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Tables Turned on the Gardener (1895)
"L'arroseur arrosé" (original title)

 |  Comedy, Short  |  1896 (Finland)
7.2
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Ratings: 7.2/10 from 2,454 users  
Reviews: 14 user | 5 critic

A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why... See full summary »

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Title: Tables Turned on the Gardener (1895)

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Cast

Credited cast:
François Clerc ...
Benoît Duval ...
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Storyline

A gardener is watering his flowers, when a mischievous boy sneaks up behind his back, and puts a foot on the water hose. The gardener is surprised, and looks into the nozzle to find out why the water has stopped coming. The boy lifts his foot from the hose, whereby the water squirts up in the gardener's face. The gardener chases the boy, grips his ear, and slaps him in his buttocks. The boy runs away, and the gardener continues his watering. Written by Maths Jesperson {maths.jesperson1@comhem.se}

Plot Summary | Add Synopsis

Plot Keywords:

gardener | boy | water | hose | spanking | See All (7) »

Genres:

Comedy | Short

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Details

Country:

Release Date:

1896 (Finland)  »

Also Known As:

Tables Turned on the Gardener  »

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Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

First fully staged fictional film projected in public. See more »

Connections

Remade as A Practical Joke (1898) See more »

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User Reviews

Slapstick, 1890s style
9 July 1999 | by (London, UK) – See all my reviews

L'Arroseur Arrosé is a cry from the depths of the proletariat for social emancipation, whereby the disenfranchised masses represented in a life-justifying performance as the Boy can only find justice through subversion and revolution. Indeed, the conclusion of this epic drama can been seen as a confirmation of the inherent violence in a Hegelian dialectic of class conflict; the chilling figure of the Gardener (a possible reference to ecclesiastical authority?) viciously suppresses the rights of the Boy to self-expression. The perennial nature of this conflict is undermined when both parties rush out of the "garden"; no resolution is possible except mutual annihilation.

Or, it could be a piece of light-hearted fun, as Lumiere recognised that the novelty of seeing pictures of factory workers and trains moving was wearing thin, and needed to be backed up with plot. It'll raise a smile for a few seconds, as a memento of an age with less demanding audiences.


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