The similarities to The Policemen’s Little Run, released earlier the same year, are obvious. Each have their own merits and choosing one over the other ultimately comes down to personal preference.
More significant than the movie itself are the circumstances revolving at the time around the film’s production company, Gaumont, and co-Directors, Alice Guy and Louis Feuillade. Guy, serving as Gaumont’s Artistic Director since 1896, first bought scripts from Feuillade beginning in 1905, and then finally convinced him to give directing a shot as well.
Still, most of the Gaumont films from this period, such as The Race for the Sausage, were either explicitly directed or closely supervised by Guy. In preparation for her upcoming move to the United Stated to serve as Production Manager for Gaumont’s New York operations — and to be with new husband, Herbert Blaché — Guy was also molding her successor. When the time came for her to bid France a farewell, she suggested Feuillade as her replacement. By late 1907, Guy-Blaché was living on a different continent, and Feuillade was Gaumont’s new Artistic Director.
July 24, 2012 — chrisgiddens
Perhaps the most fantastic slapstick of the century’s 1st decade, the influence of Melies is obvious [note: R.W. Paul, producer and cinematographer of “The ‘?’ Motorist”, built the 1st camera used by Melies].
However, unlike most works by his fellow cinemagician, Walter R. Booth’s “Mad Motorist” is not constrained to the theater-style setting. Alternating between studio sets and external shots, the chaos is taken to new heights, literally. Seriously, man, it’s out of this world.
July 23, 2012 — chrisgiddens
Let’s say you’re Louis Feuillade and you want to top two previous movies centered around mattress hi-jinks (Guy’s The Drunken Mattress and Melies’s The Tramp and the Mattress Makers). How would you go about doing this? Why, utilizing the entire bed of course! With the shortest run-time of the three, we are reminded that bigger isn’t always better, and in this case, smaller is actually bedder. <- Oh yes, I went there.