Weitere Titel: Max ist schüchtern (CH)/ Max Sees Life (UK)/ Max hits the high spots (USA) - Szenario: (Armand Massard) - Länge: 575m - s/w - Interpret: Max Linder - Produktion: Pathé Frères - Katalog-Nr.: 7070/April 15 - UA: 18. Dezember 1914 (Paris/ Ciné Max Linder)
Mr. Max Linder is responsible for an extraordinarily large number of good comedy subjects in the course of a year, and on occasion he excels himself in a film offering more than the usual scope for his talents. This is what has happened in "Max Sees Life," issued by Messrs. Pathé as a two-reel exclusive. Even the hardened expert will shudder and wonder how it was done when he sees some of the hairbreadth escapades through which Max passes in this film. The subject opens by showing Max in a very unfamiliar role, that of a young man who it too shy to make any progress in paying addresses to desirable members of the fair sex. To overcome this shyness, Max's uncle takes him to a night club, where there is a tango supper and a galaxy of gilded beauty. In this atmosphere Max soon loses his bashfulness. Being somewhat "elevated" by champagne, Max and his uncle take possession of a taxi-cab with intent to drive themselves home. They are hailed by a sedate,
elderly couple, and accept them as fares to the Gare du Nord. It is a very adventurous journey, and the luggage is the cause of much trouble. Collisions with other vehicles and all sorts of thrills end in the car being driven over the edge of a pit and wrecked. We need hardly say that this is not the end of Max; he and his companions crawl out from the wreckage quite happily, and Max is certainly entitled to say that he has seen life this time, if never before. There can be no doubt about the success of this lively and exciting film. (The Bioscope, Apr. 8, 1915)
Max est d’une timidité extrême surtout avec les demoiselles, aussi son oncle a arrangé un mariage avec la fille d’un vieil ami. Max se conduit avec tant de timidité le jour où il doit se proposer que sa future belle-mère pense que le mariage sera toujours désespéré pour notre ami s’il ne réussit pas à surmonter ce handicap. Aussi écrit-elle à l’oncle pour lui suggérer de montrer à Max un peu “la vie” avant de se marier. L’oncle accepte cet avis et emmène Max dans un restaurant à la mode. Tout d’abord, Max reste toujours enfermé dans sa timidité puis, peu à peu, sous l’effet de la musique, des doux yeux et du champagne, notre jeune ami se déchaîne. Enfin, l’oncle et le neveu, inséparables et dans un état d’ébriété avancée commettent toutes sortes d’impairs. Puis, ils achètent un taxi qu’ils conduisent eux-mêmes et ici débute une série de scènes hilarantes. En effet, un couple de personnes âgées et à la vue basse, les prenant pour un véritable taxi, les hèle et avec un nombre considérable de malles, valises et bagages de toute sorte, leur demandent de les emmener à la gare. Enfin, après avoir laborieusement installé les bagages, les clients et fait démarrer la voiture puis réduire en miettes un fiacre à cheval, ils finissent leur course dans un ravin! Et c’est ainsi que Max a découvert “la vie”. (Henri Bousquet, De Pathé frères à Pathé Cinéma (1915-1927), Bures-sur-Yvette, Editions Henri Bousquet, 1994-2004)
Anmerkung: Am 6. Jul. 1918 fand eine Aufführung von "Max danse la Très Moutarde" (Max tanzt den Très Moutarde) in Lausanne statt. Der Ankündigung (Feuille d'avis de Lausanne, 6.7.1918) wurde hinzugefügt: "mit der anmutigen Unterstützung von Mademoiselle Léa DE PERRE, vom Théâtre royal de la Monnaie und von La Gaité Lyrique; Mademoiselle Marguerite BERNARD, vom Casino Municipal de Nice; Madame JOHANNOT, vom Grand Théâtre de Lyon; Mademoiselle Suzy GALMY, vom Grand Théâtre de Lausanne; Monsieur DE ROCHEFORT, vom Théâtre Sarah Bernhardt. Der Hinweis "Max Linder erscheint in Fleisch und Blut in dem Film" läßt jedoch offen, ob es sich dabei um diesen Film, oder vielleicht um ein Art von Bühnenaufführung handelte. ― Note: "Max danse la Très Moutarde" (Max dances the Très Moutarde) was shown on Jul. 6, 1918 in Lausanne. Added to the announcement (Feuille d'avis de Lausanne, Jul. 6, 1918) was: "with the gracious assistance of Mademoiselle Léa DE PERRE, du Théâtre royal de la Monnaie et de La Gaité Lyrique; Mademoiselle Marguerite BERNARD, du Casino Municipal de Nice; Madame JOHANNOT, du Grand Théâtre de Lyon; Mademoiselle Suzy GALMY, du Grand Théâtre de Lausanne; Monsieur DE ROCHEFORT, du Théâtre Sarah Bernhardt. The words "Max Linder appears in flesh and blood in his film" leaves open the question, whether this film, or some kind of stage performance was shown.
Scenes in which Max Linder represents a young man who has partaken not wisely but too well, and so, delicately performed that they cannot offend the most fastidious. It is Max at his best - Super-Max! If you sit through this film without laughing, let your next place of call be the doctor's. (Pictures and Picturegoer, May 1, 1915)
Max Linder, the famous screen comedian, is featured. The uncle urges Max to marry the beautiful Elise. Max would like this very much but he is too timid to propose. Max becomes so nervous when he attempts to propose that he cannot even speak. The girl's mother asks the uncle to take the bashful one out to see life. The uncle's idea of seeing life is to visit every cafe in the city and to drink heartily in each. Max becomes overcourageous and instead of hiring a cab purchases one and insists upon driving it home. By some stroke of good fortune they miss every object Max seems to aim for, and arrive home safely. (Moving Picture World, Dec. 25, 1915)
This is a moderately good two-part Max Linder comedy. In this particular production Max plays the role of a shy young man whom his uncle tries in vain to persuade that a proposal of marriage to a certain young woman of good family will be a move in the right direction. Max, unable to “screw his courage to the sticking point,” is then taken to some drinking resort to get a touch of life. This part of the picture presents too vividly the drunken orgie. Some of the comedy in the film is good. (Motography, Dec. 4, 1915)
Every actor who calls himself a comedian delights in essaying the role of the jolly drunk and nine out of ten players fail in making the role comical. Max Linder, he of the French Pathe forces, can play the staggering inebriate to practically humorous perfection, suppressing totally the tiresome and disgusting side of such a character and bringing out its funny traits in fine style. Through almost two thousand feet Max reels about the streets of Paris accompanied by his uncle, who is in hardly a better state of equilibrium. Max is clad in a coat and hat much too large for him and his shoes keep dropping off, to his great discomfort. He is continually hopping about the streets more like a mechanical jumping-jack than a human being, with results that are laughable. Then Max and his uncle purchase a taxi and dash about the streets in a reckless way endangering the peace and quiet of the early morning pedestrians. Max Linder makes it all enjoyably funny, what with his eccentric mannerisms and weird expressions. But "Max Hits the High Spots" has an interesting story besides. It opens with Max, very much the bashful beaux, who practices on his cook and another servant before he attempts to propose to the girl of his uncle's selection. But its no use. Max makes a mess of the entire proceedings and he is then taken out by his uncle to taste a bit of high life, with the results related above. [Reviewed by Peter Milne] (Motion Picture News, Dec. 25, 1915)
… Arriving at the large studio on top, we had the good fortune to see a scene being rehearsed by Pathe's famous actor producer, Max Linder. The scene was the interior of a cafe, set in the familiar French fashion. About a dozen couples were seated at the table when Max, in the role of a bashful son, entered with his father. After they were seated, two cafe queens were invited over to the table by father, greatly to Max's embarrassment. He became highly excited when they attempted to kiss him in the famous French fashion and upset things in general, causing quite a furore among the guests. After drinking a few bottles of wine to quench his excitement, he became quite hilarious, and calling upon the orchestra to render a ragtime, he danced one of the famous French tangos with one of the queens to the strains of “I Want to Be Way Down in Dixie,” at the same time using a plate for a tambourine, until all were very much disheveled.
Mr. Linder has a contract with Pathe to furnish a certain number of photoplays each week, and a poster advertising any of his comedies outside of a theater is sure to draw a crowd. ... (Excerpt of: 'Pathe's Paris Plant Extensive' - By William T. Braun in 'Motography', Sep. 12, 1914)