Max in a Taxi (1917)

User Rating:

6.9/10   

Director:

Max Linder

Writer:

Max Linder (writer)

Release Date:

23 April 1917 (USA)

Genre:

Short | Comedy

Plot Keywords:

Horse | Drunk | Animal | Character Name In Title

Cast

Max Linder
Martha Mansfield

Country:

USA

Language:

English

Color:

Black and White

Aspect Ratio:

1.33 : 1

Sound Mix:

Silent

Company:

Essanay Film Manufacturing Company, The

Trivia:

This film was previously thought lost, but a print has since been discovered.

Fast-paced comedy, although....sometimes, perhaps it is better to stay faithful to your own style

*** This comment may contain spoilers ***

In his third American production, the incurable dandy Max Linder appears in this fast-paced comedy that seems to be, in part, a reconstruction of a stage act, but several cinematic bits of business eliminate every possible doubt to the comedian's contributions to the comedy presented. It is not unreasonable to suggest that Linder was inspired by Chaplin's ONE A.M., when adapting an idea from his memories of stage days and making it an act of his own, although this was a pretty common thing to do. Whatever the case, MAX IN A TAXI offers a few traces of the originality and imaginativeness that had separated Linder's genius from the comic minds of his contemporaries in France a few years before. Yet, sometimes a few traces are not enough.

In the copy I am in possession of, we are introduced to Max and his pal, both drunk, outside a café, deciding to find a cab (press reviews reveal that the original opening of the film seems to be missing). They fail to find one but are relieved by a horse-drawn cab. Max ties the animal the wrong way about, with the rear sticking out, and drives home. Linder performs a few amusing bits here, namely when he, intending to climb off the wagon, places his companion's hat upon his on the ground, and steps it flat while saving his own. Upon his arrival, Max enters a furnished villa, which in fact is the home of his parents, who quickly throw him out again. Frustrated to discover that his current fortune consists of two dimes, Max concludes that as he is unable to neither rest nor buy some more fun, there is no reason to live and he decides to kill himself. Glimpsing a train in the horizon, he stretches down at the railroad tracks. Linder performs the situation with great effect, touching his throat and biting teeth in preparation for what is soon to occur. Only, it doesn't, of course; the train drives into a sidetrack. An old gag by now, but it may add to the tension to know what Linder went through to do this bit; although Max appears pretty unemotional about the affair, this does, in fact, confirm the comedian's capabilities as a performer. He and the train were really there. Linder later claimed that some experiences in making movies had been more horrifying than his services during the war: "The train was to rush down upon me, all would be over—but no! Within ten feet of where I lay there was a switch. And, as the engine stretched forth to snuff out my life, it was to strike the switch, swerve to a side-track and whiz past, leaving me intact." Making people laugh, one would think, is not always such a big laugh in itself.

Next, Max tries to hang himself, but then he comes across a card advertising a party. Suddenly life shines again. While other guests celebrate, Max is delighted to discover a plate of cookies standing untouched on a table. His eyes enlarge and his face turns into a huge smile as he passionately allows himself several goodies simultaneously, pretty much with the mannerisms of a spoiled child. The comedy is saved by Linder's mere performance; the sequence serves little purpose to the story, other than that of giving us a clearer understanding the character. The joy is interrupted when Max, for some reason, receives the affection of a fat lady. At first he is annoyed, but soon discovers that this lady is the mother of a beautiful girl (Martha Mansfield). They chat for a while. Later, Max buys a paper and decides to find a job. The girl and her mother reappear, seeking a cab; Max, now a taxi driver, is so blown away that he forgets to start the car and instead enjoys himself in the backseat with his two customers. He falls asleep, and wakes up to discover that they are gone. They reappear another time, no less happy. Entering the car again, Max starts off; he loses control; runs into a telegraph post, and the entire thing explodes. Max is thrown upon the telegraph wires, from which he lifts his hat, declaring his farewell for this time.

MAX IN A TAXI did poorly at the box-office, and after this third effort, Essanay terminated Linder's contract. Being one of Linder's greatest admirers, and having intensively enjoyed his other Essanay-comedies, I am sorry to confess some disappointment with this effort; it suggests a creative letdown period for the comedian. First, there is not much continuity to be found. Perhaps this is not to be expected from a comedy dating ninety years back; well, it is in the case of Max Linder. He had always attributed his work with stories which followed a clean thread, however simple. MAX COMES ACROSS was memorable for its clever variations of well known routines; MAX WANTS A DIVORCE had its strength in a complex story. "TAXI," on the other hand, does not offer much of either. There are amusing moments, and Linder's performance is captivating in all its simplicity; in fact, Max Linder is the only silent comedian alongside Chaplin and Keaton whose appearance I consider as fascinating as the business he performs. But the film lacks the spontaneity and inventiveness that sparkled his earlier work. Linder is hardly to be blamed; considering the horrors he had gone through during the war, it is amazing that he managed to perform comedy at all. Besides, it can not have been easy for him to produce one two-reeler each month, while at the same time trying to meet the new taste and expectations of American audiences.

Linder later returned with three delicate and hilarious features; he had, in other words, not lost his sense of humor by this time. Far from it. But despite funny moments, MAX IN A TAXI hardly serves as the best introduction to this comic genius. He could, and did, do better.