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Weitere Titel: Der Schrank (D, Ö)/ The cupboard (UK, USA) - Länge: 140m - s/w - Interpret: Max Linder {M. Triplepatte} - Produktion: Pathé Frères - Katalog-Nr.: 1933/Okt. 07 - Auff.: 9. November 1907 (Wien/Floridsdorfer Biograph-Theater) — Weitere Auff.: 13.12.07 (Mülheim/ Thalia-Theater); 21.12.07 (Paris/ Le Cirque d'Hiver)


"The Cupboard" shows the manner in which a newly wedded wife gets even with her husband, who has a penchant for pretty girls. She finds a note in which a young woman makes an engagement with the husband and follows him. He succeeds in dodging her and in entering a cupboard, where his troubles begin. He is carted about on a moving van, on a railroad train and is unable to make his escape until he has had a nerve-racking experience. There is much comedy from real life shown in the film. (The Utica Sunday Tribune, Dec. 1, 1907)


Lorsque Monsieur Triplepatte eut quitté l’appartement, Mme Triplepatte aperçut sur le tapis une petite enveloppe mauve. Elle n’eut aucun pressentiment. Elle ramassa le papier, l’ouvrit et lut distraite d’abord, puis nerveuse: “Mon Coco, laisse ta femme et vient déjeuner avec moi. Ta Minette” Mme Triplepatte ressentit une extrême colère. Mais c’était une femme avisée. Elle prend son manteau, son chapeau et entre en bourrasque chez sa rivale. M. Triplepatte, entendant du bruit, se fourre vivement sous la table, prêt à toute éventualité. Tandis que sa femme explore l’appartement, il se glisse furtivement au dehors… Malheureusement, Mme Triplepatte l’a entendu et lui donne la chasse jusqu’au sixième. M. Triplepatte éperdu se réfugie dans une armoire. Mme Triplepatte cherche partout. Le locataire intervient. Mme Triplepatte explique qu’elle cherche son mari et se voit mettre à la porte. De sorte que M. Triplepatte éprouva à la fois un sentiment de soulagement et d’angoisse en se sentant bouclé, ficelé et expédié comme un vulgaire colis… Bruit de chaudière sous pression… des trains qui sifflent: une gare! M. Triplepatte s’arrache les cheveux en se voyant expédié par petite vitesse pour une destiation inconnue. À l’arrivée, la ménagère portant avec une tendre sollicitude, sous un globe immense, sa petite fleur d’oranger reposant sur un coussin de velours grenat, surveillait le déballage lorsque soudain, l’armoire lui tombe sur le dos et M. Triplepatte, l’œil hagard, les vêtements en désordre, le chapeau défoncé, surgit de sa prison. Mme Triplepatte pleurait et se désolait dans le logis abandonné lorsque M. Triplepatte, penaud, piteux, contrit et repentant, se présente humblement et tombe à ses pieds. Mme Triplepatte s’évanouit, revient à elle et se jette dans les bras de l’infidèle. (Henri Bousquet, Catalogue Pathé des années 1896 à 1914, Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)




Anmerkung: O Armario – Irresistivel film comico, desempenhada pelo impagavel Max Linder, o melhor comico da Empreza cinematographica Pathé Fréres (Correio do Norte, 15.3.1911) - Note: The Cupboard - Irresistible comical film, played by priceless Max Linder, the best comic of the cinematographic Company Pathé Fréres. (Correio do Norte, Mar. 15, 1911)

Eine Kopie des Films wird verwahrt in: Österreichisches Filmmuseum (Wien)























Weitere Filmbeschreibungen/Kritiken:


A young husband and his pretty wife are seen in their home, the former explaining that he has an important engagement. As soon as he is out of the door the wife finds a note from a damsel named „Ethel,“ who invites him for a „cold bottle and a hot bird.“ She knows what this means and sets off on their track. The husband is now seen with „Ethel,“ he seated at a table and she lovingly waiting on him. He hears a familiar knock at the door and a more familiar voice. He ducks under the table just as his wife comes storming in. She demands the surrender of hubby and goes in another room to find him. While there „Hubby“ comes out of his corner under the table and makes for the stairway, but is followed by his wife, who sees him, and a merry chase through the house ensues. He dashes into a room and shuts himself in a cupboard. This ruse is successful so far that his wife does not find him, but it means the beginning of his troubles. The cupboard is about to be moved, with the rest of the furniture and two expressmen now enter for it. They turn the cupboard upside down and yank it through the window. It is piled on a wagon and as the vehicle starts off the frantic attempts of the man inside to retain his equilibrium cause the cupboard to take on an aspect of animation. The truck is lifted by a derrick on board a train and the train starts. At the end of the journey it is again transferred to wheels, and the handlers do not seem to be particular in the transfer of that cupboard. Reaching the new home, it is to grace the dining-room. The expressmen throw it off the wagon and take it there. The owner arrives in her new home, drinks her health with the two movers, when suddenly the cupboard behind them begins to rock. This alarms them and the men, tossing off the liquor, depart. The lady begins to place things in order, the cupboard suddenly rears on end and then bangs down upon her head. The door smashes and „Ethel's Affinity“ marches forth, bumped and dilapidated. He makes a hasty exit and, catching a train, goes home. His wife is seen at home, partially reconciled to her lot, when the door opens and „Hubby“ slides in, but stands by meekly waiting for her to lift her eyes, which she finally does and recognizing that the visitor is her own, dear, little, etc., etc., she hugs him and soothes the pain of his bumps, etc. (Pathe Films [Supplement 1], 1908)