t mount the train. Max has the bright idea of putting her on a horse and tying the horse to the back of the train, but by the time they get to the lodge, the horse has freed itself and mother-in-law is dangling from a watering tower. Max helps her down and seems finally ready to lose his temper completely, but there is an unexpected reconciliation and all three hug one another.

This movie is pretty typical in terms of structure, but what makes it stand out is that Max Linder was not at the center of the physical comedy. I’ve never before seen Pâquerette, the comedienne that played the mother-in-law, but I have to say I was impressed with her frequent stage falls and deliberate clumsiness, all the more difficult to pull off because she was a large woman. Especially on the ice, she shows adequate control to make it look as if it is impossible for her to stay standing, and yet she consistently falls on cue. Max adds to the humor with his often over-the-top responses to her, and then having to suddenly change emotional registers immediately to placate his wife. Most of this is, as usual, handled in long shot more with gestures than facial expressions. The movie was apparently shot on location in Switzerland, so would have represented a bigger expense than usual for a Pathé comedy, which may explain its length as well: Having committed so much to the picture, they wanted a product that would justify the expense.

Director: Max Linder

Camera: Unknown

Starring: Max Linder, Pâquerette

Run Time: 24 Min

You can watch it for free: here.

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.

Fireman Save My Child (1919)

This animated short stars “Mutt and Jeff,” themselves stars of a long-running newspaper comic strip. The movie emphasizes slapstick and low-brow comedy of various kinds.

The movie begins with a very primitive image of the front of a fire station. Mutt and Jeff walk out to the front and Mutt sees smoke billowing out from a neighboring tree. On the logic of “where there’s smoke there’s fire,” he and Jeff spray the tree with a fire hose, putting out the cigarette of a policeman who’s standing there and drenching him as well. Jeff runs away, climbing the fire pole and putting his hat on one bed, rumpling the covers to make it appear he’s there, then hiding under another one. The cop comes into the station and hits Mutt with his billy club. Mutt grabs a fire ax and goes looking for Jeff. He finds the hat and gets ready to swing, but suddenly five other firemen jump out of the bed and confront him. Further problems are prevented when a real fire bell goes off and everyone piles into the fire truck in a comedy sequence. They get to a tall building that’s on fire and a lady is yelling “save my darling!” Jeff uses the hose to squirt Jeff up to the top of the neighboring building and helps one young woman escape, but she’s not the right one, so he goes in to the burning house, where he’s attacked by a vicious dog. Eventually he makes an escape, getting ready to leap onto the firemen’s life net, but at that moment a pretty girl is climbing down the fire escape and all the firemen go to look up her skirt. Jeff crashes through the pavement. He and Mutt go to talk to the screaming woman and it turns out that her “darling” is the dog. They pass out on the street.

There’s not much to this, besides constant cartoon violence. The backgrounds remain simple and un-detailed, and most of the animation is repetitive. There is a quick close-up on Mutt as he hides under the bed, which shows more detail than most of the images. The other interesting bit is how various characters, including Mutt and the policeman, are able to “ride” the water coming out of the fire hose. It’s not an entirely reliable mode of conveyance, but it does allow some impossible things to happen. Mutt and Jeff were one of the first comic “strips,” in the sense of being several linked panels, and ran for many years. Many kids, like me, who never actually saw Mutt and Jeff heard about it from our parents: they were American comic icons to which modern cartoons and comics were always compared. This series of animated shorts was produced from 1916 until 1927 and consisted of over 300 movies.

Director: Bud Fisher

Camera: Unknown

Run Time: 6 Min

I have been unable to find this available for free viewing. If you do, please comment.

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).