Les bottines du colonel
R: René Bussy (?). B: Monsieur Lamsoon. D: Monsieur Grégoire, Émile Tramont (?), Mademoiselle Maia, René Bussy. P: Éclair A.C.A.D. Fr 1910
Print: Eye (Desmet collection)

“This film, which appeared in France in early July, was one of the first batch of films produced for Éclair by A.C.A.D. (Association de Comédiens et d’Auteurs dramatiques) which had been founded in 1909 by businessman Auguste Agnel. The first A.C.A.D films appeared in April 1910. A.C.A.D. was later associated mainly with former stage actor and director Émile Chautard who had become its artistic director by at least November 1910 and probably directed all of its films (with assistance from actors like Charles Krauss and André Liabel and his young protégé, one Maurice Tourneur) from November 1910 until he left for the US (to run the Éclair subsidiary there (along with protégé) in 1915. But the first artistic director of A.C.A.D. was another stage actor and director, Armand Numès who probably made the majority of A.C.A.D. films before November (Cavalleria Rusticana which came out in October had originally been advertised as the first production). It is known, however, that yet another stage actor, director and playwright René Bussy also directed early films for A.C.A.D. and this little ‘vaudeville’ (by a certain Monsieur Lamsoon) may be one of his films. He plays the role of the colonel’s orderly or batman (‘ordonnance’ in French) in the film. All the cast are theatre actors. The part of Paul is played by Belgian-born actor Émile Tramont and any passing resemblance to Max Linder is, I think, entirely fortuitous. He appeared in at least four other A.C.A.D. productions 1910-1914.”
IMDb (kekseksa)

“The print credits the actors only by their surnames, together with the theatre troupes they belonged to at the time. Two of the performers appear to have been killed at the front during WWI: M. Grégoire of the Théâtre Cluny, who plays Colonel Ronchon, and Tramont (apparently not the actor Émile Tramont but a performer who only went by the one name), whose death on the battlefield in 1916 is confirmed by a belated obituary published in 1918 in Les Annales du théâtre et de la musique.”
(…)
“Visually speaking, it is interesting to note that the theme of neighbours seem to inspire a universally acknowledged cinematography: many of these films either have the camera pan up and down, or left and right, or the frame is split vertically (and sometimes horizontally) in order to show the neighbours simultaneously on both sides of a garden fence, balcony, apartments, or even different floors of a building (…) – such as Le acque miracolose (1914), where Gigetta Morano gets pregnant with the special ‘help’ of her upstairs neighbour, who also happens to be her doctor, and Cunégonde trop curieuse (1912), where her constant spying on her neighbours in the apartment building drives  everyone mad.”
Elif Rongen-Kaynakçi
Antti Alanen: Film Diary