Lucien Nonguet (director)
Max Linder (lead)
Pathé (production)
Max does a nervous twitch so effectively, it is almost contagious. When doctor prescribes hot baths, Max buys a tub which, hilariously, leads to a wall-scaling chase, as first seen in the 1906 "The ? Motorist", adding to the the wonderful absurdity of it all.
Pathé (production)
A newsreel of the state response to the challenge of a couple of anarchists in 1911 London that fought off the combined force of police and military. Was the inspiration for the shootout in the final scene of Hitchcock's 1934 "The Man Who Knew Too Much".
Max Linder (director/lead/writer)
Stacia Napierkowska (lead)
Jane Renouardt (lead)
Pathé (production)
On his wedding night, Max excites his bride. A refinement of the gag in the 1896 Méliès film "A Terrible Night (Une nuit terrible)".
Max Linder (director/lead/writer)
Jean Leuvielle (lead)
Suzanne Leuvielle (lead)
Marcelle Leuvielle (lead)
Pathé (production)
Max returns to family for a rest, but a puckish pony has other plans. Finally, Max is "rescued by Rover".
Max Linder (director/lead/writer)
Jane Renouardt (lead)
Henry Collen (lead)
Gabrielle Lange (lead)
René Leprince (director)
Pathé (production)
Max prefers an acting career over marriage, so he tries to put off a prospective spouse - who is also doing the same. Jane Renouardt goes toe to toe with Max in manic antics.
Max Linder (director/lead/writer)
René Leprince (director)
Stacia Napierkowska (lead)
Jane Renouardt (lead)
Pathé (production)
When Max's shoes are ruined, he goes to his wedding in workboots.
Wilfred Noy (director)
This is the final 2 minutes of the 10-minute video described at http://www.screenonline.org.uk/film/id/1114609/synopsis.html. It features a reenactment of the 1909 Tottenham chase, that began with a robbery by anarchists, set in a fictional tale of spies.
Max Linder (director/lead/writer)
Pathé (production)
Max goes nuts when he sees big butt. Max tries to sneak snapshots of a Rubenesque beauty on the beach, but she gets payback - as Max ends up frantic with guilt. Too little content, dragged out too long.
Albert Capellani (director/writer)
Emile Zola (author)
Henry Krauss (lead)
Sylvie (lead)
Jean Jacquinet (lead)
Dharsay (lead)
Cécile Guyon (lead)
Pathé (production)
The original film is 2.5 hours, so this version is missing more than half the film - most notably, the intertitles. Also, the two main male leads share similar costumes, physique, mustaches, and hair styles, and are both seen with the same woman. So this version is tricky to follow, but is worth the effort: a more natural acting style, location filming, unforgettable scenes of crowd uprising, and a story that subtly surveys the intersection between emotional and social landscapes - at a time when US film was still honing its huckster skills of grabbing the attention of the audience, then ramming views and values (aka, propaganda) down its throat.
Baldassarre Negroni (director)
Giorgio Ricci (cinematographer)
Fernand Beissier (author)
Francesca Bertini (lead)
Leda Gys (lead)
Emilio Ghione (lead)
Celio (production)
The diva plays the Italian-comedy/French-pantomime stock male character with a cute pear butt. Performance is in “classical” style - cinema's euphemism for “deathly boring”.
Max Linder (director/lead/writer)
Pathé (production)
One, two, three - puke! A drunken tango lesson by Max is the old “Walk this way” gag taken to the extreme. Showcases both his smooth dancing style (7 years before Valentino's tango!), as well as his masterful physical comedic skill, in a clever skit that needed no intertitles.
Mack Sennett (director/lead)
Frank D. Williams (cinematographer)
Mabel Normand (lead)
Charles Chaplin (lead)
Chester Conklin (lead)
Edgar Kennedy (lead)
Keystone (production)
Unencumbered by story or intertitles, Mabel and Chaplin go freestyle in this nonstop brawl. Not the funniest, but the sheer energy of this intensely physical comedy threatens to transgress all laws of nature (For extra credit, watch in slow motion and count how many times Mabel and Chaplin leap up in sync).
Max Linder (director/lead/writer)
Lucien Nonguet (director)
Pâquerette (lead)
Pathé (production)
Max has a new bride, but can't escape his mother-in-law. Twice the length, but fraction of laughs. Virtually every moment of the film shows Max in anger, yet that is not where Max's comic attraction dwells - he is lovable as a hapless twit. But it does provide historic confirmation for an axiom of comedy: your act is in trouble when you find yourself resorting to mother-in-law jokes.
Broncho Billy Anderson (director/lead/writer)
Lee Willard (lead)
Marguerite Clayton (lead)
Essanay (production)
Broncho Billy weighs into the debate on multiculturalism. Definitely not starring Jerry Mathers as "The Greaser".
Georges Monca (director)
Charles Prince (lead)
Pathé (production)
An enjoyable work, would love to find more by Charles Prince. Also would like to better understand how falling bombs became such a light-hearted matter a year into World War 1.
Lloyd Ingraham (director)
Victor Fleming (cinematographer)
Anita Loos (writer)
Douglas Fairbanks (lead)
Jewel Carmen (lead)
Albert Parker (lead)
Douglas Fairbanks, barely past his first year of movie-making, not only rolls, climbs a tree, jumps fences/cars/benches, climbs onto a moving car then jumps off and hangs from a wire, and gratuitously does every other animal act trick (other than roll over and beg - that's the one he used to get this gig), but also spanks and kisses his servant, pole dances, endlessly swaggers like an ape with a broomstick up its ass, and generally works hard to be overconfident, overbearing, and terribly annoying - i.e. the embodiment of the imagined ethos of early twentieth century white American maleness. A comedy, minus the laughs, more like news from home - which is, a title card tells us, generally bad.
Marian E. Wong (director/lead/writer)
Featuring rich costumes and the conflict between tradition and modernism (a theme that, 10-20 years later, would become a staple of the Shanghai film industry), it's a pity so little remains of this.
head city
has waived all rights to all work here that's not stolen from somewhere else.