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Max et Jane veulent faire du théâtre

Weitere Titel: Max und Jane wollen Schauspieler werden (D, Ö)/ Their Common Destiny (UK)/ Max's Tragedy (USA) - Regie: (Max Linder; René Leprince) - Szenario: (Max Linder) - Länge: 295m - s/w - Interpreten: Max Linder; Jane Renouardt {Jane de Chipanowa}; Gabrielle Lange; Henri Collen - Produktion: Pathé Frères - Katalog-Nr.: 4911/Jan.12 - UA: 22. Dezember 1911 (Wien/ Kino-Theater des "Invalidendank") — Weitere Auff.: 23.2.12 (Paris/Omnia Pathé)

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Aus dem neuen Pathé-Programm vom 20. Januar grüsst ein langentbehrter Freund: Max Linder, der Liebling des gesamten Kinopublikums in Nord und Süd und Ost und West. Die reizende Komödie "Max und Jane wollen Schauspieler werden" zeigt ihn wieder einmal auf der Höhe. Sein Vater, der Bühnenvater, wünscht, dass er die Tochter einer Freundin heirate; er aber ist ebenso wie das junge Mädchen entschlossen, sich dem Theater zu widmen, und beide mögen von Hymens Fesseln nichts wissen. Bei der ersten, von den Eltern eingeleiteten Begegnung geben sie sich deshalb in ihrem Aeusseren wie im Benehmen so unvorteilhaft wie möglich und schrecken sich gegenseitig gründlich ab; als sie aber dann der Zufall einander in wahrer Gestalt zeigt, ändern sie zur Freude der Alten ihre Meinung sehr schnell und werden ein Herz und eine Seele. Nach einem Jahre sehen wir sie wieder - das Wie und Wo verraten, hiesse nur die Ueberraschung dieses ganz eigenartigen Tricks verderben. (Der Kinematograph, 10.1.1912)

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In this picture the lovers of well-developed farce will discover much to amuse and entertain. There is an unusual twist given at the end, which is productive of uproarious laughter. Max is a stage struck youth, and because of a deep-seated desire to go on the stage, refuses to consent to a marriage his father has planned for him. The girl, whom Max has never met, is also stage struck, and entertains no wish of marrying him, though her mother is anxious to see her make the alliance. The parents finally manage to bring the young people together, and they, in turn, exert all their skill in an attempt to disgust each other. An accidental meeting between the two when they are off guard causes them to change their minds, and, as a climax of the scene, we see them gently clasped in each other's arms. The scene following, and the last one, is subtitled, Six Months Later. The girl appears with a baby in her arms in a filthy tenement house. Max enters as a broken-down sport, and demands money from her. She refuses to part with her last cent, and, in the quarrel and struggle that follows, he kills her, and then - the curtain falls and the spectator discovers that he has been witnessing Max and his wife in a drama within a drama. They have fulfilled their stage ambitions, besides satisfying their parents. (The New York Dramatic Mirror, Sep. 25, 1912)

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Max ne veut pas se marier; il sent en lui l’étoffe d’un comédien et veut faire du théâtre. Son père, qui ne l’entend pas de cette oreille, le présente à Mlle Jane de Chipanowa, un superbe parti. Mais Jane ne veut pas se marier; les feux de la rampe l’éblouissent et la subjuguent; elle veut faire du théâtre! C’est pourquoi, en apprenant la visite de son prétendant, Jane s’empresse de se tirer les cheveux et de s’enlaidir à plaisir, tandis que Max s’accroche un dentier saillant hors de sa bouche, comme un clavier de larges touches jaunâtres. Jane, priée de chanter, s’exécute de bonne grâce et émet des sons tellement acides qu’ils font dresser les cheveux sur la tête du malheureux Max. Enfin, priée de faire au jeune homme les honneurs du jardin, Jane lui joue malice sur malice. Max lui répond sur le même ton si bien que les deux jeunes gens finissent pas se prendre aux cheveux et que les parents, navrés, doivent renoncer à leur projet. Cependant, Max qui a oublié sa canne, rentre à l’improviste et trouve Jane recoiffée et charmante. Lui-même a enlevé ses fausses dents et tous deux, frappés du coup de foudre, s’avouent leur subterfuge et se confient leur désir commun de faire du théâtre. Ils se marient. Mais quel est cet intérieur misérable où la jeune femme, en berçant son enfant, attend l’époux retardataire; le voici enfin, ivre et brutal; une querelle s’élève entre eux et l’homme assomme la malheureuse dans une crise de colère avinée. Des bravos éclatent soudain, les applaudissements tonnent, la salle croule. Max et Jane sont devenus deux grands artistes! (Henri Bousquet, Catalogue Pathé des années 1896 à 1914, Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)

 

 

 

Wiederaufführung als Le feu sacré (1920). [Re-released as Le feu sacré (1920). ]

Eine Kopie des Films wird verwahrt von: Lobster Films (Paris), Cinémathèque Française (Paris) Der Film wurde veröffentlicht auf Blu-ray/DVD "Le cinéma de Max Linder" (1912, 13:02) Ein Ausschnitt des Films ist enthalten in: Le Temps de Max (TV-Dokumentation, 2000)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

Max is stage struck, and is highly indignant when his father suggests that it is time he thought about marrying. „A man with a career must be free.“ His father, losing patience, marches him off to make acquaintance with the young lady whom he has selected as his son's future wife. Now this young lady is also stage struck, and she rebels at the thought of her career is to be blighted by a husband. The only escape is to disgust her would be helpmate, and she drags her hair back and with a scowl upon her charming face welcomes Max, who, struck by a similar idea, has made himself unrecognisable. The young people are not polite to each other, and at the end of the afternoon are clawing each other's hair. The disappointed parents separate them, and Max is dragged away by his crest-fallen parent. In the hurry, Max forgets his stick, and returns for it. To his astonishment he finds Jenny with her hair well dressed, and altogether charming. On her part, Jenny is surprised to see that Max is a good-looking young man. Each is smitten and both confide their reasons for their deception. They kiss and make it up, preparatory to treading the road of their common destiny. (The Bioscope, Dec. 28th 1911)

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Max Linder, the famous author comedian, is shown in another of his own sketches, which deals with a love affair having a touch of tragedy to it. Max's father wishes him to marry a girl whom he believes would make an ideal wife. Max is stage-struck and declines the proposal, but his father is insistent and Max is forced to accompany him to the home of the young lady. The girl, too, is stage-struck, and when she learns that a young man in quest of her hand is to call she makes herself as hideous looking as it is possible for a very pretty girl to be. The same idea has dawned upon Max as the procedure most likely to discourage the young woman and leave him free to follow his dear art. The plan succeeds so well that Max's father believes the case hopeless and leaves the girl's house with his son on his arm. However, the old gentleman has forgotten something and back to the house he goes. The young people meet again, off their guard and without disguise, and the change in their appearance gives each a delightful thrill. And leave it to Max. When he discovers the girl is in reality a beauty, it does not take long for him to convince her that they were made for each other. The marriage takes place in due course and, after it, a scene of tragedy that gives Max an opportunity to display a branch of his art which will prove to his many admirers to be a delightful surprise. (Moving Picture World, Sep. 14, 1912)

 

Max Linder, the author-comedian, is shown in another of his own sketches. This one includes a tragic scene and the manner in which it is handled will prove a revelation and a delight to his many admirers. (Moving Picture World, Sep. 14, 1912; Moving Picture News, Sep. 14, 1912)

 

A very amusing picture which, if any audience can see without laughing, that audience must be very peculiar. Its object is to shock the audience and then to get the laugh on it. The means it uses are legitimate, but it does shock and the “come back” is extremely laughable. The picture most surely gets across; it is a live wire, and it is fresh. We commend it. (Moving Picture World, Oct. 5, 1912)