Max Linder’s Funny Faces (1919) 🇬🇧

Max Linder — The return of the dandy comedian to the screen.

Personality is the priceless possession of the screen comedian. A man may be exceedingly clever at make-up and be provided with a part that has many opportunities for fun, but to win a permanent place in the hearts of picture-goers, he must be favoured with a personality.

Max Linder is one of the screen’s earliest artistes. He first appeared in pictures long before the resources which the present-day producer can command were obtainable. And although a great many “funny men” have come along at various times, none has created such an impression as Max has. He ranks second only to Charlie Chaplin.

Like Chaplin, he does not rely on broad humour to create laughs. He is a student and observer of the quaint characteristics of human beings, and his success is due to the fact that he is able to caricature “life,” and make us laugh at our own silly little ways.

Max Linder was never guilty of throwing pies at his mother-in-law, or emptying a bucket of whitewash over a policeman. His ways are far too whimsical and subtle to make vise of such worn-out methods.

What He is Like Off the Screen

In appearance Max Linder is dark, with brown, appealing eyes, and he is really quite handsome in spite of the grimaces he has been making for many years now. Max is able to twist his face about just as he chooses, as a glance at the photographs above will show. This accomplishment is a great asset to him, as he can register for the camera every conceivable expression. Hard work and long practice has enabled him to have complete control of his facial muscles.

Every emotion and every thought can be portrayed at will on the elastic face, and thus transmitted via the camera to the screen.

Another secret of his success is temperament. Max Linder is possessed of all the vivacity of the Frenchman, and is able to infuse his works with a “joyousness” that is absent in artistes of some other nationalities. The French are proverbially light-hearted, and this is the case with Max’s gay, irresponsible fun.

Away from the studio. Max Linder impresses one with his manly bearing. He is the typical “man about town,” with clean-cut features and leisurely walk. When on business bent, however, one notices a change immediately. He becomes agile and brisk, and he reminds one of the business man, anxious to give attention to every detail. His eyes are all over the studio, and he is constantly helping the other actors by advice and suggestion. His big, creative brain is always working, too!

Why We Have Missed Him Lately

Max Linder pictures have been absent from the theatres for some time now, and for a very good reason. When war was declared, Max joined the French Army as a motor despatch carrier, and for a long time he was attached to a battery on the Aisne. On his discharge from the Army he joined the Essanay Company, and agreed to make twelve two-reel pictures, but he had to give up this work on the completion of his third film, owing to digestive troubles.

This was due to the after-effects of shrapnel wounds which he received. After a long rest, however, he has completely recovered, and will shortly make his re-appearance on the screen.

Recognised on the Screen

While in France, Max was a great favourite with our Tommies, and when his first new film came over, numbers of wounded Tommies were invited to see the film, and many of them wrote to him congratulating him. A sergeant in the 7th West Kent Regt., who was amongst the party, recognised Max as the man who saved his life on the battlefield round Guillemont, on the Somme!

True — More or Less

One of his last photo-plays was called Max Goes to America, and it is supposed to be the true story — more or less — of how the popular French comedian crossed the “herring-pond.” Max Linder has always produced his own pictures, in addition to taking the leading part.

Although French, Max might well be termed the “international comedian,” for his refined and brilliant humour is appreciated all over the world. He is still in the prime of life, and will, no doubt, accomplish still greater triumphs in the future.

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Photo captions:

• I see you.
• That was a nasty one.
• I am delighted — and look it!
• Things couldn’t be worse.
• No more, please!

Collection: Picture Show Magazine, June 1919