Max Linder

Searching for documentation about Max Linder, we found in an abandoned house a trunk sealed for 100 years, with a film from 1926 by an unknown filmmaker. The film depicts Max Linder, the first international screen star who was once revered in France, throughout Europe and in Hollywood. This pioneer of early silent film comedy was a mentor to Charlie Chaplin. Max miraculously avoided death five times. And finally, at the height of his artistic powers, he and his adored wife committed a double suicide. How was this possible?

Kino Classics and Lobster Films celebrate the legacy of Max Linder, a pioneer of comedy whom Charlie Chaplin referred to as "the great master." With his trademark silk top hat and cane, the French-born Linder blended slapstick with sophistication, and invested his films with a layer of cleverness that elevated them above mere knockabout comedies, paving the way for such multi-dimensional screen comedians as Chaplin, Buster Keaton, and Harold Lloyd. The collection includes four of Linder's American-made productions, meticulously restored from archival materials: THE THREE MUST-GET-THERES (1922, a parody of The Three Musketeers), SEVEN YEARS BAD LUCK (1921, a masterpiece of physical comedy), and the romantic farces BE MY WIFE (1921) and MAX WANTS A DIVORCE (1917). THE THREE MUST-GET-THERES U.S. 1922 Color Tinted 57 Min. Written and Directed by Max Linder

A look back at Charlie Chaplin's early life and career, from his rough childhood and music hall success in England to his early Hollywood days and the development of his enormously popular character, the Little Tramp, also called Charlot.

No plot available for this movie.

A documentary with many excerpts from the films of French movie pioneer Max Linder, narrated by his daughter.

Pioneering comedy legend Max Linder wrote, produced, directed and starred in Seven Years Bad Luck. Hilarious misadventures begin when Max' butler, chasing a maid, breaks an expensive full-length mirror. The butler persuades the cook, who somewhat resembles Max, to stand behind the frame and be Max's reflection. This gag, developed by Max, has become a classic of film and even television borrowed by everyone from the Marx Brothers to Abbott and Costello to Red Skeleton.

Bob Monkhouse introduces the golden age of slapstick comedy.

On the day before Easter in 1911, Don Hewes is crushed when his dancing partner (and object of affection) Nadine Hale refuses to start a new contract with him. To prove Nadine's not important to him, Don acquires innocent new protege Hannah Brown, vowing to make her a star in time for next year's Easter parade.

A long-retired director of early silent films recalls his exciting career as a filmmaker.

Reminiscences of the early days of cinema and films show in music halls, including extracts. (BFI)