The Unknown is a 1927 American silenthorror film directed by Tod Browning, and starring Lon Chaney as carnival knife thrower "Alonzo the Armless" and Joan Crawford as his beloved carnival girl Nanon. Originally titled Alonzo the Armless, filming took place from February 7 to March 18, 1927 on a $217,000 budget.
The film carried the tagline: "A superb mystery thriller, unusual and startling even for a Chaney film. Lon as "The Unknown" eats, drinks, shoots a rifle and dresses with his feet. Don't miss this startling spectacle!" Stills exist showing Chaney made up as Alonzo the Armless.[4][1][5][6]
Plot
"Alonzo the Armless" is a circus freak who uses his feet to toss knives and fire a rifle at his partner, Nanon. However, he is an impostor and a fugitive from the law. He actually has arms, but keeps them tightly strapped to his torso, a secret known only to his midget friend Cojo. Alonzo's left hand has a double thumb, which would readily identify him as the perpetrator of various crimes from his past.
Alonzo is secretly in love with Nanon. Malabar, the circus strongman, is devoted to her as well, but she has a phobia of men's hands and cannot stand being pawed by them, so she shuns him. She only feels comfortable around the armless Alonzo, because she doesn't feel threatened by him. When she embraces and kisses him one day, he is given hope, but Cojo warns him that he cannot let it happen again. If she holds him too tightly, she might feel his arms.
When Antonio Zanzi, the circus's owner and Nanon's father, discovers Alonzo's secret, Alonzo strangles him with his bare hands outside of his circus wagon. Nanon witnesses this through a window, but her view is partially blocked. A flash of lightning reveals that her father's killer has a double thumb on his left hand, but she cannot see the killer's face. Since Alonzo is believed to be armless, he is not a suspect.
When the circus leaves town, Alonzo has Nanon remain behind with him. He takes extreme measures to try to win the woman he loves. He blackmails a surgeon into amputating his arms. While he is recovering, however, Malabar's persistent love finally enables Nanon to overcome her phobia of hands, and she agrees to marry him.
When Alonzo (now truly armless) returns to Nanon, she excitedly tells him that she and Malabar are getting married. Alonzo is shocked and horrified, first laughing hysterically, then crying, as he realizes he has cut off his arms for nothing. His emotional outburst confuses the couple, but then Nanon tells Malabar "Look! Alonzo is crying because he is so happy for us."
Alonzo then learns that Malabar and Nanon have been practicing a new act, where the strongman's arms are seem to be pulled in opposite directions by two wild horses (who are actually running on hidden treadmills). During the first performance, Alonzo stops one treadmill in an attempt to maim or kill Malabar, hoping the horses will tear the strongman's arms from his body. When Nanon starts to intervene, Alonzo threatens her with a knife, telling her to stay back. However, she rushes to calm one of the horses down. Alonzo tries to save her from injury by pushing her out of the way. The horse knocks Alonzo down and stomps on his chest, killing him. The machine is turned off, and Malabar is saved from mutilation.
Cast
The Unknown (1927) Lobby Poster. Lon Chaney as "Alonzo the Armless" with "Cojo" (John George on palm of hand.)
“That The Unknown (1927) was made at MGM borders on the miraculous, but then this was an era of exploratory boundaries, even at the big studios...” Biographer Alfred Eaker in Tod Browning (2016).[7]
The genesis of the story lies in Browning’s reflections on an individual who suffers multiple amputations and the dramatic personal repercussions. Browning describes this process as beginning with the spectacle of traumatic disfigurement, rather than plot:[8]
“The story writes itself after I have conceived the characters. The Unknown came to me after I had the idea of a man [Alonzo] without arms. I then asked myself what are the most amazing situations and actions that a man thus reduced could be involved...”[9][10]
Actor and collaborator Chaney developed his characterization of Alonzo on the same premise: “I contrived to make myself look like an armless man, not simply to shock and horrify you but merely to bring to the screen a dramatic story of an armless man.”[11]
Metro-Goldwyn-Mayer originally sought to pair new Swedish property Greta Garbo with Chaney, “the man of a thousand faces”, who was emerging as the studio’s top box office draw in 1927, but the female lead went to eighteen-year-old MGM starlet Joan Crawford. [12][13]
Chaney collaborated with real-life armless double Paul Desmuke (sometimes credited as Peter Dismuki),[14] used his legs and feet to manipulate objects such as knives and cigarettes in frame with Chaney's upper body and face.[15][16]
In the original screenplay, Alonzo murders both the doctor and Cojo to eliminate them as witnesses before he returns to claim Nanon, but these scenes never made it to the final print.
Critical appraisal
The Unknown, Norman Kerry as Malabar the Mighty and Joan Crawford as Nanon Zanzi
The Unknown is widely regarded as a masterpiece of the late silent film era and the most outstanding of the ten Browning-Chaney collaborations, [17][18] eight of them at Metro-Goldwyn-Mayer.[19][20] Browning's rendering of Alonzo and the horrific self-mutilation he endures to win the love of Nanon is reminiscent of the theatre of the Grand Guignol.[21][22] In 2018, Critic Scott Brogan observed that of all the films in that collaboration, The Unknown is most worthy of cult status. [23][24]
Actor Burt Lancaster said that Chaney's portrayal in The Unknown featured “one of the most compelling and emotionally exhausting scenes I have ever seen an actor do.” (referring to the scene where Chaney realizes he has cut off his arms in vain.)[25]
It is listed in the film reference book 1001 Movies You Must See Before You Die, which says, "Drawing a remarkable and haunting performance from Chaney and filling the plot with twists and unforgettable characters, Browning here creates a chilling masterpiece of psychological (and psychosexual) drama."[26]
"There is no gainsaying the fact that this story is exceptionally tense melodrama that grips the interest and fascinates the spectator, but it is decidedly gruesome. Chaney's large following, however, has been educated to expect him in such roles, and certainly he has never given a finer performance. The manner in which he is shown using his feet as normal persons do their hands is remarkably well done and his facial expressions are wonderful--he uses no eccentric make-up in this role." ---Moving Picture World
"Although it has strength and undoubtedly sustains the interest, THE UNKNOWN...is anything but a pleasant story. It is gruesome and at times shocking, and the principal character deteriorates from a more or less sympathetic individual to an arch-fiend...Mr. Chaney really gives a marvelous idea of the Armless Wonder, for to act in this film he has learned to use his feet as hands when eating, drinking and smoking. He even scratches his head with his toe when meditating." ---The New York Times
"A good Chaney film that might have been great. Chaney and his characterizations invite stories that have power behind them. Every time Browning thinks of Chaney he probably looks around for a typewriter and says 'let's get gruesome.'" ---Variety[27]
"(The Chaney) picture fascinates us, but then they make it so short that it left us bewildered and unsatisfied. But there is nothing that one can say of Mr. Chaney. His performances are always perfect." ---New York herald Tribune
"Like other Chaney pictures directed by Tod Browning, this has a macabre atmosphere. If you wince at a touch or two of horror, don't go to The Unknown....It has a finely sinister plot, some moments with a real shock and Lon Chaney." ---Photoplay
"A gruesome and unpleasant picture....it is artistically acted and skillfully directed. But those facts do not atone for the offence given by the feature to every normal-minded movie-goer. Of Mr. Chaney's acting, it is enough to say it is excellent of its kind. Similar praise might be given the work of a skilled surgeon engaged in ripping open the abdomen of a patient. But who wants to see it??" ---Harrison's Reports
Themes
The Unknown (1927), Joan Crawford as Nanon.
Based on a story by director Tod Browning and a scenario by Waldemar Young, this tale of sexual obsession involving physical and emotional disfigurement unfolds in a circus setting—a setting that comports with Browning’s penchant for “the lower forms of spectacle and theatrical performance.”[28]
Illusion and deception: Browning, demonstrating his delight in “demystifying the spectacles of show culture” opens The Unknown with the exposure of a simple carnival illusion: The Gypsy knife-thrower “Alonzo the Armless” masquerades as a double amputee who expertly hurls his projectiles with his feet. Browning quickly disabuses moviegoers of his deformity, as Alonzo, a fully intact man, uses a corset to bind his arms during performances to appear as a freak. Alonzo’s faux disability has a more sinister and practical purpose: as a criminal on the run from the law, his “armless” condition places him above suspicion by authorities.[29]
Alonzo’s only genuine abnormality is a congenital bifid thumb on his right hand. This minor deformity is a key element that leads Alonzo to submit to a surgical enormity.[30]
Sexual Frustration and Self-mutilation: The object of Alonzo’s tender and secret affection—Nanon (Joan Crawford) his dare-devil partner— harbors a neurotic phobia, an obsessive, hysterical revulsion to the embrace of a man’s arms. Her dysfunction (perhaps instilled by her pathological father, ringmaster Zanzi (Nick De Ruiz) undermines any sexual intimacy with the highly virile Alonzo, his sexual prowess symbolized by his knife-throwing expertise and his double thumb.[31][32] A violent dispute with Zanzi leads Alonzo to strangle him to death. The only witness to the murder is Nanon, who discerns only a single feature of the assailant: a double thumb.[33][34]
The logic of Alonzo’s dilemma serves as the rationale for Browning’s and Chaney’s most outrageous literary conceit: Alonzo, in order to make himself appealing to Nanon and eliminate the tell-tale bifid thumb, has both his arms amputated by a back alley surgeon, an act of symbolic self-castration, satisfying Nanon’s need for a “sexless” man.[35][36][37]
Animal Attributes in Humans: Browning’s male protagonist frequently exhibits the instinctual and impulsive behavior of animals, arising from a physical abnormality. Examples include “Dead Legs” in West of Zanzibar (1928), who communes with a chimpanzee, “Tiger Haynes” a wildlife trapper in Where East is East (1929) and Dan “The Black Bird” Tate in The Black Bird (1926). Biographer Stuart Rosenthal points out this theme in The Unknown:
"Having a characterization in mind, Browning built his films by generating an elaborately interlocking structure of frustration around that individual. Frustration is Browning’s dominant theme.” - Biographer Stuart Rosenthal in Tod Browning: The Hollywood Professionals, Vol. 4 (1975).[38]
“The typical Browning protagonist is a man who has been reduced to a state of an animal. In almost every instance he displays a physical deformity that reflects the mental mutilation he has suffered at some element of callous society...Alonzo, in The Unknown, is among the most rabid and instinctual of Browning's protagonists...”[39]
Lon Chaney’s simian-like use of his feet is directly linked to his physical deformity, anticipating the primal ferocity of his reaction to Nanon’s betrayal in marrying circus strongman Malabar (Norman Kerry).[40][41]
Restoration
For many years the film was considered lost, until a 35mm print was located at the Cinémathèque Française in 1968. In 1973, at a lecture given at George Eastman House, Cinémathèque Française director Henri Langlois said the delay in finding the print of The Unknown was because they had hundreds of film cans marked l'inconnu (French for "Unknown") in their collection. Several early scenes may be missing, but if so, they do not affect the story continuity.[42] The rediscovered film ran 49 minutes.
In 2022, a new restoration by George Eastman House premiered at the Pordenone Silent Film Festival; the running time was 66 minutes.[2] The existing shortened version was augmented with footage from a newly-discovered Czech nitrate print which contained all the scenes missing from the other print.[43] Restored shots/scenes include: the original opening scene of a boy watching the circus tent from a church tower and his father or grandfather giving him a coin so he can pay his way into the circus; audience reactions during Alonzo’s show; the fight between Alonzo and Costra after the show; and a scene of an old fortune-teller warning Nanon that something terrible is going to happen.[44] This restoration of The Unknown made its home video debut in October 2023 as part of The Criterion Collection in a boxset that also includes Freaks and The Mystic.[45][46]
Soundtrack
In 1994, the Welsh composer and recording artist John Cale wrote a score to accompany the film, and performed it himself live for a screening at the Pordenone Silent Film Festival.[47] A later performance was later released as an album.[48]
For the Pordenone screnning of the 2022 restoration, a new score was composed and performed by José María Serralde[es].[2][49] Another new score was composed and performed by Philip Carli for the Alamo Drafthouse Cinema screenings on September 2023, which was later used for the Criterion release.[50]
↑ Diekmann and Knörer, 2006 p. 69: “The Browning universe presents itself very much as a world of spectacles [among these] The Unknown (1927)...” Conterio, 2018: Browning's “emotionally complicated interest in human abnormality and the severely disabled.”
↑ Sobchack, 2006 p. 33: “Browning indicates that his story ideas did not begin with plot...” And see here for the entire quote, with references to The Road to Mandalay (1926).
↑ Rosenthal, 1975 p. 23: See here for another excerpt from 1928 Motion Picture Classic interview.
↑ Brogan, 2019: “As The Unknown proves, Chaney didn’t need to rely on heavy make-up to transform himself for a role.” And see here for quote.
↑ Brogan, year: “: “Chaney was already “The Man of a Thousand Faces” when he appeared in The Unknown.” And: “Chaney was voted the number-one box office star of 1928 and 1929.” And: “Joan Crawford was a starlet...striving for recognition... The Unknown gave it to her.” Sobchack, 2006 p. 26: “Originally conceived as a vehicle for Chaney and Greta Garbo [to suit] their special and unique talents…”
↑ Eaker, 2016: “Nanon, (an 18 year old Joan Crawford).”
↑ Branton, Bobby (2015). The Ultimate Guide to Knife Throwing. Skyhorse. ISBN9781632209122.
↑ Soister, John T.; Nicolella, Henry; Joyce, Steve; Long, Harry H. (2013). American Silent Horror, Science Fiction and Fantasy Feature Films, 1913–1929. McFarland & Company. p.607. ISBN9780786487905.
↑ Stafford, 2003 TCM: “It was widely believed at the time that Chaney really had learned to throw knives with his feet and light cigarettes with his toes for The Unknown. In some wide-angle scenes, he does use his own feet but for medium and close-up shots Browning used a double named Dismuki who was born without arms. Later, Dismuki went on to tour with the Al G. Barnes Circus and Sideshow where he was billed as "The Man Who Doubled for Lon Chaney's Legs in The Unknown."
↑ Brogan, 2008:“When they made The Unknown in 1927, star Lon Chaney and director Tod Browning were among the biggest names in Hollywood...The Unknown is now considered by many to be the best of the Chaney/Browning collaborations...the sixth of ten collaborations between Chaney and director Tod Browning.” Conterio, 2018: “Generally considered to be the pair’s best film together, and Browning’s masterpiece..." Eaker, 2016: “The Unknown (1927) is one of the final masterpieces of the silent film era...the one film in which the artists’ obsessions perfectly crystallized.” Stafford, 2003 TCM: “the character of Alonzo in The Unknown is one of his most disturbing creations and the most twisted film in his ten-year association with director Tod Browning.”
↑ Hanke, Ken. 1991. A Critical Guide to Horror Film Series. New York: Garland Pub. p. 9. ISBN0824055454.
↑ Conterio, 2018: “Generally considered to be the pair’s best film together, and Browning’s masterpiece..." Eaker, 2016: “The Unknown (1927) is one of the final masterpieces of the silent film era...the one film in which the artists’ obsessions perfectly crystallized.”
↑ Brogan, year: “The Unknown is quite possibly the most unusual...among the Browning-Chaney film collaborations.
↑ Diekmann and Knörer, 2006 p. 73: “As far as plots are concerned, the proximity of Browning's cinema to the theatre of the Grand Guignol is evident...” and Diedmann and Knorer (quoting Mel Gordon “Both in silent and sound films, Tod Browning created the films that borrowed most heavily from the Theatre of the Grand Guignol...”
↑ Brenez,. 2006 p. 100: “...The Unknown, the most drastic film in regard” to “the defects and excess” of dismemberment.
↑ Brogan, 2019: “The Unknown is quite possibly the most unusual, and the most deserving of ‘cult film’ status” among the Browning-Chaney film collaborations.
↑ Eaker, 2016: “The Unknown is...an entirely idiosyncratic work of art, which has never been remotely mimicked, nor could it be.”
↑ Diekmann and Knörer, 2006 p. 69: “...The Unknown (1927)...deals explicitly with circus or vaudeville betray[ing] Browning’s preference for the supposedly lower forms of spectacle and theatrical performance.” Brenez, 2006 p. 96: “Lon Chaney’s most famous creations portray scenarios of dismemberment and mutilation: no arms (The Unknown, 1927)...” Sobchack, 2006 p. 26: “The Unknown (1927) [as in Browning’s The Show, also 1927] takes place in a circus.” And p. 34-35: “Browning was involved in writing the scenarios for most of his films...only one screenwriter figures prominently in Browning’s career...Waldemar Young...primarily as Browning’s collaborator.” Conterio, 2018: “Fixated on human disfigurement and underworld figures, the films are marked by a stark, obsessive aesthetic and themes of compulsion.”
↑ Soloman, 2006 p. 51: Alonzo “masquerades as an armless freak” one of Browning’s portrayal of “elaborate deceptions that take place on the level of mise-en-scene (italics, accent)
↑ Rosenthal, 1975 p. 32: “He not only has his hands, but one of his hands has a double thumb.” And: p. 32-33: See here for explanation for Alonzo’s amputation.
↑ Rosenthal, 1975 p. 32-33: Chaney’s character is “infatuated with Crawford who has a neurotic aversion to being handled by men, and naturally, an armless man is the only lover she can abide.” And: Alonzo’s “heightened sexual prowess [represented by] his supernumerary thumb” and his high-functioning performance without arms.
↑ Eaker, 2016: “Nanon’s sadistic father, Antonio Zanzi (Nick De Ruiz), hinted at being the abusive source for Nanon’s hatred of a man’s touch).”
↑ Eaker, 2016: “But, Alonzo must have, marry, and own Nanon, [but] she would certainly hate the hands of the double-thumbed murderer.”
↑ Rothenthal, 1975 p. 33: “...if [Alonzo] proceeds to marry Nanon, his wife will discover his secret” as the killer of her father.
↑ Rosenthal, 1975 p. 33: “The amputations take on the significance of castration...[Nanon] aroused only by ‘sexless’ men.” Brenez, 2006 p. 100: “...The Unknown, the most drastic film in regard” to “the defects and excess” of dismemberment. Sobchack, 2006 p. 29: The Unknown shares a “common element of [Browning’s] bizarre melodramas...a hint of perverse sexuality...Estrellita (Nanon) Joan Crawford is horrified at being touched by men’s hands Alonzo’s [Chaney] surgery for love of her is to say the least, excessive.”
↑ Rosenthal, 1975 p. 11: “Alonzo [Chaney], in The Unknown is among the most rabid and instinctive of Browning’s protagonists…” And p. 32-33: “The Unknown defines a sexual basis for the frustration theme of the entire Browning-Chaney cycle and relates it to the star’s inevitable physical deformity.’”
↑ Rosenthal, 1975 p. 11-12: “Alonzo...chooses animals dash horses dash as his means for disarticulating his nemesis, Malibar the Strongman. Alonzo’s death beneath the horse’s hooves, therefore, occurs in his own element.” And: “...a lust for retribution...for those who have made them outcasts.”
↑ Eaker, 2016: The Unknown “ends with a startling, ferociously driven, symbolic finale.”
↑ Workman, Christopher; Howarth, Troy (2016). "Tome of Terror: Horror Films of the Silent Era". Midnight Marquee Press. ISBN978-1936168-68-2.
↑ "The Unknown". Film at Lincoln Center. Retrieved March 27, 2023.
↑ Mermelstein, David (October 23, 2023). "Tod Browning's Spooky Silent Films". The Wall Street Journal. Retrieved December 19, 2023.(Subscription required.)
Tod Browning was an American film director, film actor, screenwriter, vaudeville performer, and carnival sideshow and circus entertainer. He directed a number of films of various genres between 1915 and 1939, but was primarily known for horror films, Browning was often cited in the trade press as "the Edgar Allan Poe of cinema."
Leonidas Frank "Lon" Chaney was an American actor and makeup artist. He is regarded as one of the most versatile and powerful actors of cinema, renowned for his characterizations of tortured, often grotesque and afflicted, characters, and his groundbreaking artistry with makeup. Chaney was known for his starring roles in such silent horror films as The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His ability to transform himself using makeup techniques that he developed, earned him the nickname "The Man of a Thousand Faces".
London After Midnight is a lost 1927 American silent mystery horror film directed and co-produced by Tod Browning and starring Lon Chaney, with Marceline Day, Conrad Nagel, Henry B. Walthall and Polly Moran. The film was distributed by Metro-Goldwyn-Mayer, and was written by Waldemar Young, based on the story "The Hypnotist" which was written by Browning. Merritt B. Gerstad was the cinematographer, and the sets were designed by Cedric Gibbons and Arnold Gillespie. Harry Sharrock was the assistant director. The film cost $151,666.14 to produce, and grossed $1,004,000. Chaney's real-life make-up case can be seen in the last scene of the film sitting on a table, the only time it ever appeared in a film.
The Hunchback of Notre Dame is a 1923 American drama film starring Lon Chaney, directed by Wallace Worsley, and produced by Carl Laemmle and Irving Thalberg. The supporting cast includes Patsy Ruth Miller, Norman Kerry, Nigel de Brulier, and Brandon Hurst. Distributed by Universal Pictures, the film was the studio's "Super Jewel" of 1923 and was their most successful silent film, grossing $3.5 million. The film premiered on September 2, 1923 at the Astor Theatre in New York, New York, then went into release on September 6.
Laugh, Clown, Laugh is a 1928 American silent drama film starring Lon Chaney and Loretta Young. The movie was directed by Herbert Brenon and produced by Irving G. Thalberg for MGM Pictures. A sound version of this film was released in the second half of 1928 and featured a synchronized musical score with sound effects. The film was written by Elizabeth Meehan, based on the 1923 Broadway stage production Laugh, Clown, Laugh by David Belasco and Tom Cushing, which in turn was based on the 1919 play Ridi, Pagliaccio by Fausto Maria Martini.
West of Zanzibar is a 1928 American synchronized sound film directed by Tod Browning. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using both the sound-on-disc and sound-on-film process. The screenplay concerns a vengeful stage magician named Phroso who becomes paralyzed in a brawl with a rival. The supporting cast includes Mary Nolan and Warner Baxter. The screenplay was written by Elliott J. Clawson, based on the 1926 play Kongo by Charles de Vonde and Kilbourn Gordon. Walter Huston starred in the stage play and later played Phroso again in the 1932 sound film remake of the same story which was also called Kongo.
The Unholy Three is a 1925 American silent crime melodrama 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.
The Wicked Darling is a 1919 American silent crime film directed by Tod Browning, and starring Priscilla Dean, Wellington A. Playter and Lon Chaney as pickpocket "Stoop" Connors. This was the first time Lon Chaney appeared in a Tod Browning film, and many other collaborations between the two men would follow.
The Virgin of Stamboul is a 1920 American silent adventure drama film directed by Tod Browning and starring husband and wife team Priscilla Dean and Wheeler Oakman and featuring Wallace Beery in a supporting role.
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.
Riddle Gawne is a 1918 American silent Western film directed by William S. Hart and Lambert Hillyer, and featuring William S. Hart, Katherine MacDonald and Lon Chaney. The film was co-produced by William S. Hart and Thomas H. Ince. The screenplay was written by Charles Alden Seltzer from his earlier novel The Vengeance of Jefferson Gawne. Chaney historian Jon C. Mirsalis claims that William S. Hart contributed greatly to the screenplay but all other sources credit the writing of the screenplay solely to Charles Alden Seltzer.
While Paris Sleeps, aka The Glory of Love, is a 1923 American silent drama film based on the novel The Glory of Love by Leslie Beresford, directed by Maurice Tourneur, and starring Lon Chaney and John Gilbert. Whoever wrote the screenplay adaptation went uncredited, but some sources claim it was Wyndham Gittens. Special effects were by Floyd Mueller.
Mockery (1927) is an American silent film about the Russian Revolution starring Lon Chaney. The movie was the second film made in Hollywood by Danish director Benjamin Christensen and stars Chaney as a Siberian peasant who aids a countess who is threatened by the encroaching insurgency. The screenplay was written by Bradley King, based on a story by Benjamin Christensen, which in turn was adapted from a short story by Stig Esbern. The sets were designed by Cedric Gibbons and Alexander Toluboff.
Edna Frances Tichenor was an American film actress whose career was most prominent in the silent film era of the 1920s, affecting an onscreen vamp persona. She is perhaps best recalled for three roles in director Tod Browning films: the 1923 drama Drifting, the silent horror film London After Midnight, and the drama The Show, both released in 1927.
References
Brenez, Nicole. 2006. Body Dreams: Lon Chaney and Tod Browning- Thesaurus Anatomicus in The Films of Tod Browning, Bernd Herzogenrath, editor. Black Dog Publishing, London. ISBN1-904772-51-X pp.95–113.
Diedmann, Stefanie and Knörer, Ekkehard. 2006. The Spectator’s Spectacle: Tod Browning’s Theatre in The Films of Tod Browning, Bernd Herzogenrath, editor. Black Dog Publishing. London. ISBN1-904772-51-X pp.69–77
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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