The Three must-get-theres (Titel Blatt)

The Three must-get-theres

Weitere Titel: Max und die drei Musketiere (D)/ Die drei Muskrepiere (Ö)/ L'étroit mousquetaire (F) - Regie: Max Linder - Regieassistent: Fred Cavens - Szenario: Max Linder - Kamera: Harry Vallejo; Max Dupont - Titel: Tom Miranda - Länge: 1608m - s/w - Interpreten: Max Linder {Dart-In-Again}; Jobyna Ralston {Connie}; Bull Montana {Herzog von Rich-Lou}; Fred Cavens {Bernajoux}; Charles Mezetti {Octopus}; Caroline Rankin {Königin}; Jack Richardson {Walrus}; Harry Mann {Bunkumin}; Clarence Werpz {Porpoise}; Frank Cooke {König Ludwig XIII} - Produktion: Max Linder Productions - Vertrieb: Allied Producers and Distributors - © 1.9.1922 - UA: 27. August 1922 (New York/ The Strand) — Weitere Auff.: 26.1.23 (Paris/Ciné Max Linder); 14.3.24 (Wien/Imperial-Kino); 14.4.24 (Berlin/Mozartsaal)

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[...] Vorher im Max Linder-Film "Die drei Muskrepiere", eine Parodie nach dem populären Roman des älteren Dumas. Mancher reizende Trick, mancher lustige Einfall; aber der Humor ist ziemlich oberflächlich und niemals in der eleganten und cynischen Sphäre der wahren Parodie, die die Seele, den Kern des parodierten Objekts herausholt, und, indem sie ihn aus neuen, pietätlosen Gesichtswinkeln betrachtet, die zeitliche Relativität auch des Heiligsten und scheinbar Unwandelbarsten demaskiert. Das hat etwa Offenbach getan (von dem göttlichen Aristophanes ganz zu schweigen). Das tut dieser Film niemals. Sein Spaß operiert fast nur mit äußeren Requisiten. Aber zur Parodie gehört viel philosophische Anlage. Chaplin parodiert in irgendeinem ganz beiläufigen Zusammenhang, ganz unvermutet, mit einer einzigen Kopf-, Hand-, Fußbewegung abgründiger, zwerchfellerschütternder als Linder in fünf Akten. Das muß wohl auch Linder selbst gefühlt haben, ein psychologisch interessantes Symptom weist darauf hin: manche seiner Bewegungen sind eher eine Parodie auf Chaplin als auf den alten Dumas. Eine ganz merkwürdige Sache: Er ahmt den Mann nach, in dem er instinktiv die Möglichkeit vermutet hat, diese Parodie wirklich zu schaffen; aber seine Parodie reicht nur bis zu diesem Punkt, nicht mehr in die Möglichkeit selbst hinein. Trotzdem hat man sich gut amüsiert und viel gelacht. Und am Ende hat Herr Linder mehr gar nicht beabsichtigt. Auch hier fällt die brillante Photographie auf. W.H.[=Willy Haas] (Film-Kurier, 15.4.1924)

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Max Linder is the centre and, presumably, the author and director, of a rough and ready burlesque of "The three Musketeers," which is at the Strand this week. It is rather overtly titled, "The Three Must-Get-Theres" - why not "The Three Must-Get-Theirs," one wonders - and it is a broad and obvious travesty of the recent Fairbanks version of the Dumas tale. But it is good-natured and lots of fun. If it lacks subtlety and pointed satire, it abounds in broad and wholehearted mockery. Its method is that of absurdification. Following Fairbanks in the story almost step by step, it parallels, rather than follows him, in its treatment of each incident of the narrative. The Fairbanks version runs along the line of the romantic. The Linder version runs along the line of the ridiculous. And as the Fairbanks film is truly romantic, and never ridiculous, the Linder film at no point collides with it. Nor does the Fairbanks picture hit the Linder skit anywhere, for, thank heaven, "The Three Must-Get-Theres" never tries to be romantic. It is content to be a burlesque. So you can enjoy both films and neither will impair your enjoyment of the other. The spirit of the Fairbanks film is too gay, it is too exultantly free from the weight of an assumed every-day reality, for it to be touched by any burlesque. Only those photoplays which take themselves seriously, or, rather, solemnly, can be burlesqued. It is the picture which is as incredible, as farfetched, actually as fictional as "The Three Musketeers," but which nevertheless asks you to accept it as a piece of faithful realism that is exposed to the mockery of a robust burlesque like "The Three Must-Get-Theres." So, although it has its fun with the story of the Fairbanks film, Max Linder's irreverent caricature pokes fun at a thousand other photoplays and leaves "The Three Musketeers" not only untouched but secure enough to cheer it on. You need go no further than the Strand nor beyond this week to see this. On the bill with 'The Three Must-Get-Theres' is an interminably long and tedious work called 'Kindred of the Dust.' It takes itself seriously. It offers itself earnestly. It would have you believe that it is a profound and fearless study of human life. Yet surely no intelligent person can sit through it, after seeing 'The Three Must-Get-Theres,' without laughing out loud at a number of the things it asks you, in all seriousness, to believe. For instance: In one of the scenes of the Linder film Dart-in-again is entirely surrounded by about a score of the Cardinal's Guards. They close in on him, in a circle, with drawn swords. Twenty points are aimed to pierce his manly breast. But, just as each separate sword is about to run him through, he ducks - and the Cardinal's Guards stick their steels in each other. Twenty dead swordsmen lie around him as he rises to step out of their circle. Could anything be neater? ... ... By itself though, and apart from the damage it does to other films. 'The Three Must-Get-Theres' is enjoyable. Mr. Linder himself is a bright and resilient Dart-in-again, and it is to be hoped that, now that the war is over and he has come back to pictures, he will continue to contribute the gay farces for which he had a deserved reputation before his native France called him to the colors. Frank Cooke is a joy as the inebriate Louis XIII. of Mr. Linder's burlesque, Bull Montana is a beautiful Duke of Rick-Lou; Fred Cavens is funny without being far from true as Bernajoux, and Catherine Rankin is such a queen as any one might die for - if she was the last person in the world and he was determined to die for somebody. (New York Times, 28.8.1922)

Picture patrons will laugh heartily in "The Three Must-Get-Theres," which is a burlesque of "The Three Musketeers." The incidents that will in particular make them laugh are those in which modern instruments are used in the scenes, such as telephones, a typewriter, and automobile and others. The duel of Max Linder and his comrades with the King's men is the funniest that has been seen in pictures for some time. The action is fast all the way through. The picture should give universal satisfaction. (Harrison's Reports, Sept. 2^nd 1922)