Sept ans de malheur

It is very complicated for this German Count to talk about Herr Max Linder because it is well-know among the silent film fans and even the longhaired ones, that he was the first and the greatest comedian, the paradigm of the elegance in comedy films, a world –famous star in the 10's. He had great influence with his unique style on the other comic stars that developed their careers after him including Herr Charles Chaplin. He created a genuine character, a young French idle class bourgeois boulevardier with top hat and suit ( not to be mistaken with the older German elegant and dissipated aristocracy… ), that always rather politely succeeds in the most incredible adventures… although after many efforts. This German Count thinks that it is always necessary to remember who is who in the silent film history and if this little communication is useful for some dangerous longhaired youngster in discovering these films, that's a greatest reward for this German aristocrat.

In "Seven Years Bad Luck", Max accidentally breaks his full-length mirror. As superstitious people in France, he thinks that this means seven years' bad luck; many troubles happens at that very moment, loses his fiancée Betty and even winds up in jail, but fortunately at the end, everything will be all right for Max. The film had astounding, funny and remarkable gags as, one of Max's most famous, scene in which Max mimics himself in a mirror that doesn't exists or his tricks to get onto a train without being discovered by the station master. "Seven Years Bad Luck" it is a feature film that belongs to his American period ( he went to USA in 1916 engaged by "Essanay" ) and it is an excellent example of his impeccable style: elegant sense of humour, elaborated and imaginative gags that appeals to the intelligence and complicity of the audience, a delightful and unforgettable comedy.

And now, if you'll allow me, I must temporarily take my leave because this German Count must to change his top hat for a Teutonic helmet in order to be not mixed up with that French bourgeois impostor.

Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/

To be honest with you, I had never heard of the silent actor Max Linder until I picked up his DVD compilation from the library the other day. On it contains many shorts along with this, his feature from 1921, to the audiences of today, to which I say Thank You Very Much! Because this film is just WAITING to be discovered! Max plays a ridiculously rich guy, who is about to get married, and how a single day's sequence of events could seriously jeopardize his engagement. I was surprised to learn that this is the first movie that uses the "mirror" gag that we've seen countless times (most notably by the Marx Bros). Linder does this gag so astonishingly well, all other attempts in any other comedy (including animated!) pales in comparison. There are many other witty gags on display here, some fun with animals, some VERY clever disguise work (with some rather funny, but never offensive black person disguise) and some very amazing stunt work. And here's another reason why you should see this. With most silent movies nowadays, I don't find much particularly funny anymore. But with this, I was laughing out loud at least 3 times during the movie. And when I notice myself laughing, then it must mean something!

Max Linder does ... well, anyway, he was six years older than Chaplin, and Chaplin did give him credit for influencing some of Chaplin's work, which is evident in some scenes in this movie.

But Charlie was making movies in Hollywood as early as 1914, Keaton as early as 1917, and "Seven Years" was made in 1921.

Granted, Linder made other movies as early as 1905, the year America saw "The Great Train Robbery."

This movie, "Seven Years Bad Luck," is a joy. Even after nearly a hundred years, it is still funny, still clever, still creative.

It covers a lot of ground, from a servant-staffed mansion to a railroad station, with lots of action, and, more important, lots of laughs.

The mirror scene is, literally, classic -- incredibly well done, in fact so well done it was copied by the Marx Brothers and by Lucille Ball in a scene with Harpo on her "I Love Lucy" series.

That scene alone makes this movie worth watching.

Let me add this: This movie is fun, but there is an element of historicity that also makes this worth watching.

Linder was a model for other film comics; he was a creator; he was inventive.

That he is not better known speaks badly of motion pictures and their heritage.

The first of three feature-length movies Max Linder made during his second stay in Hollywood sees his luck taking a turn for the worse after he breaks a mirror. An uneven comedy that is wildly funny at times, but which misfires just as often. The brilliantly choreographed 'human mirror' gag was later copied by the Marx Brothers. The fact their their routine is held up as an example of comic genius while Linder's version is largely forgotten pretty much typifies the Frenchman's unfortunate status as one of cinema's overlooked geniuses.

Thanks to the renewed interest in silent films brought about by video technology, a whole new generation is being introduced to the timeless comedy of Charlie Chaplin, Buster Keaton, Harold Lloyd and others. But every time you laugh at their antics you should thank Max Linder the French comedian who did it all first.

Max began his film career in 1907 and by 1909 was writing, directing, and starring in his own films built around his character of the dapper dandy dressed in spats and silk top hat. By 1914 he was the highest paid entertainer in the world and had made over 350 films. Mack Sennett and Keystone were just underway and Chaplin had just arrived in America. Then World War I broke out. Max enlisted and was seriously wounded three times. By the time he had sufficiently recovered the world had changed. Chaplin was now the king of comedy having with full acknowledgement borrowed many of Max's gestures and routines. Max was flattered and came to the U. S. in 1917 to make a few short films before going back to France. He returned in 1921, bought a house in Hollywood, and made three feature films. These did not do well at the time and an increasingly depressed Max went back to France where he and his wife committed suicide in 1925. He was 42.

Out of his vast output, only a small fraction have survived. While this DVD is unlikely to bring about a Max Linder revival, it does allow us to see his most famous feature film, an abridged version of another, and some of his pre-war work in France when Max was at the peak of his popularity. SEVEN YEAR'S BAD LUCK (1921) contains the famous broken mirror routine of Max standing before someone else who mimics his actions. This gag was reused by the Marx Brothers in DUCK SOUP and by Lucille Ball and many others. The excerpt from BE MY WIFE (also 1921) has Max staging a fight with himself from behind a curtain. The condition of the prints used for this DVD are pretty good but not great and are probably the best available without the funding for a full scale restoration.

Nevertheless it's great to see Max back up on the screen once again. If you enjoy silent screen comedy then you owe it to yourself to check this disc out and watch the "Professor", as Chaplin called him, show us how it's done. Max Linder was the first comedy superstar and influenced all who came after him from Chaplin to the look of John Astin on THE ADDAMS FAMILY. Thanks to David Shepard and Film Preservation Associates for making these long unseen treasures available. The musical accompaniment by Robert Israel ranging from small orchestra to Fotoplayer (a sort of one man band) is first rate as usual...For more reviews visit The Capsule Critic.