Max Linder is not at Olympia, and for having stated in these notes that 'he is appearing in flesh and blood' I blame the individual responsible for the advertisements of that house of entertainment, and humbly apologise to Max Linder and readers of THE BIOSCOPE. Max Linder's 'cinemality' - if I may coin the word - is at Olympia, and as large as life on the big screen. Max figures in three feature films - comedies, and bustling ones at that. The titles are, 'Max as Compleat Athlete,' 'Max as a Toreador,' and 'Max's Holiday.' Hence the announcement of a Max Linder season at the famous music-hall on the Boulevard des Capucines, and the rather smart 'ad'-viz., 'Max Linder Kills a Bull at Olympia.
I went to the show the other night, and, although the management very kindly presented me with an excellent orchestra stall, I feel compelled, in fairness to myself and the directors - who, I trust, may profit thereby - to say that I was thoroughly disgusted at the way in which the entertainment was conducted. As far as I could gather from the conversation about me, everybody shared my views, and I heard nothing but complaints on all sides. The films were excellent, and of the usual Pathé standard; it was an all Pathé programme. I am not complaining of the cinematograph part of the performance - only of the management, or rather deplorable lack of management. There were two intervals, and only nine films in all exhibited. As someone in the audience remarked; the "entr'actes" constituted the major portion of the entertainment. To wait, as it seemed to me, some thirty minutes for absolutely no reason whatever, in a semi-lighted hall, with not even a little Tzigane orchestra or advertisement slides to while away the time, is not the sort of thing to cause amusement, or to induce one to revisit the place. Such a show is a disgrace to Olympia - the music hall - and the moving picture industry, and one calculated to do great harm to all exhibitors in the city, destroying, as it does, the desire to see the moving pictures. John Cher. PARISIAN NOTES. (The Bioscope, July 17th 1913)