Works featuring "farce" (35)
TV Tropes best describes this element: Farce is very broad comedy, generally appearing in acted media. It's characterized by double entendres, misunderstandings, deceptions, and in general very contrived and ridiculous situations...Farce is almost never leisurely-paced; "breakneck" is more apt to describe it. Look for a lot of doors opening and shutting and characters stumbling upon other characters when they're in compromising situations/situations that appear compromising.

The Surprises of a Flirtation (Les surprises de l'amour)

A father and two sons pursue the same dame. Even though this release date is not in Linder's early period, this is not Max, the dapper and loveable upper-class twit.

The Little Vixen (Petite Rosse)

Max must learn to juggle three balls to win a mischievous maid. Includes one of the craziest of the Crazy Max dances. The title of this print "Max Jongleur par Amour (Juggling for Love)" is probably a re-release title, for there is no film with that title in the Pathe catalog. The description of the plot, down to the wording of the intertitles, identifies it as "Petite rosse". The film was originally also released in Pathecolor.

A Shy Youth (Les timidités de Rigadin)

A shy young man is sent to court a young lady, but ends up being allured by a servant pretending to be the absent young lady. Humorously highlighting class differences via a spirited and domineering woman that breaks down the reserve of a bourgeois man, this provides the basic framework of the screwball comedy (sans happy ending). Mistinguett steals the show, exuding the kind of earthy charm and humor that gave her fame.

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 (though 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).

Note: there seems to be no agreement on director's credits: Mabel Normand (as claimed by IMDB and Wikipedia), Mabel Normand and Mack Sennett, or Henry Lehman and Mack Sennett.

Mariage forcé

When Max walks in on his manservant lovingly looking over a newly purchased dress, the servant admits his passion - and Max reaches for his hip pocket. But not for a gun, as the servant fears, but for his wallet - and Max immediately pays him to act as his bride (Broad-minded chap, this fellow Max).

Cross-dressing strictly for deception is an old gag - as in Max and the Maid (1912). But pulling off a project of deception by enlisting the aid of someone who cross-dresses for pleasure is not a common gag. But if Max doesn't marry soon he won't get any more money from his uncle (a premise that returns in Max's King of the Circus (1924)). The uncle, who showed no interest in Max's other marriage prospects, goes nuts over the male-order bride. An uncommon gag - and also a subtle satire of upper-class sexual conventions.

Goof: Around 8:27 the door is opened and then shut but no one appears - perhaps an aborted entrance?