Voilà mon mari!
director: Georges Hatot
year: 1906 country: France history notes: Unidentified Film No. 005 alternative titles: Achtung, mein Mann kommt! This film has been identified thanks to contributions from members of the Lost FIlms community. A woman bids farewell to a man as he leaves by train from the station [frame scan 1]. Back at home she opens the door to let in a visiting male friend (possibly her lover?). Later, somebody knocks at the door. It is the postman. She hides her friend in the coal box. He comes out black. Again, someone knocks at the door, so she puts him in her wardrobe [frame scan 2]. This time it is a female friend who wants to borrow an umbrella. Close-up: The cupboard from within as a shelf with hats on it falls down. The woman cleans up while the male friend is on the balcony [frame scans 3 and 4] (background: drawn brochure). The friend climbs down and flees without trousers into a tailor shop (Shop front: 'Taylors for Ladies and Gentlemen'). Mariann Sträuli/Jeanpaul Goergen, 07.11.2008 Production Company: Pathé frères, Paris
Length: 114m Format: 35mm, 1:1.33 Picture/Sound: coloured, silent Notes: 'Pathé Frères Paris' edgecode |
![]() ![]() Structurally, Retour imprévu is identical, but it's not this film. Mariann Sträuli/Jeanpaul Goergen, 07.11.2008 The film is: Voilà mon mari - Production Pathé 1906 (source: Cataloghe Pathé 1907 n° 1345, Phono Ciné Gazette 1.4.1906)
Alternative title: Au secours! mon mari vient. lenght: 125 m. Monsieur s'en va, madame fait venir son amant. Mais elle reçoit visites sur visites et l'amant doit se cacher successivement dans un placard puis dans une caisse charbon. Enfin, le mari revient et il se réfugie sur un balcon, puis derrière une enseigne. Le matin, il est surpris par les voisins qui appellent un sergent de ville. L'infortuné fuit en caleçons. Il pénètre dans une boutique de tailleur et enfile les pantalons d'un client qui est arreté à sa place. Teresa Antolin, 22.05.2009 The views expressed here belong to the author of the comment and do not necessarily reflect the opinions of Deutsche Kinemathek.
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