Léontine

In a last gasp effort to school Titine in domestic labor, her parents entrust her with housesitting. She executes her obligations with catastrophic aplomb, shattering all the dishes in the gesture of cleaning them. She manages to flood and incinerate her entire home simultaneously. In a futile effort to find her baby brother and pet dog, she inherits a horde of stray canines and orphaned babies.

Monsieur Dranem cooks, cleans and sews while his militant wife gambols in pantaloons, smokes pipes, drinks pints, plays cards and assaults her cowed spouse. (Cinema's First Nasty Women)

Rosalie and Léontine go to the theater and are swept away by big emotions.

Léontine cannot resist her desire to sail her new toy boat indoors. She plugs up the drains and turns on the faucets, flooding the house as water rains down through the floorboards and collapses the ceilings.

The oldest surviving film in the Léontine series, this incomplete escapade features everyone’s favorite “mistress of mayhem” doing what she does best: wreaking total havoc and defying repressive authority. Léontine runs errands for a milliner, whereupon she steals the ludicrously oversized chapeau she was tasked with delivering to a valued customer. She adds insult to injury by leading her property-owning victims down a royal road of utter humiliation.

Léontine lights up our lives with an electric battery, electrocuting everyone in her path. Her victims include two old ladies (played by men in drag), dancers at a café, workers on a construction site, a group of lackluster conscripts, and the local police force. To add insult to injury, she douses everyone with buckets of water.

Léontine goes on a dish-breaking rampage to protest her parents’ boring rules, so they kick her to the curb. She proceeds to terrorize the neighbors, tripping two men hauling large cartons by ensnaring them with pieces of string. She drops a pumpkin on a shopkeeper’s head, ties someone’s furniture to a moving vehicle, and then explodes fireworks inside a plumber’s protruding drainpipe. He puts out the flames in a tailspin by jumping into the river.

It’s high time for tomboy Titine to settle down and learn a useful trade. Instead, she terrorizes any shop owner foolish enough to audition her labor. In a throwback to the third episode, where she apprentices for a milliner, Titine drops a carton of fancy hats that are crushed by a steamroller. Then she throws a cake at the baker’s best customer and insults a woman with large feet at the shoe store.

Hell hath no fury like Léontine with a piece of string! Our favorite mutinous miscreant returns with her weapon of choice, “pulling the strings” as she baits greedy bystanders to snatch at the tempting objects that ever elude their grasps. Léontine is an evil puppet-master who preys on consumer capitalism’s vicious loop between wanting and having. Her angry victims form a vengeful mob and chase after her, but she trips them with string and then rides off into the woods. Real violence is averted by a clever substitution trick and Léontine celebrates with her iconic victory dance.

Léontine helps her pal Rosalie (Sarah Duhamel) race against time to clean up a house after Rosalie’s boss, Baron von Hummen, announces that he and Madame will return home earlier than planned. They recruit workers and poach resources from a nearby construction site. As we see, it takes a village to tidy a house on short notice (or at least it should!), but there’s a limit to the capacities of even collective domestic labor. Accelerated productivity gives way to sheer physical anarchy and irreversible destruction. Dirt and debris pervade every surface—furniture and skin alike—leading to several unfortunate blackening gags.

In a playful, reflexive take on the familiar “last-minute rescue” formula, a woman and her housekeeper left alone at home miss-read shadows projected from the street outside and fear a violent assault. Male police officers dispatched to rescue them correctly diagnose the situation, with hilarious results, including a late gender reveal. Notable for its early use of triptych.

Titine and her family go for a fast-motion bicycle ride while enveloping the whole public sphere in their raging tornado of bodily ventilation. They knock over pedestrians, café diners, and horse-drawn carriages. Finally, they are steamrolled by the superior fan of a gas-guzzling automobile. Translated from Le Bulletin Pathé, they “are swept in turn like simple fetuses”

Accomplished musician Blanche Ladoré (played by “Léontine”) places a personal ad in the paper wishing to marry an “equally talented musician.” Rémi Lacroche responds to her call. They meet in public, she with her trombone and he with his bass drum. It’s love at first sight but public noise disturbance to all within earshot. They wreak such havoc they end up in the police station!

A jolly housekeeper brings new meaning to the notion of “home entertainment” with a handsome new portable phonograph that causes people, furniture, and buildings to rock and roll through the magic of stop-motion animation. (MoMA)

What would a vacation be for Titine without hellraising mischief? As a reward for receiving high marks at school, she goes on a peaceful jaunt to the countryside to visit her aunt and uncle. Naturally, she trips the gardener, futzes with her aunt’s expensive perfume, terrifies the cooks by levitating pots and pans (with hidden string!), enjoys a bacchanalian feast of grapes and sausage, and then jumps out the window. Her uncle banishes her with a stern warning for tyrannizing their idyllic home. But Léontine does not appear chastised.

Léontine is sent airborne by too many helium balloons and takes a catastrophic joyride across town, while her parents and the townsfolk frantically chase after her. Her journey is depicted with dazzling aerial views.

Yet again, Léontine ignores the well-meaning advice of her mother. She attempts to hang her downstairs neighbor (played by a man in drag) with a rope, which she then uses to attach a bookseller’s kiosk to a moving vehicle. A vengeful mob and the police gather, as they do, but she entraps them on a scaffolding by removing the rope ladder.