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Deux grandes douleurs

Weitere Titel: Zwei Untröstliche (D)/ Two great griefs (UK, USA) - Länge: 125m - s/w - Interpret: Max Linder {junger Witwer} - Produktion: Pathé Frères - Katalog-Nr.: 2171/Juni 08 - Auff.: 17. Juli 1908 (Saint-Étienne/ Géant Forézien) — Weitere Auff.: Juli 1908 (Mülhausen/ Apollo Kinematograph)

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A young man is seen entering a cemetery, and in sorrow placing some flowers on the grave of his lately deceased wife. While thus engaged, his attention is attracted to a beautiful young woman who kneels, weeping piteously, over a nearby tomb. These two sorrow-stricken people – both craving for sympathy – soon strike up an acquaintance and before very long it looks as if an interesting romance would be the outcome. The next scene shows the young widower on his return home, where everything reminds him of his dead wife. We see him as he takes the portrait of the latter from the wall and places it on the bed, decorating it meantime with fresh flowers. A view of the interior of the widow's apartment is also given, and a truly sombre picture she presents as she reverently lights the candles in front of her husband's portrait while gazing, with tear dimmed eyes, on the well-loved features of her lost one. The following day the two mourners meet again at the cemetery gate and the widower presents his acquaintance of yesterday with a beautiful banquet of flowers, which, to the way, was intended for his wife's grave. It is quite evident now that not withstanding their short acquaintance, these two are deeply in love, and we are not surprised, therefore, to see the man down on his knees proposing when the couple return to the widow's apartment. The next picture, which is after the marriage, shows the pair living like turtle doves, but from a sense of duty they kept the portraits of their former mates hanging on the wall; the latter, therefore, witness many interesting love scenes between the newly married pair. Soon, however, these dumb spectators are too much for the happy couple, who decide, rather than remove the pictures, to drape them over with black. This accomplished, they go back to their billing and cooing with easier consciences. The time comes, however, when the dear departed are forgotten and the pictures become an eyesore, so are sent up to the attic to be added to a lot of other articles, once so highly valued, but which have unfortunately outlived their usefulness. A landscape now fills the place on the wall where the portraits used to hang, and the couple, happy in each other's love, have quite forgotten their early sorrows. (Moving Picture World, Oct. 10, 1908; The Billboard, Oct. 17, 1908)

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Un homme jeune porte des fleurs sur la tombe de sa défunte femme. Pendant qu’il médite, son attention est attirée par une très belle jeune femme pieusement à genoux sur une tombe proche. Ces deux malheureuses personnes ayant toutes deux un besoin de sympathie lient connaissance après quelques regards. Le jeune veuf de retour chez lui où tout lui rappelle son épouse décédée, prend un portrait sur le mur et le place sur le lit qu’il décore de quelques fleurs. Elle de son côté allume quelques chandelles devant le portrait de son défunt mari. Le jour suivant, ils se retrouvent à la porte du cimetière et le jeune veuf offre à sa nouvelle connaissance le bouquet qu’il réservait à la tombe de sa femme. Il saute aux yeux que nos deux éplorés sont tombés amoureux l’un de l’autre. Peu après, l’homme à genoux demande à la jeune femme de l’épouser. Après le mariage nos deux amoureux s’aiment comme des tourtereaux mais par un esprit de décence, ils ont gardé les portraits de leurs défunts respectifs pendus au mur. Bientôt cependant, les témoins silencieux sont trop présents au goût des nouveaux mariés qui commencent par les couvrir de noir. Mais avec le temps, les chers disparus sont oubliés et leurs portraits sont devenus objets d’aversion aussi sont-ils relégués au grenier. Un paysage remplace maintenant les portraits sur le mur pendant que l’heureux couple a oublié sa grande douleur! (Henri Bousquet, Catalogue Pathé des années 1896 à 1914, Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)

 

 

 

Anmerkung: "Duas grandes dores. - Composição critica de novo genero ridicularisando as pretensas inconsolaveis dores de viuvez. Actor comico Max Linder. (Gazeta de Noticias, 17.7.1908) Eine Fiktionalisierung der Filmhandlung, in Form einer Kurzgeschichte, erschien als "Les Inconsolables" in 'Le Petit Journal illustré, 16.8.1908 (/"The Love that lasts" in 'Greencastle Herald', 1.8.1911). Die Namen der beiden Hauptcharaktere lauteten Max Linder (/Max Linden) und Marguerite Nadire. — Note: "Two great pain. – Composition critical of the new genre ridiculing the alleged inconsolable pain of widowhood. Comic actor Max Linder. (Gezeta de Noticias, Jul. 17, 1908) A fictionalisation of the film plot, in form of a short story, appeared as "Les Inconsolables" in 'Le Petit Journal illustré', Aug. 16, 1908 (/"The Love that lasts" in 'Greencastle Herald', Aug. 1, 1911). The names of the two main characters were Max Linder (/Max Linden) and Marguerite Nadire.

Eine Kopie des Films wird verwahrt in: Deutsche Kinemathek (Berlin), Lobster Films (Paris), Cineteca del Friuli (Gemona)Ein Ausschnitt des Films ist enthalten in: L'homme au chapeau de soie (Dokumentation, 1983)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

On two tombstones, bearing respectively two different names, is an epitaph announcing that the husband of the one and the wife of the other intend spending the rest of their days in faithful and devoted affection to the memory of their dear departed. Each day they go to the cemetery and offer their gifts and tender memories. Very often they meet, and their common sorrow brings them together, so much so that one day they get married, and even the photos of the departed being deemed a kind of treason against each other, are for ever banished to the attic.

 

A highly novel skit is issued by Pathe's under the title Two Great Griefs. Here we have a disconsolate wife and a disconsolate husband who meet to shed tears on the graves of their departed husband and wife respectively. From continually meeting in the performance of this rite they came to make each other's acquaintance and get friendly and yet more friendly until they decide to share their sorrows. They marry and we see that the departed ones are soon banished from remembrance. (Kinematograph and Lantern Weekly, Jun. 18, 1908)

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The best comedians of the Pathe players are cast in this picture, and the result is excellent. A widow and a widower meet at the graves of their dear departed, fall in love, and in the end send the portraits of the defunct to the storage room. There is human nature in the story and able comedy interpretation in the acting. (The New York Dramatic Mirror, Oct. 17, 1908)