The Unholy Three is a 1925 American silentcrimemelodrama film involving a trio of circus conmen, directed by Tod Browning and starring Lon Chaney. The supporting cast features Mae Busch, Matt Moore, Victor McLaglen, and Harry Earles. The Unholy Three marks the establishment of the notable artistic alliance between director Browning and actor Chaney that would deliver eight films to M-G-M studios during the late silent film era.[2][3][4]
Principal photography went from December 1924 through January 20, 1925.[5] The film had a premiere on May 30, 1925 in San Francisco. It went into release in New York at the Capitol Theatre on August 16, 1925. The film's budget was $114,000, and the worldwide box office gross was $704,000.[6] Stills exist showing Chaney's two makeups in the film,[7] his ventiloquist act,[8] as well as a group shot of the Unholy Three plotting together.[5]
The film was remade in 1930 as a talkie directed by Jack Conway. Chaney and Earles repeated their performances as Professor Echo and Tweedledee. Chaney died shortly after filming the 1930 remake, the only film to feature the actor’s voice.[9]
Plot
The Unholy Three (1925 film) L to R: Victor McLaglen, Harry Earles, Mae Busch, Lon Chaney
Three performers leave a sideshow after Tweedledee (Harry Earles), a midget performer, assaults a young heckler and sparks a melee. The three join together in an "unholy" plan to become wealthy. Prof. Echo, the ventriloquist, assumes the role of Mrs. O'Grady, a kindly old grandmother, who runs a pet shop, while Tweedledee plays her grandchild. Hercules (Victor McLaglen), the strongman, works in the shop along with the unsuspecting Hector McDonald (Matt Moore). Echo's girlfriend, pickpocket Rosie O'Grady (Mae Busch), pretends to be his granddaughter.
Using what they learn from delivering pets, the trio later commit burglaries, with their wealthy buyers as victims. On Christmas Eve, John Arlington (an uncredited Charles Wellesley) telephones to complain that the "talking" parrot (aided by Echo's ventriloquism) he bought will not speak. When Madame O'Grady (Chaney's aka) is trying to sell ordinary parrots as talking parrots, she throws her voice to fool the customers.
When "Granny" O'Grady visits Mr. Arlington to coax the bird into performing, "she" takes along grandson "Little Willie" in a baby carriage (to case the place). While there, they learn that a valuable ruby necklace is in the house. They decide to steal it that night. As Echo is too busy, Hercules and Tweedledee grow impatient and decide to go ahead without him.
The next day, Echo is furious to read in the newspaper that Mr. Arlington was killed (by Hercules) and his three-year-old daughter badly injured in the robbery (choked into unconsciousness by Tweedledee, although the violence in the robbery sequence was edited out of the final print). Hercules shows no remorse whatsoever, relating how Arlington pleaded for his life. When a police investigator shows up at the shop, the trio become fearful and decide to frame Hector, hiding the stolen jewelry in his room.
Meanwhile, Hector proposes to Rosie. She turns him down, but he overhears her crying after he leaves. He goes back into her room and, to his joy, she confesses she loves him but is ashamed of her shady past. When the police arrest him, Rosie tells the trio that she will testify in his defense, forcing them to abduct her and they all flee to a mountain cabin. Echo takes along his large pet ape, who terrifies Hercules.
In the spring, Hector is brought to trial. Rosie pleads with Echo to save Hector, promising to stay with him if he does. After Echo leaves for the city, Tweedledee overhears Hercules asking Rosie to run away with him and the loot. Tweedledee releases the ape from his cage. Hercules strangles Tweedledee to death just before the ape kills him.
At the trial, Echo agonizes over what to do, but finally rushes forward and confesses all. Both he and Hector are set free. When Rosie goes to Echo to keep her promise of marrying him, he lies and says he was only kidding. He tells her to go to Hector. Echo returns to the sideshow, and the last scene shows him on stage, giving his spiel to the customers: "That's all there is to life, friends, ... a little laughter ... a little tear."
Cast
Lon Chaney Dual role as Prof. Echo and Mrs. O'Grady
Peter Kortos and Delmo Fritz as the Sword Swallowers
Mickey McBan as the boy watching Hercules' act
Violet Crane as the Arlington baby (cut from print)
Vera Vance as Carnival dancer
John Millerta as the Wild Man
Carrie Daumery as Pet Shop Customer
Margie and Mary Angus as the Twins
Production
In 1924, Universal’s vice-president Irving Thalberg departed to join Metro-Goldwyn-Mayer studios as production manager. Director Tod Browning followed him to M-G-M after producing a number of unimpressive independent films.[10][11]
At M-G-M he proposed adapting author Tod Robbins’ The Unholy Three and Thalberg accommodated Browning by purchasing the rights and enlisting Lon Chaney to play the lead; Chaney may have requested that Browning direct, having worked with him effectively in 1921 on Universal’s Outside the Law starring Priscilla Dean.[12]
With The Unholy Three, Thalberg, Browning and Chaney established a highly creative and profitable collaborative trio that produced seven more films at M-G-M, marking the zenith of both Browning’s and Chaney’s careers.[13][14]
Browning arrived at M-G-M well-versed in the techniques of “trick photography.”[15] The "ape" that dispatches the strongman Hector (Victor McLaglen) was actually a three-foot-tall chimpanzee who was made to appear gigantic with camera trickery and perspective shots. When Echo removes the ape from his cage, the shot shows Echo (with his back turned to the camera) unlocking the cage and walking the ape to the truck. The ape appears to be roughly the same size as Echo. This effect was achieved by having Harry Earles (who played "Tweedledee" in the film) play Echo for these brief shots, and then cutting to Chaney, making it seem as though the ape is gigantic. (In the 1930 remake, the ape was played by Charles Gemora.) [16]
Critical comments
The Unholy Three
The Unholy Three enjoyed tremendous success, adding luster to Chaney’s reputation as "The Man of a Thousand Faces" and revealing Browning as a remarkable film stylist. The film was named as one of The New York Times 10 Best Films of 1925.[17][18]
On August 15, 1925 The Billboard published a list of five short reviews for the movie. This featured such critics as Mordaunt Hall (Times), George Gerhard (Evening World), Richard Watts Jr. (Herald-Tribune), and W.R. (World).[19]
The movie was such a success upon its debut that at its release at the New York Capitol Theater, it maintained a strong audience attendance for at least two weeks. Major Edward Bowes, who was the managing director at the time, took steps to ensure everyone who did not get to see the movie the first week of its viewing would get to by extending the movie's stay. An article written about this event noted the movie as "acclaimed as the best crook drama on the screen and one of the most entertaining motion pictures ever made", which speaks, along with its apparent popularity, for the movie’s quality.[20]
Sherwood of Life magazine praised the movie for its photography and providing a more psychological horror film rather than relying on movie effects to scare its audience. Noted by Sherwood is how the film was shot great attention given to scenes as individual pieces rather than as parts of one greater project, causing continuity errors. This is explained by the writer as an acceptable outcome considering the overall quality. The review is concluded with Sherwood declaring The Unholy Three to be "the best picture of its kind since The Miracle Man."[21]
"Here is about the best bet from a box office standpoint that has come along in a while...It is a wow of a story in the first place...And there's another thing about this picture, and that is that Lon Chaney stands out like a million dollars. He'd done that before, but always with a more or less grotesque make-up. No make-up this time. He isn't all hunched up, he isn't legless, he isn't this, that or the other thing in deformities. He's just Lon Chaney, and he's great." ---Variety
"From the main title to the final fadeout...THE UNHOLY THREE is one of the most unusual and powerfully gripping stores ever unfolded on the screen... Then too, there is that master artist, Lon Chaney, in one of his finest interpretations." ---Moving Picture World
"Not often does one see so powerful a photodrama as THE UNHOLY THREE... Mr Chaney gives a brilliant, restrained and earnest performance." ---The New York Times
"If you really enjoy good crook melodramas, be sure to see this. One of the finest pictures ever made due to the able and clever direction of Tod Browning. Lon Chaney gives a perfect performance as the ventriloquist.... one of the best picks of the month" ---Photoplay
"It was President Wilson who used to read detective stories to ease his mind. He would have liked The Unholy Three" ---Time
"A powerful story as unique as it is big.... gripping all the way, a great picture. Chaney again proves himself a master of pantomime..... A really great charactrerization to add to his already large list." ---Film Daily
Release
The Unholy Three was released for the first time on DVD by Warner Bros. Digital Distribution on October 26, 2010. The company would later re-release the film as a part of its 6-disc Lon Chaney: The Warner Archive Classics Collection on November 22, 2011, and on June 23, 2015.[22]
On Rotten Tomatoes, the film holds an approval rating of 83% based on 6 reviews, with a weighted average rating of 6.8/10.[23] Author and film critic Leonard Maltin gave the film two and a half out of four stars. Although Maltin noted that the film contained aspects that were less satisfactory, he commended its strong basic idea and Chaney's performance.[24]
Themes
As is common in a Tod Browning film, circus life and unusual bodies play a central role in this movie along with great use of trompe-l'œil optical illusion.[25] Trompe-l'œil is exercised and played with as the illusion of Dr. Echo as "Mrs. O’Grady" and Tweedledee as "Little Willie". The main plot of the movie revolves around the character’s abilities to pass themselves off convincingly as something they are not, an illusion the movie peels back and reasserts for both the other characters and for the audience themselves. Contrary to the usual use of this effect, Browning makes it a point to disillusion the audience and display the workings of the illusion to create a different sort of viewing stimulation.[26]
In most Browning films, his opinion of the deformed and different becomes evident. The Unholy Three's plot plays directly with another of Browning’s favorite topics, dealing with identity, doubles, dual roles, and deformity. This film is unique in that the character Tweedledee is the only one of this group of that is played by a deformed character and is malicious in nature.[25] (In the original novel, Tweedledee was the "brains" of the gang, not Echo.)
↑ Sobchack, 2006 p. 35: "Lon Chaney’s influence on Browning seems considerable...their significant collaboration began at MGM and with The Unholy Three."
↑ Rosenthal, 1975 p. 19: “The ten films that Browning and Chaney make together [eight of which made at MGM] were the most successful of either's career. In these films one can sense a personal rapport between the actor and the director which must have been deeper than a mere professional respect."
↑ Eaker, 2016: “Chaney died shortly after filming the [1930 remake]...the only film to feature the actor’s voice...Under Conway, who had no feel or vision for the eccentric, the remaining cast in the sound remake are sanitized, hack versions of the far more eccentric and genuine cast in the Tod Browning directed silent film.”
↑ Sobchack, 2006 p. 34: “Browning had been drinking heavily for two years prior to coming to MGM, and, during that time had directed only a few films for independent production companies.”
↑ Eaker, 2016: “Browning had languished for ten years as an assignment director who rarely had a feel for the mostly banal material handed him.”
↑ Sobchack, 2006 p. 34: Sobchack, reports that Browning (who produced the film for MGM), convinced Thalberg that the story by Tod Robbins was suitable for adaption, and Thalberg purchased the rights. And: The Unholy Three “the first film at MGM for both Browning and Chaney.”
↑ Robinson, 1968 p. 125: “In 1925 he was taken on by Metro-Goldwyn-Mayer and began a series of films with Lon Chaney that must rank among the most extraordinary pictures ever made.”
↑ Sobchack, 2006 p. 34: “Certainly, Browning’s best work was for MGM...all his films for Universal were made before 1924 and his maturity as a filmmaker...some credit must go to Irving Thalberg who, a vice-president at Universal while Browning was there” brought Browning along “when he [Thalberg] left in 1925 to join the newly-formed MGM.”
↑ Blyn, 2006 p. 124-125: “Of all the strange elements in this film, the chimp is perhaps the most bizarre...when he transforms into a gorilla.”
↑ Eaker, 2016: "The original, silent Unholy Three (1925) catapulted Browning into star director status." Sobshack, 2006 p. 34: "The film was, of course, a huge success."
↑ Rosenthal, 1975 p. 19-20: "...only in Browning's films is [Chaney] endowed with substantial human complexity...Chaney demonstrated great sensitively to the feelings and drives of the characters that Browning devise for him to play." And p. 7: Browning’s "style". Eaker, 2016: "The Unholy Three is not, on the surface, as macabre as later Browning-Chaney films, it has retained its delirious edge well into the 21st century." Robinson, 1968 p. 125: "In 1925 he was taken on by M-G-M and began a series of films with Lon Chaney that must rank among the most extraordinary pictures ever made."
↑ "AS THE N. Y. REVIEWERS SEE THE FILMS: "The Unholy Three"." August 25, 1925. ProQuest. The Billboard. Retrieved October 24, 2018.
↑ "The Unholy Three to Remain at the Capitol." August 9, 1925. ProQuest. The New York Herald, The New York Tribune. Retrieved October 24, 2018.
↑ Sherwood, R E. "The SILENT DRAMA." August 27 (1883-1936). ProQuest. Web. Retrieved October 24, 2018.
1 2 Thomas, Randal Kerry. "Symbolic Structure of the Circus in the Films of Tod Browning." June 1977. ProQuest. Retrieved October 24, 2018.
↑ Rosenthal, 1975 p. 14; “The ability to assume control of another being is vital to The Unholy Three. Echo the ventriloquist delivers testimony in court through the mouth of Hector....as the words pour from the witness stand, Browning repeatedly dissolves Echo onto Hector and vice-versa, establishing the performers complete responsibility for what is being said.” Manon, Hugh S. "Seeing Through Seeing Through: The "Trompe l'Oeil" Effect and Bodily Difference in the Cinema of Tod Browning." 2006. ProQuest. Retrieved October 24, 2018.
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Wallace Ashley Worsley was an American stage actor who became a film actor and film director during the silent era. Over the course of his career, Worsley directed 29 films and acted in 7. He directed several movies starring Lon Chaney Sr., and his professional relationship with the actor was the best Chaney had, second to his partnership with Tod Browning.
The Unholy Three is a 1930 American Pre-Code melodrama directed by Jack Conway and starring Lon Chaney. Its plot involves a crime spree. The film is a sound remake of the silent 1925 film of the same name, with both films based on the novel The Unholy Three, by Tod Robbins.
Outside the Law is a 1920 American pre-Code crime film produced, directed and co-written by Tod Browning and starring Priscilla Dean, Lon Chaney and Wheeler Oakman.
White Tiger is a 1923 American silent crime film directed by Tod Browning starring Priscilla Dean and featuring Wallace Beery in a supporting role.
The Mystic is a 1925 American MGM silent drama film directed by Tod Browning, who later directed MGM's Freaks (1932). It was co-written by Browning and Waldemar Young, writing a similar storyline to their earlier 1925 hit film The Unholy Three. Browning was unable however to hire his favorite star Lon Chaney this time around, and The Mystic wound up a little-known film with a cast of now-forgotten names. Aileen Pringle's gowns in the film were by already famous Romain de Tirtoff . A print of the film exists.
The Blackbird is a 1926 American silent crime film directed by Tod Browning and starring Lon Chaney. The screenplay was written by Waldemar Young, based on a story "The Mockingbird" by Tod Browning. Cedric Gibbons and Arnold Gillespie handled the set design. Makeup man Cecil Holland also played one of the old men living at the mission. Character actors Eddie Sturgis and Willie Fung appeared in several other Lon Chaney movies during this time period. The film took 31 days to shoot at a cost of $166,000. The tagline was "Lon Chaney in his successor to The Unholy Three". Stills on the internet shows Chaney in his dual role. In April 2012, the film became available on DVD from the Warner Archive collection.
The Road to Mandalay is a 1926 American silent drama film directed by Tod Browning and starring Lon Chaney, Owen Moore, and Lois Moran. It was written by Elliott Clawson, based on a story idea by Tod Browning and Herman Mankiewicz. The script's original shooting title was Singapore. The film took 28 days to complete at a cost of $209,000. The worldwide box office gross was $724,000. Some stills exist showing Chaney's makeup as Singapore Joe.
The Big City is a 1928 American silent crime film directed by Tod Browning and starring Lon Chaney. Waldemar Young wrote the screenplay, based on a story by Tod Browning. The film is now lost.
Fast Company is a 1918 American silent comedy film directed by Lynn Reynolds and starring Juanita Hansen, Edward Cecil, Lon Chaney and Franklyn Farnum. The film is today considered lost.
References
Blyn, Robin. 2006. "Between Silence and Sound: Ventriloquism and the Advent of the Voice in The Unholy Three in The Films of Tod Browning", in The Films of Tod Browning, ed. Bernd Herzogenrath, 2006 Black Dog Publishing. London. pp.117–127 ISBN1-904772-51-X
Herzogenrath, Bernd. 2006. The Films of Tod Browning. Black Dog Publishing. London. ISBN1-904772-51-X
Sobchack, Vivian. 2006. "The Films of Tod Browning: An Overview Long Past in The Films of Tod Browning" in The Films of Tod Browning, editor Bernd Herzogenrath, 2006 Black Dog Publishing. London. pp.21–39. ISBN1-904772-51-X
Rosenthal, Stuart. 1975. Tod Browning: The Hollywood Professionals, Volume 4. The Tantivy Press. ISBN0-498-01665-X
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