Translation [in progress] of: A mozi kedvencei., Délmagyarország, 27. Okt. 1912

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 The cinema favorites.


   (Viennese colleague). Cinema in the city centre. Crying arc light indicates the entrance, in front of which stands a man dressed as Russian general, huge lot of programs in hand. The narrow sidewalk a huge crowd, time between seven and eight and the pedestrian traffic reaches its climax. On the line countless shops are closed off, endless array of young girls and young people pouring out of the offices and stores. The cinema now becomes crowded for two full hours, incessantly besieging the entrance, people are gazing into the small lobby and waiting for the few empty seats during the next break. The audience is mixed. All in front, in the auditorium the shopmen are sitting further back, the rising benches of the seats are reserved for the boss with his family, the intermediate areas for the business staff, from the intern to the boss, watching the show. And the stand is incomparably suffocating, a steam room, which is barely ventilated for two hours, such utmost attention can reign if the quickly moving pictures as large the participants is accepted, make this the finest theater and an exceptional experience. As for the program propriety, this audience is non-irritated by program, knows, that it will not be disappointed. In good faith and out of a redeemed admission ticket - the same week after week! - And in rare cases, that is rather rare evening that someone would feel cheated. Although it seems to have risen, the entrance fee is often cheaper, than the cost of a suitable place for the theater.

   The show is also equally interested in the best audiences, that this is a theater play, or the farce which stage play or film factory delivered it. On the stage Blumenthal or Kadelburg, at the cinema Pathé, Lubin or Vitagraph. And here as well, there too the audience already knows in advance by the workshop where the piece was made, published, what images they get, merrily, or sad. The spectators awareness of a French film is always pathetic, a German: sentimental or pious to God, a Russian: deeply sad or bloody. And as on a stage in the cinema as well, within a genre, the actors are always the same ones. It is rare that a lesser movie actor would have been celebrated, like the most famous variety-clown. The little Little Tich in his meter boots, years ago was a world wide celebrity. Everybody was talking about him in the cafes and at home at the family dinner table. Of another New Year's Eve Schäffer, travelling from town to town, looking for a half a million annually and accessible only to come, the women fall in love with him and is celebrated by men. These music-halls launches. Is it possible to speak today in this respect of the theaters, its stars of operas? But who is Max Linder? Max Linder actor, comedian and bon vivant, who every day performs in some of the world's five continents before many hundred thousand spectators. Five continents know the name, elegant shape, the way of his hair and moustache. And when the name is displayed on the participants list, rapture rumbles throughout the viewers, because Max Linder is easy for fun, to laugh, always been in good spirit and brightens everyone, when he shows up on the white sheets. We can say without hesitation: Max Linder today is the most popular actor. The most popular comedian at this time and never had any mimic had more viewers, than his pulling faces. Recently, a Parisian film factory for a million francs a year salary for several years contracted him. The popularity in addition to the success, he is also the richest actor. Still, why do we talk about him only so little and the talent, which is undoubtedly not lower than the most famous Star, why is it not celebrated even in reviews, why is not analyzed, why not written yet? Just because he is an actor, who affects the crowd, without, that his voice is heard? Or because the cinema represents a kind of art whose triumph low cost entrance fee in addition to a poorer-class people? For some it is not for the Max- and Maurice- slap-stick quality lies in the fault, which is included in Linder. Are no less entertaining, as the Schönthal-comedy and not less imaginative, in the subsidiary roles created delightfully nice and pleasant, little mother and dear father are just as ludicrous as by Blumenthal or by Kadelburg. Do not deserve the movie jokes and the actors thereof the same attention as its counterpart on the stage?

   A lot better "punched in" is one of Linder's female colleague. Just that this woman artist, not the cinema raised her to world fame. Her glory and fame began on stage and only conserved in cinema. But in no case were brilliant successes, since the cinema was her talent. Before Asta Nielsen, about whom it is now, like the Scandinavian stages, one of the most famous artists spoken of. One day a cinema entrepreneur discovered, that first-class cinema actress would turn out and since than Asta Nielsen only exclusively plays for film machines. The film took her name across the world and has as much income as Caruso.

   Unbeknownst, prior remaining concealed to the cinema world Barrère, a painter, who was a well known cartoonist and poster artist in Paris before. Now he is the director of the dramas and comedies that are staged in the cinema. The infinitely subtle work. The costumes, the setting of the scene, the arrangement of space are all Barrère's responsibility. Barrère is also the director and artistic advisor of Linder, whose successes just are not to the extent be commended for Barrère, as for Linder himself. Barrère put together a series of cinema pieces, in which Linder scored his most excellent successes. But it is not just the wordless Linder directed by the secret hand of Barrère, but also two other popular movie comedians are examples thereof: "Prince" and also "Deed". Linder always plays the young man who wants to get married. Basically it is a continuation of: that the young man is the husband who is perpetually providing a reason that his wife's jealousies are improvising scenes. Many times this is an unwise jealousy, but the most legitimate. In those Prince-pieces Ded [? sic.] is a chirpy, fat uncle or mother-in-law. In addition to this triad, we must not either forget about Miss Lorsy: blonde beauty, little snub nose and perpetually smiling little red mouth. She is the opposite of Max Linder, a young girl, for Max's dear silly weaknesses.

   It is hardly been considered in the survey of the list, if all of the artists and talent who embraced the cinema, would want to be listed up. This, if the signals do not cheat, is now the turning point of their art, just as much as the industry's, in whose service they stood and that even in the near future is absolutely a new era of momentum. (Délmagyarország, Oct. 27, 1912)