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Max in a Taxi

Weitere Titel: Max im Taxi (ヨ)/ Max et son Taxi (F) - Regie: Max Linder - Regie Assistent: Fred Malatesta - Szenario: Max Linder - Kamera: Arthur E. Reeves - L舅ge: 600m(/30 Min.) - s/w - Interpreten: Max Linder, Martha Erlich* (aka: Marthe Mansfield), Mattie Comont - Produktion: Essanay - Drehort: Los Angeles - ゥ16.4.1917 - UA: 23. April 1917 (Chicago/ Pastime) - Weitere Auff.: 19.3.20 (Paris/ Salle Marivaux); 14.1.21 (Wien/ Ferdinands Kino)

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It may be a matter of environment, new associates in his productions, or it may be the atmosphere. Be it what it may, we cannot disabuse our minds of a certain likeness between the longestablished favourite Continental comedian, of the unlimited and faultless wardrobe, and the inimitable little English comedian on whom America has conferred greatness. There is an indescribable likeness between Charlie Chaplin in 'One A.M.' and Max Linder in his latest production, 'Max in a Taxi.' And it is of advantage to both. Either is above slavish copying of method and manner; both are too cleverly original in their work. There is a plot to this farce. Max Linder has an awful night with two boon companions in a restaurant. In the wee sma' hours he courts darkness by trying to blow out the electric candles; he sets fire to the trouser leg of one of his pals, whose feet only are visible above the table, by throwing his cigarette end therein. Volumes of smoke come from that one leg. Max uses a dish cover as a fireman's helmet and a soda syphon as fire hose, and valiantly extinguishes the fire. Failing to find a taxi, the two friends find a horseless cab outside; they find the horse, then Max harnesses it (shades of Will Evans!) the wrong way about and drives off. This is ludicrous; the journey down the long road is a scream. When Max does get home, his parent kicks him out. He has only 2d. in the world, so he buys a paper and reads of a vacancy at a garage. Max can't drive a taxi, but the manager gives him a start. His first fare is a fat lady and her daughter. They recognise Max. The fat lady admires him, and when the starting gear hits Max in the eye, she starts the taxi for him and drives home. Max is happy inside with the girl. Left alone he can't get the car to move, so he sleeps inside. When his friends come out in the morning he tells them he is waiting to drive them shopping. They get in, and then that beastly taxi goes off on its own, runs into a telegraph post, explodes, smashes. Max is suspended on the telegraph wires. The daughter climbs on the fat lady's shoulders and lifts our hero down. The Pyramid is a thing of beauty and a joy for ever. (The Bioscope, Jul. 19, 1917)

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Max et son taxi est la troisi鑪e et derni鑽e com馘ie que Max Linder ait tourn en Am駻ique, en 1917. Comme les deux premi鑽es, celle-ci a pour base un sc駭ario amusant que Max a enrichi de ses trouvailles d'acrobatie et de mimique. Et la mise en sc鈩e, confortable, et la photographie, lumineuse, en fond une fort agr饌ble vision gaie. (Cin pour tous, 20.3.1920)

 

 

 

* "Max Linder, accompanied by his leading lady, Martha Erlich, ... has started work ... in Culver City Essanay studio." (The Screamer, Mar. 17, 1917)

Eine Kopie des Films wird verwahrt in: N疵odni Filmovy Archiv (Praha) Der Film war Teil der Serie "Les Films Max Linder" (TV 1995) (Max et son taxi/Max und sein Taxi, 1916, 20:06) Ein Ausschnitt des Films ist enthalten in: Le Temps de Max (TV-Dokumentation, 2000)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

Max couldn't drive a taxi, he could not even start it. In consequence, when he was kicked out of home, for spreeing far too much, and he had to go to work for a living, it was entirely due to the particularly stout and eminently clever comedienne lady that the Max couldn't drive a taxi, he could not even start it. In consequence, when he was kicked out of home, for spreeing far too much, and he had to go to work for a living, it was entirely due to the particularly stout and eminently clever comedienne lady that the taxi ever moved from the curbstone. Heaps of laughs. Max as mercurial and bright as ever. (The Bioscope, July 19th 1917)

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MAX LINDER Is an artist. Everybody knows that, but this review is going to be full of trite things; for the reviewer has been writing about Max off and on for the last six years. Max's art is always fresh, and that has been said before. The wonder is that he still has new things in his box of wonders, but he has. It was Max who invented the vicious blowing out of one's brains with forefinger jammed against the temple and his inventions seem born of the moment. His mind rollicks and one can't help laughing, for it is so spontaneous and unexpected. He has an inexhaustible supply of jollity and no sour rind to make us pay for laughter with puckered lips. It is a free out-giving hearty, warm and human. In this picture, "Max in a Taxi," made by Essanay-Linder, he is an irresponsible, care-free adventurer, a sort of Gallic Van Bibber, especially in the fact that he is always a gentleman. The story is a series of escapades. It is in two reels, the right length, and perfectly satisfactory. We see Max, who has wasted his substance, turned out of house and home. His dress suit proves to be an armour against hunger. Like a true knight, he finds a dragon. It's the butler at the door of a fashionable house where there is a party, but he wins his way in to the princess, and, what is better, a table set with cake. The princess likes him and when next day, after spending his only two cents to find a "help wanted" ad, he gets a Job as chauffeur of a taxi he can't drive. The instructor leaves him in it and the princess and her aunt come along. They ask him to take them, of course. There is more funny antics, but the aunt (she's a good scout) is able to drive and Max rides behind with the princess. They stop in front of her house and leave Max, who can't get away. There is plenty of fun left for next morning, when they find Max still there. Hanford C. Judson. (Moving Picture World, May 5, 1917)

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The third Max Linder comedy now is ready for publication. It is entitled 溺ax in a Taxi and gives spectators an opportunity of seeing Max in an intoxicated state. Motion picture patrons will find quite a number of thrills in this comedy. Max, coming home intoxicated, is ordered out of the house by his irate father. It being morning, Max, in full dress attire, finds it rather difficult to face his friends and so he decides to become a chauffeur. Everything goes well until Max endeavors to start the car. Not being able to drive any kind of a machine he has one of the taxi drivers drive him a short distance. Later, when alone, and not able to run the taxi he gets inside. Along comes his fiancee and her mother and they insist on his taking them home. He tells them he is waiting for his chauffeur and after two hours of waiting his fiancee's mother drives the car. The next day his fiancee and her mother come upon Max in the identical spot where they had left him. He invites them for a ride. He cranks the engine and the machine starts off with Max sitting on the radiator. There is a thrilling race down a steep hill and a crash into a stone wall. The machine is demolished and the girl and her mother finally manage to extricate themselves from the debris. When they look for Max they find him perched high up on some telegraph wires, where he does some acrobatic stunts. - Advertisement. (Ogden Standard, May 19, 1917)

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溺AX IN A TAXI IS PROVING BIG MONEY-GETTER Is Now Sweeping the Country with Laugh Whirlwind. 溺ax in a Taxi - Linder's best. Max Linder's third Essanay comedy, which was released April 23, is now sweeping the country with a whirlwind of laughter. Without doubt 溺ax in a Taxi is the best work of the noted European comedian's career. Exhibitors and critics who have viewed it agree on this statement, and it is further proven by the fact that theatres running 溺ax in a Taxi are doing capacity business for all shows. This comedy is being released through the Kleine-Edison-Selig-Essanay Service. Every exhibitor who has not had an opportunity yet to view it is urged to do so now. 溺ax Comes Across proved a good money-getter for exhibitors. 溺ax Wants a Divorce also made money for them. Now, with all of the advertising which these two have given Linder as an 兎ye-opener, photoplay patrons will need no further enticement to flock in to see 溺ax in a Taxi. It cannot fail to get the money. This comedy, which runs on the screen for 30 minutes, introduces some decided novelties and is replete with laughable thrills. Max gets on a little 澱un in celebration of his birthday. He and his friends find a cab horse and hitch it backwards to a cab. Thus they drive nonchalantly down the boulevard. Ariving at home, Max's irate father orders him 渡ever again to darken his door. Cut off thus without a penny, Max tries to hang himself. The rope breaks. Then Max lies down in front of an onrushing express train. The engine reaches within a few feet of Max's neck, then suddenly switches off to another track. Max finds he cannot die. He goes to an exclusive ball, instead. Here he meets the real girl of his dreams. He invites her and her mother for a taxi ride, but the machine gets out of order and wont stop. Breathlessly they plunge down a hill, and wind up with a terrific explosion against a telegraph pole. The girl and her mother are buried beneath the wreckage. Max is hurled high into the air and, descending, escapes death by lighting on some telegraph wires. The women, who have been uninjured in the accident, stand one on the other's shoulders and onto this human stepladder Max alights from his perilous position. The comedy ends with Max, his girl, and her mother the latter a fat lady doing a somesault to the ground and bowing gracefully. Aside from this Max performs the gastronomic feat of eating 16 cream puffs at one sitting. He extinguishes a fire in the trousers leg of one of his guests at the party with champagne, and falls out of a third-story window onto the back of another guest. (Evening Tribune, May 20, 1917)

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MAX LINDER brings more of the French type of humor into his third Essanay venture. He has forgone his previous habit of kissing every good-looking girl in sight and concentrates his affections on a deserving blonde. The picture's humor depends upon the Frenchness of gesture rather than the American plan of contrast and violence, although a custard pie and several tumbles downstairs are thrown in for the sake of democracy. The most humorous scenes are those in which Mr. Linder hitches a horse to a carriage backwards and gallops down the street with a drunken friend. During the entire picture Mr. Linder resorted to comedy tricks which are somewhat old-fashioned. The custard pie as a comedy vehicle has seen its better days, and that is only one trick upon which a full-fledged set of whiskers is exposed. Perhaps better results would be achieved it the entire burden of production were distributed on other shoulders besides Max Linder's. We are given to understand that he writes his own scenarios and directs the plays, as well as taking the leading part in them. This plan of 電oubling in brass has rarely given the expected results on the screen. 溺ax in a Taxi is inferior to the two previous Linder comedies. (George Worts; Motion Picture News, May 5, 1917)