Walturdaw (production)
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.
Walter R. Booth (director)
Robert W. Paul (cinematographer)
R.W. Paul's (production)
Neither the law of society nor the law of gravity can obstruct this motorist's journey.
Max Linder (lead/writer)
Louis J. Gasnier (director)
Pathé (production)
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.
Louis J. Gasnier (director/writer)
Max Linder (lead)
Pathé (production)
A spurned lover hangs himself. Fortunately his still-flailing body is discovered, but rescuing him is not easy, as cutting him down is an official matter. This is not Max, the dapper and loveable upper-class twit.
Alice Guy-Blaché (director)
Romeo Bosetti (lead/director)
Gaumont (production)
Woman battles a mattress that's stuffed with a drunk. That's the film's only gag, yet it is stretched to 9 long minutes. During the rough and tumble, watch for the moments the 'woman' (Romeo Bosetti) struggles to keep on first his fake boobs, then his wig.
Alice Guy-Blaché (director)
Gaumont (production)
A tale of gender role reversal.
Alice Guy-Blaché (director)
Gaumont (production)
Relax - it's not an attack on motherhood. It's just another shot at the traditional whipping post: the stepmother. No new ground covered here, as everyone who's been subjected to fairy tales learned that stepmothers are evil (usually long before learning what the word 'stepmother' means). But be warned that the child beating scenes are not for the squeamish.
Alice Guy-Blaché (director)
Gaumont (production)
The game-keeper's son witnesses his father's death while chasing a poacher, then picks up the pursuit himself. Interestingly, it's not clear whether the father is murdered, or dies accidentally after failing to stop in time - and then the same ambiguity occurs again at the end.
Alice Guy-Blaché (director)
Gaumont (production)
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: https://centuryfilmproject.org/2016/06/13/the-truth-behind-the-ape-man-1906/
Ferdinand Zecca (director)
André Heuzé (writer)
Pathé (production)
Dog goes for sausage, police go after dog.
Edwin S. Porter (director)
Wallace McCutcheon (director)
Edison (production)
Porter still has not discovered the value of a closeup shot, and once again demonstrates his talent for transforming a 5-minute yarn into a 14-minute yawn. Here, The Three Bears meet Teddy Roosevelt and discover not only that he doesn't bother to speak, but he's also traded in his big stick for a big gun. Naive to standard imperialist tactics, they realize only too late that Goldilocks was merely a pretext for wholesale slaughter and plunder. A fun watch for the kids.
Louis J. Gasnier (director/writer)
Max Linder (lead)
Pathé (production)
Max causes havoc when he joins other skaters on a frozen lake.
Lewin Fitzhamon (director)
Thurston Harris (lead)
Gertie Potter (lead)
Hepworth (production)
Boy's revenge on old man for a practical joke brings disaster to town - to the boy's devilish delight - until that fatal sneeze.
Alice Guy-Blaché (director)
Gaumont (production)
Dance fever - the musical version of the incremental chase. Max Linder films used a scaled-down version of this gag at least twice. Like other Alice Guy comedies, mostly it's the unrestrained comic flair of the anonymous (uncredited) performers that elevates this from a simple gag to delightful madness.
Alice Guy-Blaché (director)
Gaumont (production)
Just another romantic tale of boy meets glue.
Edwin S. Porter (director)
Edison (production)
Another Porter snoozer, posing as “comedy”. Entirely filmed in one room, and it looks as if the camera was set up and then the photographer went off for a nap. The sole noteworthy feature here is the inventive animation of a phone call.
Edwin S. Porter (director)
Bertha Regustus (lead)
Edison (production)
Porter being Porter: a mélange of his worst elements.
head city
has waived all rights to all work here that's not stolen from somewhere else.