This article relies largely or entirely on a single source .(November 2016) |
Au Secours! | |
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Directed by | Abel Gance |
Written by | Max Linder Abel Gance |
Produced by | Abel Gance |
Starring | Max Linder |
Cinematography | Émile Pierre André-Wladimir Reybas Georges Specht |
Release date |
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Running time | 23 minutes [1] |
Country | France |
Language | Silent |
Au Secours! is a 1924 short French silent comedy horror film, directed by Abel Gance [2] and starring Max Linder. The French title translates into English as "Help!". The film is also known as The Haunted House in some reference books. The film was made on a dare, with Gance filming the entire project in three days, with the help of his friend, actor Max Linder. Linder had just returned to France after several years of trying to start an acting career in Canada. [3]
Max Linder, depressed since his service in World War I, had earlier entered into a suicide pact with his younger wife in 1924, the year after they were married, but the attempt failed and the event was hushed up. Their second attempt succeeded however in 1925, and the pair succumbed to an overdose of poison and blood loss from slitting their wrists, leaving behind a very young daughter Maud. Quentin Tarantino included a reference/ homage to Linder in his 2009 film, Inglourious Basterds . [4]
The film is based on the haunted house premise, though the setting is a haunted castle. In the film, a young man agrees to spend one hour in the haunted castle to win a bet with a count. He faces living mannequins, skeletons, wild animals, and ghosts. Yet, he loses the bet when he is tricked into believing that his wife is in distress and runs to her side.
The boastful Count Maulette dares some guests in a private club to spend one hour in a haunted house which he knows of. A young newlywed named Max takes on the challenge, and they bet a thousand francs on it. Max must stay in the castle from 11 PM until midnight in order to win the bet. The Count arranges for Max to have a bell which he can ring for help. The problem is that if he rings the bell, he loses the bet.
After Max is locked inside, he is assaulted by a wild barrage of seemingly weird supernatural events (a mannequin comes to life and assaults him, men in skeleton costumes prance about, wild animals wander the corridors and ghosts seem to fly about). Finally, just as he is about to win the bet, the phone rings and Max is told that his wife back home is being threatened by an intruder. Panic-stricken, Max rings the bell minutes before midnight to run to his wife's defense, and therein loses the bet. The audience later discovers it was the Count calling him on the phone, pretending Max's wife was in danger.
Critic Christopher Workman writes the film's "horrific incidents.....none of it particularly funny or scary, employ props, techniques and effects that were already old hat in 1924 --- fast motion, slow motion, wire work, superimpositions, stunt doubles on trampolines, men in ghost and skeleton costumes, a man on stilts, etc....". [5]
1917 in film was a particularly fruitful year for the art form, and is often cited as one of the years in the decade which contributed to the medium the most, along with 1913. Secondarily the year saw a limited global embrace of narrative film-making and featured innovative techniques such as continuity cutting. Primarily, the year is an American landmark, as 1917 is the first year where the narrative and visual style is typified as "Classical Hollywood".
The year 1916 in film involved some significant events.
The year 1915 in film involved some significant events.
1913 was a particularly fruitful year for film as an art form, and is often cited one of the years in the decade which contributed to the medium the most, along with 1917. The year was one where filmmakers of several countries made great artistic advancements, producing notable pioneering masterpieces such as The Student of Prague, Suspense, Atlantis, Raja Harischandra, Juve contre Fantomas, Quo Vadis?, Ingeborg Holm, The Mothering Heart, Ma l’amor mio non muore!, L’enfant de Paris and Twilight of a Woman's Soul.
The year 1912 in film involved some significant events.
The year 1911 in film involved some significant events.
The year 1910 in film involved some significant events.
L'Homme qui vendit son âme au diable is a 1921 French silent film comedy directed by Pierre Caron. The plot was similar to Faust and The Student of Prague, about a man who makes a diabolical deal with the Devil.
The Mechanical Man is a 1921 Italian science fiction film directed by André Deed. It was produced in 1920 and released in November 1921. It is one of the first science fiction films produced in Italy, and the first film showing a battle between two robots. The cinematographer was Alberto Chentrens.
Satan is a 1920 silent German drama film in three parts, directed by F. W. Murnau, written and produced by Robert Wiene. It was one of Murnau's first directorial attempts, and along with his 1920 Der Januskopf, is today considered a lost film. The film starred Fritz Kortner, Sadjah Gezza and Conrad Veidt. Karl Freund was the cinematographer.
The Hunchback and the Dancer is a 1920 silent German horror film directed by F. W. Murnau and photographed by Karl Freund. This is now considered to be a lost film. The film was written by Carl Mayer, who also wrote The Cabinet of Dr. Caligari (1920). Karl Freund later emigrated to Hollywood where he directed such classic horror films as The Mummy (1932) and Mad Love (1935). It premiered at the Marmorhaus in Berlin.
A Son of Satan is a 1924 silent race film directed, written, produced and distributed by Oscar Micheaux. The film follows the misadventures of a man who accepted a bet to spend a night in a haunted house. Micheaux shot the film in The Bronx, New York, and Roanoke, Virginia.
The Other Person is a 1921 Dutch-British silent mystery film directed by Maurits Binger and B.E. Doxat-Pratt. It was a co-production between a Dutch film company and a British film company.
Esmeralda is a 1922 British silent film and an adaptation of the 1831 novel The Hunchback of Notre-Dame by Victor Hugo, with more emphasis on the character of Esmeralda rather than Quasimodo. It was directed by Edwin J. Collins and starred Sybil Thorndike as Esmeralda and Booth Conway as the hunchback. The film is considered lost, but extant still photos show a 40-year-old Thorndike who appears to be too old for the role of the young and virginal Esmeralda. This version emphasized romance and melodrama over horror.
Orphan of Lowood is a 1926 German silent drama film directed by Curtis Bernhardt and starring Evelyn Holt, Olaf Fønss and Dina Diercks. It is based on the 1847 British novel Jane Eyre by Charlotte Brontë, and is the last of at least eight silent film adaptations of the novel. It was shot at the Terra Studios in Marienfelde. Director Bernhardt, a Jew wanted by the Gestapo, escaped from Nazi Germany and immigrated to Hollywood where he directed films for MGM, RKO, Columbia Pictures and Warner Brothers.
Carl Alwin Heinrich Neuß was a German film director and actor, noted for playing Sherlock Holmes in a series of silent films during the 1910s. He also played the dual role of Jekyll and Hyde in the 1910 Danish silent film version of Dr. Jekyll and Mr. Hyde, directed by August Blom. He played Jekyll and Hyde again in the 1914 German silent film Ein Seltsamer Fall, scripted by Richard Oswald.
Figures of the Night (German:Nachtgestalten) is a 1920 German silent horror film written, directed and produced by Richard Oswald and starring Paul Wegener, Conrad Veidt, Reinhold Schünzel and Erna Morena. It is based on the novel Eleagabal Kuperus by Karl Hans Strobl. Strobl was the editor of a German horror fiction magazine called Der Orchideengarten which was said to have been influenced by the works of Edgar Allan Poe. Strobl was an anti-Semitic and later willingly joined the Nazi Party, which may explain why he has become an obscure literary figure today.
Madness (German:Wahnsinn) is a 1919 German silent horror film directed by Conrad Veidt and starring Veidt, Reinhold Schünzel and Grit Hegesa. The film's art direction was by Willi Herrmann.
The Lost Shadow is a 1921 German silent film directed by Rochus Gliese and starring Paul Wegener, Wilhelm Bendow and Adele Sandrock. The cinematographer was Karl Freund. The film's sets were designed by the art director Kurt Richter. It was shot at the Tempelhof Studios in Berlin. For some reason, the film was only released in the US in 1928. It is today considered a lost film.
The Phantom Melody is a 1920 American silent drama film directed by Douglas Gerrard, and starring Monroe Salisbury, Henry A. Barrows, Ray Gallagher, Charles West and Jean Calhoun. The film was released by Universal Film Manufacturing Company on January 27, 1920. The film's "premature burial" plotline tilts it in the direction of being a horror film as well as a melodrama. Director Gerrard emigrated to Hollywood from Ireland in 1913 to become an actor, but quickly gravitated to film directing in 1916 with his The Price of Victory, but gave up directing soon after filming The Phantom Melody.