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Le succès de la prestidigitation

Weitere Titel: Der Erfolg des Gaukelspiels (D, Ö)/ The Conjurer's Triumph (UK)/ Max, the magician (USA) - Regie: Max Linder - Szenario: Max Linder - Länge: 240m - s/w - Interpret: Max Linder - Produktion: Pathé Frères - Katalog-Nr.: 5112/Mai 12 - UA: 19. April 1912 (Wien/ Kino-Theater des "Invalidendank") — Weitere Auff.: 18.5.12 (Berlin/U.T.-Unter den Linden); 21.6.12 (Paris/Omnia Pathé)

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Da ist Max Linder im "Erfolg des Gaukelspiels" im Kampf mit einem Rivalen um die Gunst einer schönen, reichen Erbin zu sehen, der auf dem Boden des Parketts geführt wird und durch einen schlauen Trick des listigen Gegners mit einer bedauerlichen Niederlage unseres Freundes endet. (Projektion, 9.5.1912)

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For a trifle more than half a reel, Max Linder proves amusing in a typically French farce. As a parlor entertainer, Max's laurels are threatened by a magician, who causes water to spout from the most unlikely places and otherwise surprises the guests. Max pays for a lesson in mystifying tricks, and receives a bottle of ointment that if applied to the face is guaranteed to render a blow painless. He experiments on his hostess with disastrous consequences. D. (The New York Dramatic Mirror, Jun. 24, 1914)

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Max et Charley aiment tous deux la jolie Mona Lisa et, pour briller à ses yeux, ils se disputent le succès de la soirée à laquelle ils sont conviés. Max chante La Baya dernier cri de la saison; Charley déploie ses talents de prestidigitateur. Les applaudissements soulevés par Charley inquiètent fortement notre ami Max qui veut absolument éclipser son rival. Charley, informé de ses intentions, projette de lui jouer une bonne farce, grâce à la complicité de son domestique qui se présente à Max sous le nom du célèbre Frégolin, pour lui apprendre un tour sensationnel. Il s’agit d’une gifle, que l’on peut impunément appliquer, sans douleur pour le patient, grâce à un certain élixir. Max, d’abord incrédule, expérimente la gifle sur le soi-disant Frégolin qui la reçoit sans sourciller. Enchanté de son nouveau talent et escomptant un triomphe, Max choisit parmi les assistants la mère de Mona pour exécuter ce petit jeu de société et, pour mieux prouver l’innocuité de ladite gifle, il lui en administre une, formidable, à toute volée! Il va sans dire que le pauvre Max est jeté à la porte. (Henri Bousquet, Catalogue Pathé des années 1896 à 1914, Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)

 

 

 

Eine Kopie des Films wird verwahrt in: Cineteca del Friuli (Gemona)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Weitere Filmbeschreibungen/Kritiken:

 

Max is angry because a rival outshines him at a social evening, through the production of a spout of water from his host's head by forcing air into that gentleman's mouth with a pair of bellows. Max tries to copy the trick on reaching home. The results are worse than negative. His rival decides to rid himself once and for all of Max. He orders his own valet to write to Max as if he were a conjuror, and to promise to teach him a good trick. Max parts with a liberal sum in exchange for a bottle of water, supposed, if previously applied to the cheek, to deaden the pain of any blow. Max brags about his new trick, and dabs a little of the water on the cheek of his hostess. Needless to say, the terrific blow he gives her almost stuns her, and in social circles Max's star has now disappeared. (The Bioscope, May 2nd 1912)

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The split reel comedy, "Max the Magician," was released by the Pathe Freres company on June 23. Max Linder plays the leading part and is the same funny Max that has supplied the laughs in other Pathe comedies. A magician, entertains at a party at which Max is present and becomes popular because of his skill. Max aspires to the "art of the mysterious" and at home practices the tricks he has seen, but without success. He receives a letter from Whizzer who, for a very small sum, promises to teach him the magic art. The magician has taken his servant into the secret. When Max arrives he is shown a fluid which makes the portion of the body rubbed with it insensible to pain. To illustrate its use the magician (Whizzer's servant in disguise) rubs it on his face and allows Max to slap him. He shows no sign of pain. Max buys a bottle and introduces it at a party. One of the guests offers herself as a subject but on being slapped yells with pain. Max's social career is ended. On the same reel are scenic views of the historic Saint Cloud, built in 1658. (Motography, July 4, 1914)

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Max is the victim of a trick and his parlor tricks cause him to be ejected from society in a rough manner. Parts of the picture are unusually funny. (Motion Picture News, Jul. 4, 1914)