Max Takes a Bath
"Max's quest for cleanliness leads to a mountain of trouble!"
Plot
After being advised by his physician to take a therapeutic bath for his health, the dapper Max Linder purchases a large zinc bathtub and attempts to transport it home through the bustling streets of Paris. The journey is fraught with slapstick peril as the tub becomes a cumbersome obstacle for pedestrians and vehicles alike, leading to several public confrontations. Once he finally arrives at his apartment, Max discovers that filling the tub is an arduous task involving endless buckets of water and a leaky plumbing system. When he finally settles in for his soak, his privacy is repeatedly invaded by a series of eccentric visitors, deliverymen, and neighbors, escalating into a chaotic climax where the water overflows and threatens to flood the entire building. Max's increasingly desperate attempts to maintain his dignity while soaking wet provide the film's comedic backbone.
Director
Cast
About the Production
The film was produced during the height of Pathé Frères' global dominance in the film industry. It utilized a mix of studio-built sets for Max's apartment and authentic Parisian street locations for the bathtub transport sequence. Lucien Nonguet, a veteran director for Pathé, collaborated closely with Linder to refine the physical comedy beats. The bathtub itself was a custom prop designed to be lightweight enough for Linder to manhandle but sturdy enough to withstand the physical comedy routines.
Historical Background
In 1910, cinema was transitioning from 'attractions' (simple spectacles) to more sophisticated character-driven narratives. France was the epicenter of the film world, with Pathé Frères acting as the largest studio on the planet. The film reflects the Belle Époque era's fascination with modernity and domestic technology, such as indoor plumbing, which was still a luxury for many. Max Linder's character represented the 'Boulevardier'—a sophisticated, wealthy Parisian man-about-town—which provided a relatable but aspirational figure for the working-class audiences of the time.
Why This Film Matters
This film is a cornerstone of silent slapstick comedy, establishing the trope of the 'embarrassed gentleman' that would be utilized by Buster Keaton and Charlie Chaplin. It moved comedy away from the crude, violent slapstick of the early 1900s toward a more refined, character-based humor. Linder's ability to break the fourth wall with subtle facial expressions influenced the way actors communicated with the camera. It also serves as a historical document of early 20th-century Paris, capturing the fashion, architecture, and social etiquette of the period.
Making Of
The production of 'Max Takes a Bath' was characterized by Linder's meticulous attention to detail regarding his wardrobe; even in a comedy involving water, he insisted on wearing high-fashion attire until the moment he entered the tub. Director Lucien Nonguet focused on capturing the action in long takes to preserve the rhythm of Linder's physical performance. The scene involving the tub being carried through the streets was partially improvised, capturing the genuine reactions of Parisian bystanders who were unaware a film was being shot. This 'guerrilla' style of filmmaking was common for Pathé's comedies of the era to add a sense of realism to the absurdity.
Visual Style
The cinematography is typical of the 1910s, utilizing a static camera and a 'proscenium arch' perspective for interior scenes. However, the outdoor sequences show an early use of depth, with Max moving from the background to the foreground to create a sense of scale with the bathtub. The lighting in the studio scenes is flat and even, designed to ensure that every nuance of Linder's facial expressions was visible to the audience.
Innovations
The film is notable for its seamless editing between location shots and studio sets, which was relatively advanced for 1910. The use of a real urban environment for comedy helped move the genre out of the 'painted backdrop' era. Additionally, the film demonstrates an early mastery of 'prop comedy,' where a single object (the tub) dictates the entire narrative structure of the film.
Music
As a silent film, there was no synchronized soundtrack. Original screenings would have been accompanied by a live pianist or a small orchestra playing popular light classical music or upbeat ragtime. Modern restorations often feature new scores composed in the style of early 20th-century French salon music.
Famous Quotes
The film is silent and contains no intertitles in many surviving prints, relying entirely on Max's expressive gestures to convey his frustration with the bathtub.
Memorable Scenes
- The sequence where Max attempts to carry the massive bathtub through a crowded Parisian street, hitting several bystanders and causing a traffic jam.
- The scene where Max is finally in the tub, covered in soap suds, when a series of visitors enter his bathroom, forcing him to hide behind a small sponge.
- The finale where the tub overflows, and Max tries to bail out the water using his top hat.
Did You Know?
- Max Linder is widely considered the first international movie star, and this film helped solidify his 'dandy' persona.
- The film's original French title is 'Max prend un bain'.
- Linder performed all of his own stunts, including the difficult task of maneuvering the heavy tub through real Parisian traffic.
- This film is an early example of the 'comedy of frustration' genre, where a simple task is thwarted by endless interruptions.
- Charlie Chaplin famously referred to Max Linder as his 'professor' and credited films like this for teaching him comedic timing.
- The bathtub used in the film became a recurring motif in Linder's later work, as he often used domestic objects for slapstick.
- At the time of release, Linder was the highest-paid actor in the world, earning a salary that dwarfed his contemporaries.
- The film was distributed globally, reaching audiences in the United States, Russia, and across Europe within months of its debut.
What Critics Said
Upon its release, the film was hailed as a comedic masterpiece, with critics praising Linder's 'elastic' face and his ability to find humor in mundane situations. Contemporary film historians view it as one of the best examples of Linder's early work, noting that his timing remains effective even by modern standards. It is frequently cited in retrospectives of French cinema as a vital link between the trick films of Méliès and the narrative features of the 1920s.
What Audiences Thought
Audiences in 1910 were captivated by Max Linder's charm, and 'Max Takes a Bath' was a massive commercial success that led to a long-running series of 'Max' films. Viewers found the domestic chaos relatable, and Linder became a household name across Europe. In modern screenings at silent film festivals, the film still elicits significant laughter, proving the timeless nature of its physical comedy.
Film Connections
Influenced By
- The 'chase' films of the early 1900s
- French Vaudeville theater
- The work of André Deed (Cretinetti)
This Film Influenced
- The Kid (1921)
- The Music Box (1932)
- Sherlock Jr. (1924)
- Mr. Bean (TV Series)
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Film Restoration
The film has been preserved and restored by the Lobster Films archive in Paris and the Archives Françaises du Film. It is widely available in various silent film compilations.