Works featuring "emblematic shot" (19)

How A British Bulldog Saved The Union Jack

It's the golden rule of American vaudeville and British music halls: when your act is doing badly on stage, especially if you've got zero talent, just start waving the flag - because then no one would dare boo you. Here we see that rule's early migration from stage to screen.

Joined Lips (Lèvres Collées)

When man kisses maid, whose mouth is used for affixing postage stamps, their lips become glued. Only interesting as a benchmark for Alice Guy-Blaché's superior version, 'A Sticky Woman (La femme collante)', which elevates this silly gag to a grim social satire.

The Truth Behind the Ape-Man (La vérité sur l'homme-singe)

Notable for an early use of inter-cutting for comic effect (in a running gag), and the manic performance of the uncredited lead as ape-man (shades of Harpo). Also impressed by how efffective the wordless storytelling was. Or maybe not: almost all the online reviews I read were either baffled or off the mark. But if you're feeling the need for clues, there's a detailed breakdown at:

Mabel's Strange Predicament

Fans of Mabel's comedy don't like this because the focus is on her charm rather than her comic talents. And although Mabel stars, it's really a showcase for Chaplin - the film where The Tramp was born. But fans of Chaplin's pathos and progressive social commentary don't like to see the lovable Little Tramp obnoxiously drunk, belligerent, lewd, and molesting (such drunk roles launched Chaplin's fame in the English music halls). So this film has gotten poor reviews. But this work is a gem precisely because it is different - showing how Chaplin's style diverged from American film comics, utilizing small quirky movements and subtle comic expression, not just broad clowning. Actually worthy of the Keystone byline 'farce comedy', and with its subtle humor, this is one for Max Linder fans (both Chaplin and Sennett were big fans): cf. 'Max Takes Tonics' (1911).

The False Max Linder (Un idiot qui se croit Max Linder)

Tries, but fails, to be an imitation Max. Samples "Max Pedicure". Ironic movie posters (for actual movies) suggest a possible subtext of the film. One is titled "Le duel de Max (Max and His Rival)" from 1913. When the imposter takes off the current poster, a poster is revealed for another Pathé Frères film: "La rançon de Rigadin (1914)" starring Charles Prince, whose "Rigadin" character was the only film comic that rivalled Max in popularity (and sometimes both used the same scenario: e.g., The Lady Doctor, and Courting Two Lovers). Was this film a sly putdown in a 1914 hiphop-style battle?

Max Is Love Sick (Le hasard et l'amour)

Max is lovesick when rejected by his lover's father. Although billed as 'comédie sentimementale', other than the light humor of Max pretending to be a doctor, it's all played strictly sentimental.