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La barbe de Théodore

Weitere Titel: Der verlockende Bart (D, Ö)/ Theodore's Beard (UK)/ Sam's Artistic Beard (USA) - Länge: 125m - s/w - Interpret: ? - Produktion: Pathé Frères - Katalog-Nr.: 2988/Aug.09 - Auff.: 17. Juli 1909 (Innsbruck/Theater-Kinematograph) — Weitere Auff.: 2.10.09 (Herne/Kinematoscope)

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Eine an drolligen Szenen reiche tragikomische Geschichte mit vielen humoristischen Zwischenfällen. (Programmtext, Kinematoscope-Zeitung, 2.10.1909)

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The lamentable history of Theodore's Beard should provide merriment for many audiences. This picture tells of a valet who is possessed of a long and silky beard which, apparently, renders him quite irresistible to all the female members of the household, from his mistress downwards, who all pay tribute to the hair with many caresses. This fascinating hirsute appendage rather interrupts his labours, however, and he is discovered by his master in the joint embraces of the cook and the housemaid. He is ordered to shave, and, in agony and despair, the hero removes the luxuriant growth in the privacy of his bedroom. The next time he meets his mistress he thinks to continue their amorous passages, but, without his beard, she will have none of him, and he is angrily rejected, the picture closing with the scorn of the kitchen, and the final undoing of Theodore. (The Bioscope, Aug. 5, 1909)

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Monsieur vient de mettre à la porte Baptiste, son valet de chambre. Cette circonstance suggère à Madame une idée. Elle écrit l’épître suivante: "Mon coco adoré, mon mari vient de mettre Baptiste à la porte. Viens te présenter à sa place, de cette façon, nous ne nous quitterons plus. Ta Maud pour la vie" Théodore, ou le "coco adoré" se présente dans les habits de son valet de chambre et il est agréé. Le nouveau valet jouit d’une superbe barbe dont il est très fier et qui lui vaut la conquête d’Adèle la femme de chambre et de Justine la cuisinière. Heureux comme un pacha, Théodore se laisse aduler par les unes et par les autres, lorsque Monsieur l’ayant surpris en conversation galante avec les deux bonnes, le sermonne vertement et lui intime l’ordre de raser sa belle barbe. Théodore, non sans douleur, fait le sacrifice de cet ornement viril. Mais comme toute la puissance séductrice résidait dans la barbe, Maud lui éclate de rire au nez et le renvoie aux cuisines où il est accueilli par la gaieté irrévérencieuse des deux bonnes. (Henri Bousquet, Catalogue Pathé des années 1896 à 1914, Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)

 

 

Anmerkung: Hinweise, dass Linder in "La barbe de Théodore [1909]" mitgewirkt haben könnte, finden sich in einer englischen Fachzeitschrift. Als Linder Anfang September 1909 zum ersten Mal namentlich identifiziert wird, erinnerte sich THE BIOSCOPE: "wir glauben, dass er verantwortlich war für die zahlreichen Abenteuer von Theodore, die die Herren Pathé von Zeit zu Zeit produziert haben."  (Kritik für: "A young Lady Killer/Le petit jeune homme" in The Bioscope, 2.9.09). Lt. Andrew Shail "Max Linder and the Emergence of Film Stardom - Early Popular Visual Culture, (2016)", "a still from the film preserved by the Cinémathèque française almost certainly shows Linder in the role of Théodore: though the man is turning away from the camera, he has Linder’s hairstyle and body shape (La barbe de Théodore, photogrammes, Cinémathèque française, Paris, PO0040233)". Die Anzeigen für das "Cinematographo Pathe" in Rio de Janeiro identifizieren Max Linder in fast jedem seiner Filme seit Juni 1908. Für "A Barba de Theodoro" findet sich in der "Gazeta de Noticias", 24.8.1909 kein Hinweis auf Max Linder. [Note: When THE BIOSCOPE identified the actor in "Le petit jeune homme" as Max Linder, they wrote: "He was responsible, we believe, for the numerous adventures of Theodore which Messrs. Pathe have from time to time produced." (The Bioscope, Sept. 2nd 1909). The week before, they had written about «Amoureux de la femme a barbe [1909]»: "We have here yet another adventure of the sprightly Theodore." And by comparing it to the preceding film («La barbe de Théodore»): "This time it is he who succumbs to the fascinating hair,…" (The Bioscope, Aug. 26th 1909), they apparently regarded it as a sequel. According to Andrew Shail "Max Linder and the Emergence of Film Stardom - Early Popular Visual Culture, (2016)", "a still from the film preserved by the Cinémathèque française almost certainly shows Linder in the role of Théodore: though the man is turning away from the camera, he has Linder’s hairstyle and body shape (La barbe de Théodore, photogrammes, Cinémathèque française, Paris, PO0040233)". The ads for the "Cinematographo Pathe" in Rio de Janeiro, have identified Max Linder in almost every one of his films, beginning in June 1908, for "A Barba de Theodoro" there is no mention of Linder in the "Gazeta de Noticias", Aug. 24, 1909]

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

Although this comedy subject fails to realize all of the possibilities presented by the humor of the plot, it nevertheless produces a number of good laughs. A young bewhiskered chap hires out as servant in the home of his sweetheart, where his beard wins the admiration of the maid and cook as well as the young mistress of the house. But papa orders the youth to shave off the beard, and with a smooth face he finds that none of the females will tolerate him. The comedy business suffers in the picture from clownish overacting. It is a subject that would have been more effective if performed as serious reality. (The New York Dramatic Mirror, Nov. 21st 1909)

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Papa having summarily discharged the butler, his daughter May thinks of a good plan by which she can see a little of her adored Sam, for whom her father has always shown a great aversion. So she writes Sam a letter and proposes that he apply for the position of butler in their house. Sam jumps at his love's scheme and is soon engaged by May's father. Now, Sam is the possessor of a wonderfully long, silky beard, which causes the different maids in the house to lose their hearts to him immediately. Sam, in spite of the humble station of his female admirers, greatly enjoys their admiration, being a vain man, and encourages them not a little. One day, May's father catches him having a pleasant little chat with one of the maids, and thinking to make his butler less attractive to the feminine eye, orders him to cut off his beautiful silky beard immediately. The poor fellow reluctantly makes the sacrifice, but as Samson's strength rested in his hair, so it was with our friend Sam, who once his beard has been cut loses his power to attract the gentler sex. When May sees his she bursts into a fit of uncontrollable laughter and sends him down to the kitchen where the maids all make merry at his expense. (Moving Picture World, Nov. 20th, 1909)

 

The experience of an unfortunate young man who took a position as butler to be near his inamorata, but who was forced by his employer to cut off his beard, and thereby lost his pull with everyone, even the girl who induced him to get into such a scrape. Staging, acting and photography are alike good and clearly in harmony with the subject. (Moving Picture World, Nov. 27th, 1909)