First screened in 1983, L'HOMME AU CHAPEAU DE SOIE (a.k.a. "The Man in the Silk Hat") made Max Linder relevant again, nearly six decades after his tragic death. Though Linder's status as a pioneer had been recognized in some thorough studies of silent comedy in recent years, few people had had the opportunity to observe and enjoy, after his passing, his work for themselves. However, Linder's influence on early film comedy could with this documentary be declared unquestionable; all thanks to his daughter Maud, who by her own words "never knew him." As her father (and mother) had committed suicide while she was still a baby, Maud had no memories of the real Max Linder, and other reports claim that she did not really know about how famous and beloved her father once was until she reached adulthood. However, she speaks little of her own feelings in this documentary; her focus is on gentleman Max, the well-dressed comedian who in the years before the first world war brought laughter to the world like nobody else. Chaplin and Keaton were still performing on the stage at that point, and Harold Lloyd had barely made his debut as an actor at all.
We are introduced to Max through stills of the comedian as a child and general footage from the era. One can even spot actress Sarah Berhnardt as Hamlet at one point. However, the highlights here are the many, many excerpts from Max Linder's films. Most of the prints presented are in amazing condition considering their age, with very few lines and scratches. In her later autobiography, Maud confirms that she spent years restoring these films, and her efforts have given delightful results. I could mention numerous sequences to illustrate Linder's talent, but among the many films presented, particularly two impressed me. In the first one (which my fellow-reviewer has also commented), Max rides along with a pretty American girl in a train wagon. He is French, and their ability to communicate through conversation is very limited. Max is a man of solutions, however, and decides to approach the lady through visual resources. In order to express his feelings, he simply scribbles down a flower on a paper, and eventually cuts the paper into the form of a "heart." The romantic attitude which often shined through in Linder's work and character, made him quite unique as a film comedian of the time, to my knowledge; and furthermore, it works very very well to this day.
Another memorable short has Max and his female neighbor at first placing their shoes outside their respective apartments before retiring to bed. They do not seem to have any passionate feelings for one another at that point; or at least they neglect them. During the night, however, the shoes fall in love! As Max takes a walk the next day, his shoes suddenly come to life again and flies into the woman's pair nearby; she is also wearing her own by that point. At first Max and the lady are embarrassed, but as the shoes refuse to give up their kissing, our couple smiles and passionately embrace one another as well. So simple and sweet. Other titles included here are MAX TAKES A BATH, MAX FEARS THE DOGS, MAX AND THE LADY DOCTOR, MAX ASTHMATIQUE, SEVEN YEARS BAD LUCK, THE THREE MUST-GET- There's, THE HAUNTED HOUSE, and others. Also significant in establishing the mood is the beautiful, often cheerful and often romantic music by Jean-Marie Senia. The absence of Linder's American two-reelers is perhaps a bit disappointing, but these films are said to have been unavailable at the time.
Max Linder's personal life is barely covered in this film, including his traumatic experiences during The Great War. The brief mention of his suicide at the end of the film may thus come as a shock to viewers unfamiliar with his story (I actually cried a bit the first time, though I did know how his life ended). However, I completely understand Maud's wish to focus on her father's work rather than his sad later years. With THE MAN IN THE SILK HAT, she has captured the greatness of her father as a comedian and early film-maker. Now available on video, this documentary undoubtedly stands as the best introduction to the wonderful world of this wonderful comedian named Max Linder. (This review has later been ever-so-slightly revised and updated)
We are introduced to Max through stills of the comedian as a child and general footage from the era. One can even spot actress Sarah Berhnardt as Hamlet at one point. However, the highlights here are the many, many excerpts from Max Linder's films. Most of the prints presented are in amazing condition considering their age, with very few lines and scratches. In her later autobiography, Maud confirms that she spent years restoring these films, and her efforts have given delightful results. I could mention numerous sequences to illustrate Linder's talent, but among the many films presented, particularly two impressed me. In the first one (which my fellow-reviewer has also commented), Max rides along with a pretty American girl in a train wagon. He is French, and their ability to communicate through conversation is very limited. Max is a man of solutions, however, and decides to approach the lady through visual resources. In order to express his feelings, he simply scribbles down a flower on a paper, and eventually cuts the paper into the form of a "heart." The romantic attitude which often shined through in Linder's work and character, made him quite unique as a film comedian of the time, to my knowledge; and furthermore, it works very very well to this day.
Another memorable short has Max and his female neighbor at first placing their shoes outside their respective apartments before retiring to bed. They do not seem to have any passionate feelings for one another at that point; or at least they neglect them. During the night, however, the shoes fall in love! As Max takes a walk the next day, his shoes suddenly come to life again and flies into the woman's pair nearby; she is also wearing her own by that point. At first Max and the lady are embarrassed, but as the shoes refuse to give up their kissing, our couple smiles and passionately embrace one another as well. So simple and sweet. Other titles included here are MAX TAKES A BATH, MAX FEARS THE DOGS, MAX AND THE LADY DOCTOR, MAX ASTHMATIQUE, SEVEN YEARS BAD LUCK, THE THREE MUST-GET- There's, THE HAUNTED HOUSE, and others. Also significant in establishing the mood is the beautiful, often cheerful and often romantic music by Jean-Marie Senia. The absence of Linder's American two-reelers is perhaps a bit disappointing, but these films are said to have been unavailable at the time.
Max Linder's personal life is barely covered in this film, including his traumatic experiences during The Great War. The brief mention of his suicide at the end of the film may thus come as a shock to viewers unfamiliar with his story (I actually cried a bit the first time, though I did know how his life ended). However, I completely understand Maud's wish to focus on her father's work rather than his sad later years. With THE MAN IN THE SILK HAT, she has captured the greatness of her father as a comedian and early film-maker. Now available on video, this documentary undoubtedly stands as the best introduction to the wonderful world of this wonderful comedian named Max Linder. (This review has later been ever-so-slightly revised and updated)