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Max Linder
(1883-1925)











Repka Nick form 11 ”B”
      




Max Linder
(1883-1925)
About Linder
As I have never seen a Max
Linder film, I cannot write anything about him. I have thus
reproduced here two separate articles. Suffice to say, Walter Kerr in
The Silent Clowns (see books page) rates him as a true pioneer of
film comedy (e.g. the joke of being unveiled on a statue used by
Keaton in The Goat and Chaplin in City Lights was first used by
Linder).
b. Gabriel-Maximilien
Leuvielle Dec 16 1883, Caverne, France. d. 1925.
At 17 he left high school to
study drama and soon after began an acting career on the Bordeaux
stage. He moved to Paris in 1904 and started playing supporting parts
in melodramas. In 1905 he embarked upon a parallel career in
Pathe films. For three years he spent his days in the film
studios and his evenings on the stage, using his real name in the
theater and the pseudonym Max Linder on the screen. By 1908 he had
given up the stage to concentrate on his increasingly successful
screen career. By 1910 he was an internationally popular comedian,
possibly the best-known screen comic on either side of the Atlantic
in the years before WW I. Typically playing a dapper dandy of the
idle class, he developed a style of slapstick silent screen comedy
that anticipated Mack Sennett and Chaplin and set the premises of the
genre for years to come. Ferdinand Zecca, Louis Gasnier, and Alberto
Capelani were among the directors of his earliest films.
By 1910, Linder was writing
and supervising, and from 1911 also directing, all his own films. His popularity was at its peak in 1914, when he was called to arms. Early
in the war he was a victim of gas poisoning and suffered a serious
breakdown. The injury was to have a lasting effect on his physical and mental well-being. He returned briefly to French films, but
finding his popularity vanishing, he accepted a bid from Essanay and
left for the US late in 1916. Continuous ill health hampered the American phase of Linder's career from the start. In mid-1917, after
only three films, he was felled by double pneumonia and spent nearly
a year recovering in a Swiss sanitarium. When he returned to the US
in 1921, he formed his own production unit, releasing through United
Artists. But after making only three more American films, including
the celebrated parody (of Fairbanks’ The Three Musketeers) The Three Must-Get-Theres, he returned to Europe, where he married the
daughter of a Paris restaurateur in 1923. Linder made two more film
appearances: one in France, the other in Austria, but realized