Translation of: Max Linder., De Sumatra Post, 7. Oct. 1922
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Max Linder, who after the war had gone to America has returned.
He told the following to an editor of "l'lntransigeant":
I have proof that one has completely forgotten me. Whenever someone called in my name some personality in the cinematographic field, they replied: "Max Lind'e? Who is Max Lind'e?"
They do not know me. Then they suddenly have a bright moment:. "Oh yes, Max Lind'e, he's dead." They thought I was dead and I started to believe that I was deleted forever from the list of the living.
There were, however, some who admitted that I could still belong to the living. But they were convinced that I was 118 years old and at that age one must give up all hope to yet appear on the screen.
In October two new comedies will come to the screens in France: "Ma Femme" and "Trois Mousquetaires" [the latter is a parody of The Three Musketeers.] These films had a great success in America.
Charlie Chaplin has a great respect for Max Linder and when Linder informed Charlie that he wanted to leave for France, the famous American film artist wanted to keep him in America, but Linder was not dissuaded from his decision. He was convinced that what he did in America, he could do in France as well.
But perhaps he is a little disappointed right now, at least what the French organization is concerned.
The working in America is quite different than in France.
"There is an American comedian," said Max, "whose latest works are extraordinary and surpass everything one can imagine in the farce area. The American is Harold Lloyd. And do you know how he works? He has, under order by a director, seven or eight ideas searchers. When the main line of a scenario is found, those ideas searchers put their brains to work, they are going to study the scenes, the comical episodes, the effects. Everyone adds in turn something to the work of the other. One creates in this way a large number of short scenes full trouvailles, of which some often are genius. Then all is melted together, cuts, made to fit; what is not playful is being removed, and only when it is ready, the artist knows what to do. He appears fresh, knowing that he gets well-composed scenes to perform, which he must animate only with his enthusiasm.
Add to that the conscientious labor, the shortening of time, the well defined part that each employee gets to make, the riches of the montage and marvel then, if pieces assembled like that, haven't every chance of success."
Now Max Linder wants to realize that in France. (De Sumatra Post, 7.10.1922)