Polidor Has Stolen a Goose (Pasquali, 1912)
When you think of Italian cinema in the silent era, you think of historical epics on a grand scale like Cabiria or Quo Vadis?, but of course that wasn’t all they did. The Italians also released much less lavish productions dealing with modern themes, including short slapstick comedies like this one.
Our star is Ferdinand Guillaume. Guillaume was a lithe and acrobatic Frenchman who came from a circus family, which no doubt had a great influence on his work as an actor. When he was with the Cines company, he was better known by the stage name Tontolini, but at Pasquali, he was Polidor. Guillaume featured in hundreds of movies, starting in the 1910s and continuing well into the ’60s in films like Fellini’s La Dolce Vita.
Polidor Has Stolen a Goose is a rather high-concept picture — after you’ve read the title, you’ve got a pretty solid idea of the plot. A young lady has sat her goose down by the side of the road to canoodle with a young man. Polidor comes by and swaps his laundry bag for the bird. The real trouble comes when he absconds into the city and is caught up in a wedding party. It’s quite a challenge for Polidor to keep it together at the banquet table with a live goose under his shirt. After some mildly comic antics, Polidor is chased from the house with the bird on his back. The goose takes flight and Polidor finds himself clinging to a streetlamp at the end of the film.
I have to say that Goose has a stronger ending than the only other Polidor film I’ve seen — Polidor’s First Duel — but I’m not sure if that’s enough to recommend it. Guillaume is sometimes compared to Chaplin, and from his physical performance I can see why, but this is weaker than even the most minor Chaplin title. I imagine that given the right subject mater Guillaume could impress, but the material he’s got to work with here is just not very good at all.
My rating: I don’t like it.