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Le sosie

Weitere Titel: Max Linders Doppelgänger (CH)/ Max's Double (UK)/ A Ringer for Max (USA) - Szenario: Max Linder - Länge: 765m(/45Min.) - s/w - Interpreten: Max Linder {Max & Morand}; Lilian Greuze? {Lily} - Produktion: Pathé Frères - Katalog-Nr.: 7002/Febr.15 - Drehzeit: vor Aug. 1914 - UA: 10. März 1915 (Turin/ Cinema Splendor) — Weitere Auff.: 21.5.15 (Paris/ Ciné Max Linder)

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Here is a perfectly splendid farce, conceived in the most novel manner and carried out with the greatest ingenuity by the producer and with irresistible humour by the inimitable Max. We have called Max inimitable, but the whole object of his delightful film is to prove that he can be most accurately and convincingly imitated - if only by himself. For Max in this picture plays a dual role, appearing both as himself and as his own unscrupulous double, who sees in his extraordinary likeness to the famous actor an excellent opening for profitable adventure. This is the basis upon which the Box and Cox plot of the film is founded, and the resulting situations are very nearly as thrilling as they are funny. The story moves at an almost delirious speed, and is so well worked up that after a time the mystified spectator loses count and is unable to say precisely which is the real Max Linder - until the problem is definitely solved by a row of solemn judges in the Law Courts. In the scenes where both Max and his double appear upon the screen at the same moment double photography is employed with astonishing success. It is an old enough effect, of course, but we must confess that we cannot remember to have seen it handled more skilfully. Even for those who are experienced in the trickery of the camera it will be a little difficult to say exactly how some of the scenes are done. Finally, mention should be made of an exceedingly sensational duel in the dark which figures in the film. It is a really exciting incident which would almost justify one in describing "Max's Double" as a dramatic farce. That it makes a really enthralling entertainment no one who sees the picture will deny. (The Bioscope, Feb. 25, 1915)

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Un certain Morand a une ressemblance assez extraordinaire avec Max. Ayant été publiquement pris pour Max, Morand décide de mettre à profit cette ressemblance. Il s’habille donc comme Max, se coiffe comme lui et arrive à confondre le propre valet de Max. Voulant profiter au maximum de cet avantage, Morand envoie un faux télégramme à Max disant que sa mère est malade. Et, pendant que Max est dans le train, son “double” s’installe chez lui. Max, de retour voit son domestique effaré de la ressemblance. Max se rend ensuite chez sa fiancée et là, il est stupéfait de voir Morand installé avec Lily qui l’a véritablement pris pour son fiancé. Max alors change d’habits et tente ainsi d’éventer la supercherie. Il éteint brusquement les lumières. Dans le noir, ils se tirent mutuellement des coups de revolver et Max réussit à blesser Morand. L’affaire est portée en justice. Les juges étonnés de la ressemblance et incapables de juger décident de les départager en utilisant une des fameuses scènes de comédie de notre acteur national. Max choisit alors les patins à roulettes et ainsi démontre sa virtuosité et son identité face à son rival. (Henri Bousquet, De Pathé frères à Pathé Cinéma (1915-1927), Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

Albert Obry, a gentleman who lives by his wits, is down to his last jitney and his room rent is due. He is at a loss as to his next move when a friend writes him advising that he make up like Max Linder, since he looks so much like the great comedian, and pass off as Max. He finds a picture of his double and determines to follow his friend's advice. Accordingly, he rushes into the apartment of Max and starts to change his clothes for some of the fine raiment of the comedian. The valet of the real Max is somewhat put out, but the remark “I was hit by an auto,” and the fact that his boss sometimes changes his clothes many times a day, makes it appear all right to the servant. But the return of Max makes it necessary for the imposter to connive to get him out of the way again. He does this by sending a telegram saying that his mother is ill, and advising him to come at once. The real Max goes at once to the side of his “sick” mother, and is dumbfounded when he learns that she is well. While away, the suprious Max again takes possession of the apartment of his more fortunate double, and receives an invitation to tea at the home of the real Max's sweetheart. He accepts and is there eating his fill when Linder comes on the scene. The faker again makes his getaway. Some remarks made by the valet lead Max to suspect something is wrong and it worries him. But to cap the climax the impostor answers a note from Pathe Freres telling Max to come and call for his quarterly check. So perfect is the likeness that the cashier of the motion picture concern pays the fake Max the money. However, even the best laid plans go astray sometimes, and finally the two Maxes come together, head-on. A battle ensues and they are arrested. But the fake Max makes such a fuss and so indignantly denounces the comedian that the authorities hold the real one. At the trial Max is about to be condemned when he suggests that he be allowed to do his famous boxing act which he did for Pathe in the film “Max Has the Boxing Fever.” This is a “scream” and it was easy to see which is the real comedian. The imitation is then taken off to jail and Max is acclaimed a free man. (Moving Picture World, Sep. 11, 1915)

A two-reel comedy production which is especially attractive. Max Linder plays a double role with his usual gusto. A man who discovers that he is really Max Linder's double tries to see how far he can go on his nerve while impersonating the actor. The work is so well done that the story carries through two reels without being tiresome. (Moving Picture World, Aug. 28, 1915)

Max Linder featured in a dual role. Morand resembles the famous comedian. He masquerades as Max and his identity is not questioned. Morand even collects the salary due Max from Pathe Freres. Max has the imposter arrested. In court the judge cannot decide which is which, so he proposes that they each give a comedy performance. Max performs his famous boxing-bout on roller skates. By this he is recognized immediately. (Moving Picture World, Sep. 4, 1915)