Century Film Project

Celebrating the movies our ancestors loved

Tag: slapstick

The Colonel’s Shower-Bath (1902)

This short piece of slapstick from Georges Méliès demonstrates that even as late as 1902 (the year he put out “A Trip to the Moon”), he wasn’t only making fantasy films and special effects. In fact, he wasn’t even always at the cutting edge of innovation – this movie seems at least five years behind the times.

A proscenium-style stage has been set up to depict a guarded gate in a European city. There are several soldiers on duty, although only one paces out his watch. Others sit, slouch, or mill around nearby. Above them, a scaffold has been set up for some painters who are re-painting the arch over the gate. Suddenly, the man on duty rushes over and alerts his comrades: the colonel is coming! All of them snap to attention, and one shorter fellow, who seemingly was taking a nap, rushes out of the guard station still trying to get his sword back into its scabbard. The colonel arrives, a distinguished older gentleman with an elaborate mustache. He berates the guards a bit for their slovenly appearance, then notices the painters and briefly speaks with one. That one climbs up the ladder to the scaffold with a bucket of paint while the colonel sits on a stool beneath the scaffold. The painter slips, and dumps the white paint all over the colonel, to the great amusement of the troops. The colonel rages at everyone.

There’s not a lot to this movie, although the backdrop and costumes are quite good. The short fellow continues to slouch throughout the colonel’s tirade, and maintains a very un-military appearance overall, which sort of makes him the star of the movie. Later slapstick stars like Keaton and Chaplin would take similar advantage of the audience’s identification with the short fellow who could never make good. But, really, it’s a simple joke you can see coming a mile away. Even Edison was putting out better stuff by this time, although of course the bulk of any film program at this time was not the highest-quality material.

Director: Georges Méliès

Camera: Unknown

Starring: Unknown

Run Time: 1 Min

You can watch it for free: here.

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Fatty’s Suitless Day (1914)

Also released as: Fatty’s Magic Pants

This early work from Roscoe “Fatty” Arbuckle while he was working for Mack Sennett doesn’t have a lot of originality, but it provides plenty of chaotic Keystone anarchy, and puts its star to good use. Crude, but effective in its way.

Fatty is talking to co-star (and his real-life wife) Minta Durfee about an ad in the newspaper. A “Grand Benefit Dance” is to be held that evening, and Minta is eager to go. Minta gives a brief demonstration of her ability to tango, and Fatty does a sort of imitation of her moves. At this point a rival, played by Harry McCoy, walks up carrying fancy-dress evening clothes. He points out to Fatty that he won’t be able to get in, because the ad reads “Strictly Full Dress.” Fatty responds with violence, knocking Harry out, which results in Minta hitting Fatty. There’s a bit more slapstick violence until a Keystone Cop (Slim Summerville) walks up and chases Harry off, throwing his clothes after him. Fatty slinks home and asks his mom to loan him 50 cents so he can hire some clothes, but she responds by bopping him on the ear. Fortunately, Harry lives next door, so Fatty just steals his clothes off the clothes line after he washes them (presumably because of the beating they took during the fight). Of course, they don’t fit, but Fatty fakes things up by drawing buttons on a towel to make it look like the shirt goes all the way down.

Where’s My Pants?

Harry can’t figure out where his clothes went, but he goes down to the dance anyway while Fatty escorts Minta. They dance up a storm, although Fatty’s antics threaten to expose his last-minute alterations. The go into another room for punch, but Harry has sneaked in here, and he recognizes his own suit on Fatty. He sneaks up behind him with a pin and loosens an already-straining seam on Fatty’s pants, then attaches a string to make sure they rip when he gets up. Fatty and Minta have a brief chat with another guest (I think this might be Charley Chase), and suddenly Fatty is pants-less! He runs about in panic while Minta and Charley laugh. He tries hiding behind the punch table, but a waiter comes in and moves it, and soon he is exposed before the whole ball. Now Harry grabs his jacket as well, and Fatty realizes what’s up. He tries to fight Harry, but Harry has a gun. He chases Fatty about the dance hall, causing more chaos along the way. Finally, Fatty escapes out the window, into the clutches of Officer Slim, who puts a barrel on Fatty in the classic method of concealing indecency, then hits him repeatedly with his billy club.

It’s Arbuckle’s physicality that really makes this movie work, from his assaults on Harry, to his pratfalls, to his tango dancing, to his running around in a panic, the movie hinges on well-timed, fast movement from the big man, and he’s fully up to it. Apart from Harry falling down once or twice, and Minta hitting Fatty, none of the other actors really even get a chance to keep up. The filming is standard Keystone, with locked-down cameras at wide shot establishing stages for the actors to work on, and the only editing is occasionally between stages, to show clothes being thrown or stolen or ripped off Fatty’s body. Fatty’s trick with the towel is hard to describe, and doesn’t seem like it would work at all in reality, but it sort of looks OK on camera, given the quality of the print and the camera’s distance from the actor. Given the set-up, I was expecting to see Fatty in drag again, as in “The Waiter’s Ball,” but this was at least different from that movie.

Director: Roscoe “Fatty” Arbuckle

Camera: Unknown

Starring: Roscoe “Fatty” Arbuckle, Minta Durfee, Harry McCoy, Slim Summerville, Charley Chase, Alice Davenport, Phyllis Allen

Run Time: 12 Min

You can watch it for free: here.

Mabel, Fatty and the Law (1915)

Alternate Titles: “Fatty’s Spooning Days,” “Fatty, Mable and the Law.”

This short from Keystone stars two of its biggest stars after (as well as before) the departure of Charlie Chaplin: Mabel Normand and Roscoe “Fatty” Arbuckle. Both are at the top of their game, but the movie suffers from Keystone’s slap-dash approach to plot.

Fatty and Mabel are married at the beginning of the film, but Fatty is flirting with the maid, triggering a bout of violence from Mabel. Another couple is established in essentially the same situation: here the husband is played by Harry Gribbon and the wife by Minta Durfee (Arbuckle’s real-life spouse). Both couples decide to patch things up by a trip to the park. They each sit on benches beneath signs that say “No Spooning Allowed.” Minta goes for an ice cream, leaving Harry alone, and Fatty spots her and soon ditches Mabel. Mabel and Harry strike up a flirtation as do Minta and Fatty. Now, a Keystone Cop in a tree spots the couples through a telescope and summons cops to arrest them (one is Arbuckle’s cousin Al St. John). Mabel and Harry manage to evade them, but Minta and Fatty are nicked. After some shenanigans with the cops in a crowded holding cell, each calls their respective maids and leaves a message from jail. The spouses rush to spring them, also taking the opportunity to shame them for their bad behavior, but when they see one another, they behave so awkwardly as to give away their own indiscretions. The entire group squabbles until the cop from the tree comes out and glowers at them, causing them to run for cover, one at a time.

The plot centers around an understanding of the concept of “spooning,” which has I believe fallen out of fashion. Most people today think of it either as a sexual position, or as its equivalent in cuddling – most spooning is done naked, and wouldn’t have been appropriate in a commercially released film in 1915. However, what we see the couples arrested for here is just sitting side by side, snuggling a bit, or in the case of Harry and Mabel, walking alongside holding hands. I think there is a deliberate implication of “soliciting” here that adult audiences would recognize, but which is suppressed by the use of the more innocent-sounding word. That’s also part of the humor, if I’m following it right. At any rate, this is a fairly typical Keystone domestic/situational comedy, in which the spouses are equally guilty of philandering, and get caught and shamed for their actions. It never really descends into the kind of chaos we would expect in a full-on slapstick movie, but the cast, especially the cops, get bits of physical comedy. Mabel is especially funny when she beats up on Fatty in the beginning of the film.

Director: Roscoe “Fatty” Arbuckle

Camera: Unknown

Starring: Mabel Normand, Roscoe “Fatty” Arbuckle, Harry Gribbon, Minta Durfee, Al St. John, Joe Bordeaux, Glen Cavendar, Josef Swickard, Alice Davenport, Frank Hayes

Run Time: 12 Min

You can watch it for free: here.

Fatty and Minnie-He-Haw (1914)

This two-reel comedy from Keystone shows Roscoe “Fatty” Arbuckle as he was still honing his craft, though he tries out some gags that would be put to better use in later movies. True to the Keystone spirit, it is fast-paced and incoherent.

 

The movie begins similarly to the later movie “Out West,” with Fatty riding the roof of a train, only to be abandoned in the middle of a Western desert with no apparent resources. In this case, Slim Summerville comes along to kick him off the train, and unfortunately that’s his only appearance. Fatty spots Minnie-He-Haw (played by Minnie Devereaux), a Native American woman of about Fatty’s own girth. He decides to pretend to be dying of thirst to get her help, and she calls over some braves from a nearby camp to drag him home. Of course, since she’s now “saved his life,” she expects him to show his appreciation by marrying her. She takes him into her teepee and there’s a bit of funny business about the challenge of kissing when both have such large bellies. Then Minnie goes out to announce her betrothal to the tribe, and Fatty spots Minta Durfee having trouble with her horse nearby. He sneaks over to help her out and when Minnie finds out, the “green-eyed monster” takes over and she drags him back to a feast in their honor. Fatty eats a little and then either becomes ill or fakes it and makes another attempt at a getaway.

Minta rides into town up to the saloon and tells her father (Josef Swickard) about her adventures. He defends her from a funny drunk played by Harry McCoy, who does some good stunts, getting tossed around a bit. She then goes over to the corner to prepare dinner on a convenient stove. Fatty now arrives and also heads to the saloon and pushes McCoy down before spotting Minta and eating most of her dinner. McCoy tries to start another fight and gets shoved again, but now Swickland sees what’s going on and gets out his gun. At the same time, Minnie, also armed, shows up in town looking for Fatty. Swickard tells Fatty to keep away from Minta and shoots at his feet to make him dance, which is so amusing all the local cowhands join in. When he runs outside, Minnie is shooting at him also, so he runs back inside to further gunfire. After this has gone on awhile he runs out of town, winding up back at the Indian camp, where the Indians tie him to a stake and start a fire to punish him for his betrayal of Minnie. Minnie has a change of heart and frees him, but again he uses the opportunity to escape, and now the whole tribe mounts horses to pursue him. He evades them by crossing a skinny rope bridge that won’t hold the horses, but now they fire arrows at him. Several hit him in the behind and he runs off into the distance as the image irises in to indicate the end.

As we might expect from Keystone, the movie is short on plot and big on excesses, and your capacity to enjoy it depends on your comfort with Native American stereotypes and jokes at the expense of fat people. At least Minnie-He-Haw is a person with her own motivations, which is more than some Western dramas were managing at the time. Devereaux definitely fits right in to the madcap atmosphere at Keystone, even if she isn’t wearing bizarre facial hair, and plays her role with gusto. Arbuckle is also committed, even if we don’t get many of his famous stunts, and his run across the rope bridge looks genuinely hazardous. It was fun spotting various Keystone regulars in their Western garb, given a break from always playing cops. I sort of wanted Fatty and Minnie to end up together, but I suppose a mixed-race marriage would have been controversial in a comedy at the time.

Director: Roscoe “Fatty” Arbuckle

Camera: Unknown

Starring: Roscoe “Fatty” Arbuckle, Minnie Devereaux, Minta Durfee, Slim Summerville, Josef Swickard, Harry McCoy, Frank Hayes, Edward Dillon.

Run Time: 24 Min

You can watch it for free: here.

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.