The films of Max Linder as “Max”, a dapper and loveable upper-class twit, stand apart from most other comedies of the early silent era, relying less on physical humor and more on story, situation and character.
Max Linder made several hundred short films (most now lost) as 'Max', a dapper and loveable upper-class twit. The films stand apart from most other comedies of the early silent era, relying less on physical humor and more on story, situation and character. When Max is bedeviled by everyday trivialities in modern life, he seems closer to modern sitcom characters. As a handsome and romantic buffoon, Max brings to mind the comic characters of Marcello Mastroianni.
One critic at that time accurately placed Linder's work in the context of his contemporaries:
Max Linder (as Max) is an adroit and able comedian. It is a mistake to cast him in burlesque, knockabout farce. He is at his best in finely tempered comedies, where every expression and gesture counts. In fact, Linder is a relief after the exaggerated, hurried action comedy work which many American directors think necessary. (The New York Dramatic Mirror, Jun. 25, 1913)
Comically darting around in a semi-squat was made famous by, and is now named after, Groucho Marx. But before Groucho even started in comedy, and was still a teenager in a straight singing act with his brothers in vaudeville, Max amused his international audience with what we now call "The Groucho Walk".
And when Max goes full-on wacky, it becomes easier to see where those nutty Looney Tunes characters came from (and maybe why toons always wear gloves!).
Watching Max Linder films it becomes clear how he was unlike other comics before him (from what we can determine in the remaining archives), yet - directly or indirectly - influenced so much of comedy that came after him.
During his early period, Linder was required to film a new comedy each week. So it should be no surprise that quality varies widely: a random walk through his work can easily lead to disappointment. To counter that, here is an introduction that ranks Max films as Mandatory, Masterful, Major, or Minor - based solely on my preference (which constantly changes). Within each rank, films are ordered by date.
These films illustrate core rules of the Max films:
Ready for more?
These films can convert a viewer from "Max-curious" to "Max-committed".
Max Linder (director/lead)
Jeanne Marnac (lead)
Pathé (production)
The Linders are given a long tube filled with clear liquid and told that their fidelity is proven as long as the liquid stays clear. It is missing the opening scene, as described at the Film: Ab Initio blog, which notes “Its brand of humour makes it a forerunner for the screwball comedies of the thirties and forties”. Features the Max Slide.
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.
Max Linder (director/lead/writer)
Pathé (production)
Max flips the bird to his chick, but then flips his wig over a chicken. A darker remake of the 1908 "Troubles of a Grasswidower" - in both lighting and humor - yet even more zany. But here Linder plays against character: although Max is normally a loveable upper class twit, here he is a complete cad from the first scene to the last.
Max Linder (director/lead/writer)
Pathé (production)
Two girls crazy over Max. Begins as a romance (with some surprisingly nice cinematography) but, in the last 5 minutes, switches to comedy when Max learns the girls plan to kill each other over him! That sends Max into a wacky bliss, and he pulls a string of gags that look like they could have inspired Looney Tunes!
Edouard-Emile Violet/Édouard-Émile Violet (director)
Max Linder (director/lead/writer)
Vilma Bánky (lead)
Gyula Szöreghy (lead)
Eugen Burg (lead)
Ernst Günther (lead)
Vita-Film (production)
In her 1983 documentary on Max Linder, The Man in the Silk Hat, Maud Linder says of Max Linder's rarely-found final feature film (made in Austria): “Nothing remains of this great film but a few stills and scraps of footage, unscreenable today”. Fortunately, more of the film was later found. Although most profiles of Linder's career sketch a portrait of post-war decline until the end, his final feature film rebuts those claims. The film was so successful that it was remade in 1937 and 1957.
Max suffers from brattiness and drunkenness, but gets serious after he falls for the daughter of a circus director - who forbids her romance with an outsider. Max then attempts to learn circus performance but when he is forced to admit his failure, the director then invites Max to join his circus anyway - as a lion tamer!
The more subtle aspects of Linder's style of humor and charm can elevate what otherwise would be a simple gag into a major work.
André Heuzé (director/writer)
Max Linder (lead)
Pathé (production)
Max uses finesse to try to hide a rip in his trousers during a dance. This is quintessential Max: the dapper and loveable upper-class twit whose efforts to impress ladies crash and burn while he tries to keep face, in the modern man's dilemma of maintaining the delusion of stability as his world falls apart.
Max Linder (director/lead)
Pathé (production)
Max has a wife who tires of his annoying behavior and returns to her mother. At first, Max is quite pleased to have the house all to himself. But he quickly discovers that even the most basic domestic chores can be fraught with difficulty. Introduces the Crazy Max dance
Camille de Morlhon (director/writer)
Max Linder (lead)
Arlette d'Umès (lead)
Pathé (production)
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.
Louis J. Gasnier (director)
Lucien Boyer (writer)
Max Linder (lead/writer)
Pathé (production)
Max feels his marital bliss is incomplete. Somewhat similar to the 1904 The Strenuous Life, Or, Anti-Race Suicide, with absurd comedy replacing social satire. A bit unnerving to watch Max do his manic antics near real infants.
Max Linder (director/lead/writer)
Louis J. Gasnier (director/lead)
Charles Pathé (lead)
Pathé (production)
Max applies for a job as an actor, and perfectly captures that mix of jitters and groveling that marks any job-seeker.
Lucien Nonguet (director)
Max Linder (lead/writer)
Gabrielle Lange (lead)
Pathé (production)
Max has an important dinner date, but things get a bit sticky. In other comedies, the fly paper gag felt more frustrating than funny. But the humor here lies in Max's attempts to hide his difficulties, which just compounds the problem - a core trait of Max.
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)
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.
Max Linder (director/lead/writer)
Jane Renouardt (lead)
Harry Fragson (lead)
Pathé (production)
Max and his good friend, who came to visit him in Paris, both fall in love with his new maid.
Max Linder (director/lead/writer)
Pathé (production)
After a party, Max passes out drunk in a knight's costume and is mistaken for a stolen statue.
Max Linder (director/lead/writer)
Lucy d'Orbel (lead)
Georges Gorby (lead)
Pathé (production)
Max is invited to join his uncle for a holiday, but his wife refuses to be left behind, so he sneaks her in his suitcase.
Max Linder (director/lead/writer)
Pathé (production)
Max's hat is dogged by misfortune.
Max Linder (director/lead/writer)
Cécile Guyon (lead)
Pathé (production)
Max meets an English girl on a train, and uses drawings to woo her. Few laughs, but effortlessly oozes charm.
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.
Max Linder (lead)
Pathé (production)
Max performs tragedy - and leaves not a dry eye in the house. Could be viewed as a parody of his bumbling in "La légende de Polichinelle (1907)".
Max Linder (director/lead/writer)
Pathé (production)
Max rushes to find the lost purse of the lady he woos - wreaking havoc everywhere. Fast-paced, with multiple tracking shots.
Max Linder (director/lead/writer)
Martha Mansfield (lead)
Francine Larrimore (lead)
Mathilde Comont (lead)
Essanay (production)
In his second US-made film, Max arranges to have an affair in order to get a divorce, to fulfill the requirement for inheriting a fortune. The broad humor in the psychiatrist office is typical of an Essanay production, but alien to Linder's style.
Max Linder (director/lead/writer)
Alta Allen (lead)
F.B. Crayne (lead)
Max Linder Productions (production)
Max breaks a mirror, then tries to avoid bad luck, but makes things worse. First of Linder's three full-length feature films made in USA.
Mainly for the Max-obsessed.
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.
Louis J. Gasnier (director/writer)
Max Linder (lead)
Pathé (production)
Max causes havoc when he joins other skaters on a frozen lake.
Albert Capellani (director/writer)
Lucien Nonguet (director)
Max Linder (lead)
Pathé (production)
Or, 'How Max Came To Comedy'
Louis J. Gasnier (director)
Max Linder (lead)
Pathé (production)
This is not Max, the dapper and loveable upper-class twit, but appears to be the same schoolboy in 'In Love With The Bearded Woman' (same uniform and still living with parents), who takes a crack at cigar-smoking. Closeup shots showcase Linder's remarkable expressive abilities, as he demonstrates how to choke with finesse.
Charles Decroix (director)
Max Linder (lead/writer)
André Deed (lead)
Pathé (production)
When papa steps in, Max must stop romancing the daughter and pretend to be a pedicurist.
Segundo de Chomón (director)
Max Linder (lead)
Pathé (production)
Here Linder pays his dues in a way familiar to many comics: as merely the comic lead-in to the girlie show.
Max Linder (lead)
Pathé (production)
This is not Max, the dapper and loveable upper-class twit, but appears to be the same schoolboy in His First Cigar (same uniform and still living with parents), who now has lovesick eyes for big bush.
Max Linder (lead)
Pathé (production)
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.
Max Linder (lead)
Romeo Bosetti (director)
Pathé (production)
Romeo hires bandits to kidnap Juliet and capture her father. Move on folks, nothing to see here.
Louis J. Gasnier (director)
Max Linder (lead/writer)
André Urban (lead)
Pathé (production)
Impoverished brothers try to put the touch on their father, to raise money for a night on the town.
Louis J. Gasnier (director)
Max Linder (lead/writer)
Pathé (production)
Max's bad eyes lands him in a duel. Kind of a silent Mr. Magoo. But poor print, strangely lacking the closeups that have been in Linder's films from the beginning, leaves the viewer with trouble with the eyes.
Lucien Nonguet (director)
Max Linder (lead/writer)
Pathé (production)
A showcase of the art of the pratfall, harking back to the debut of Max.
Lucien Nonguet (director)
Max Linder (lead/writer)
Pathé (production)
Max gets into trouble when he sends two girls the same poem. This idea is revisited in a wacky way in the 1917 "Max The Heartbreaker".
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)
René Leprince (director)
Jane Renouardt (lead)
Henri Bosc (lead)
Pathé (production)
Max, unsure about his wife's fidelity, gives his dog Dick the job of keeping an eye on her. No furry toys, but a definite hint of zoophilia.
Max Linder (director/lead/writer)
Joé Dawson (lead)
Pathé (production)
Max is fooled into believing he is stalked by a jealous donkey. Note that here Max is chased down a wall by the donkey, and in "Max Takes A Bath" he is chased up a similar wall by cops.
Max Linder (director/lead/writer)
Suzy Depsy (lead)
Pathé (production)
To wed a maid, Max must get consent from her lustful jealous guardian.
Max Linder (director/lead/writer)
Suzy Depsy (lead)
Pathé (production)
Max courts the farmer's daughter - but has the hots for the maid (who is the younger daughter in disguise). More like a light romance than a comedy but, despite the alluring title, zoophiles will be disappointed.
Max Linder (director/lead/writer)
Stacia Napierkowska (lead)
Georges Gorby (lead)
Pathé (production)
Max is spurned by the father of his love, but still he persists. Note that Max briefly revisits his 1907 debut film, "The Unskillful Skater".
Max Linder (lead)
Pathé (production)
Max, who fears dogs, is chased by them.
Max Linder (director/lead/writer)
Lucy d'Orbel (lead)
Pathé (production)
Max is shy, but his shoes go courting.
Max Linder (director/lead/writer)
Pathé (production)
Max's romance is derailed by a challenge to his fear of water. Only two comic moments: this first one at 9 minutes. The final comic moment (at 13 minutes) is Max in his best manic form. It's even more impressive because it is preceded by a chillingly grim portrayal of broken-hearted depression: like a cinematic display of manic-depression.
Max Linder (director/lead/writer)
Armand Massard (writer)
Lucy d'Orbel (lead)
Pathé (production)
To wed a rich American, Max must beat competing suitors in sports.
Max Linder (director/lead/writer)
Pathé (production)
Max sees a bullfight, then wants to become a toreador. Long, with few laughs. WARNING: Scenes of animal abuse. Not only the bulls, but also the pair shown above, that were forced to perform - despite clearly exhibiting zero comic aspirations. But one of them does commit at least one act of revenge, that Max quickly improvises on.
Max Linder (director/lead/writer)
Jane Renouardt (lead)
Pathé (production)
Max loves Jane, but Jane loves her pussy - and it's driving Max mad. Too long, but hang in there til the end...
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.
Max Linder (director/lead/writer)
Lucy d'Orbel (lead)
Pathé (production)
In the first act, Max must overcome his shyness to declare his love for a lady doctor. Some funny stuff here. In the second act, he faces numerous obstacles on his wedding night. Not much Max here, just lots of strange medical practices. In the final act, he restores his privileged position of malehood, as in the Alice Guy-Blaché film “The Consequences of Feminism (1906)” - sans the profound irony. But the major shortcoming here is too much angry Max, not enough lovable hapless twit.
Max Linder (lead)
Pathé (production)
No story - just funny Max-drunk-again gags, this time on a boat.
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.
Romeo Bosetti (director/lead/writer)
Jules Vial (lead)
Max Linder (lead)
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 Linder (lead)
Pathé (production)
Max rescues lover from a convent via an arranged kidnapping: an extended rework of "Romeo Turns Bandit". All romance, no comedy. Includes unusual insertion of a triptych screen.
Max Linder (director/lead/writer)
Lucy d'Orbel (lead)
Georges Gorby (lead)
Pathé (production)
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.
Max Linder (director/lead/writer)
Martha Mansfield (lead)
Mathilde Comont (lead)
Essanay (production)
Max is forced to get a job as a cabbie (in the final 7 minutes of this 20-minute film). His third US-made film, this seems to be missing the opening scene in the restaurant, that's described at maxlinder.de/maxinataxi.htm. What's here is more slapstick and action, less story and character.
Max Linder (director/lead/writer)
Alta Allen (lead)
Caroline Rankin (lead)
Lincoln Stedman (lead)
Max Linder Productions (production)
Max must overcome both a disapproving aunt and his rival's vicious dog to be with his sweetheart. First reel of the second of Linder's three full-length feature films made in USA.
Max Linder (director/lead/writer)
Bull Montana (lead)
Frank Cooke (lead)
Caroline Rankin (lead)
Jobyna Ralston (lead)
Max Linder Productions (production)
Parody of Douglas Fairbanks' 1921 film The Three Musketeers. Of course, this is not Max, the dapper and loveable upper-class twit, who (like the less lovable twit, Basil Fawlty) usually sees his grand schemes crash and burn. Instead, here we get American-style comic hero, in the tradition of Keaton and Lloyd, Bugs Bunny, and Eddie Murphy: the wise guy that usually ends up winning, while making the opposition look foolish. And it is a different type of humor, relying less on Linder's comedic skills, more on anachronisms, goofy swordplay, and quirky supporting characters.
Abel Gance (director/writer)
Max Linder (lead/writer)
Jean Toulout (lead)
Gina Palerme (lead)
Films Abel Gance (production)
Max accepts a bet that he cannot remain in a haunted castle for one hour without crying for help.
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