The Last Few Movies I Saw: Episode IX – Dragons Maybe!

I’m pleased to say there were no movies I hated this time around. Some duds, but no outright scorn. Once again, listed in order of my subjective opinion of them.

Meh/Misguided:

"Why does god need a spaceship?"

“Why does god need a spaceship?”

I recently re-watched Tim Burton’s Mars Attacks!(1996), the star-packed, big-budget effects-extravaganza sci-fi spoof of classic 1950s B-movies and space schlock flicks (and all inspired by a somewhat obscure series of trading cards). For me, this films teeters on the brink of having the potential to be utterly brilliantly wonderfully hilarious and the actual tone deaf, sloppy mess it really is. Even if it is a royal misfire, you gotta admit it was a truly valiant attempt at something fascinatingly odd. If only its execution matched its ambitions.

Not "Tideland"!

Not “Tideland”!

I finally saw Terry Gilliam’s short film, The Wholly Family (2011). I like a lot of Gilliam’s cock-eyed filmography. This one never clicked with me. A bratty kid has a nightmare where punchinellos do weird things and serve him pasta (the film itself was funded by a pasta company). It has a decent atmosphere and some interesting imagery, but it doesn’t feel like the work of a seasoned auteur. Or maybe it does and I just didn’t see it. Whatever.

At least that one guy in "South Park" makes a little more sense.

At least that one guy in “South Park” makes a little more sense.

The original 1932 Island of Lost Souls turned out to be one of my favorite movies. This wonky remake from 1996 is a paltry ersatz travesty. Marlon Brando is making some truly weird choices as the title character in John Frankenheimer’s The Island of Dr. Moreau. Val Kilmer also strikes some bizarre notes. Then there’s the casting of a slightly wormy David Thewlis as the protagonist. Most of this suspenseless cautionary tale of science gone haywire focuses on fun animal-man makeup. The original from 1932 is a truly spectacular bit of pulp horror—equal parts delight and fright. This remake actually is a bit of a B-movie. It’s technically awful and I know it, but I sort of liked that about it.

Somewhat Steadier Hands:

The Russians aren't coming. The Russians aren't coming.

The Russians aren’t coming. The Russians aren’t coming.

I like Alan Arkin so I tracked down Marshall Brickman’s Simon (1980). It’s the story of a group of scientists with too much time and money on their hands who brainwash a naive psychology professor (Arkin) into thinking he is an alien. His new-found delusion makes him more volatile than anticipated and he seeks to solve all the problems of contemporary American life with some borderline ham-fisted satire. Sometimes astute and funny, other times dated and full of itself, Simon is a nominally enjoyable little move.

"What do you mean you had Kramer 'whacked.'"

“What do you mean you had Kramer ‘whacked.'”

Everyone was raving about Julia Louis-Dreyfus and James Gandolfini in Nicole Holofcener’s Enough Said (2013). So I watched it on a plane. It’s a pleasant little movie about a struggling California masseuse who starts dating again. She winds up falling for a schlubby divorcee. The trouble comes when her new friend, Catherine Keener, happens to be the woman who divorced her new boyfriend. It’s a quiet slice-of-life film that has a some good laughs and really gets some mileage out of its subtle premise. The performances are good too.

Who else is getting Ray Liotta flashbacks?

Who else is getting Ray Liotta flashbacks?

Martin Scorsese. I trust him to know cinema. I’m ambivalent toward Leonardo DiCaprio. And Jonah Hill can be funny sometimes. The Wolf of Wall Street (2013) is an entertaining film overall. It’s very long, sometimes funny, sometimes annoying, joyously offensive, and possibly a decade too late. It has some great scenes as it chronicles the rise and fall and speedy recovery of colossal bastards in the stock trading business. It does what it does, but I liked it better when it was Goodfellas.

"That was very good, Cole."

“That was very good, Cole.”

Full disclosure: I missed the first 10-15 minutes of Rian Johnson’s Looper (2012). That said, I really liked what I saw. Joseph Gordon-Levitt is a gangster has to kill people sent back in time. The problem is that the man he has to kill is his future self. Once you get past the putty nose and the random telekinesis, it’s quite a good science-fiction thriller with loads of suspense and a thought-provoking finale. The best time-traveling Bruce Willis movie since Twelve Monkeys.

Things Become Even More Interesting:

"Can I use this new social network thing of yours to locate some missing dalmatians?"

“Can I use this new social network thing of yours to locate some missing dalmatians?”

Probably Noah Baumbach’s most famous film, The Squid and the Whale (2005) is a painfully honest look at the invented and real problems of a white middle-class family in New York. Divorce, puberty, trust, virginity, mind games, plagiarism, pseudo-intellectualism, and how we deal with all of it abound in this smartly written and uncomfortably funny yarn. The great cast features Jeff Daniels, Laura Linney, and Jesse Eisenberg.

"This thing'll be harder to recover from than that one time Eddie Murphy and Dan Aykroyd pulled that stunt back in the 80s."

“This thing’ll be harder to recover from than that one time Eddie Murphy and Dan Aykroyd pulled that stunt back in the 80s.”

Call me crazy, I found J.C. Chandor’s Margin Call (2011) a lot more interesting and suspenseful than Wolf of Wall Street. The comparison comes from both films dealing with real corruption at the top. Margin Call is a wonderfully cast drama about the first few hours of an impending financial meltdown at a big investment bank. The great cast and sharp pacing and real-life grounding lend this film the credibility it needs.

Koreans know how to emote.

Koreans sure know how to emote.

Sometimes it is the circumstances surrounding a film viewing that greatly influence your opinion of it. (Example: had I not seen The Phantom Menace with my dad on opening night I doubt I would remember it at all.) I saw Joon-ik Lee’s Wish (2013) at a small bar that was hosting a discussion about rape. The film itself tells the real-life story of an 8 year old Korean girl who was violently raped and the subsequent quest for justice, physical and emotional healing, and a hope for a return to normalcy. It is a very emotionally charged film and aside from a subplot that has the father dress up like a cartoon character and an unrealistic scene where the rapist mocks the father while essentially confessing, it’s a good movie that deals with important issues. The real case ended up influencing Korean law in a positive way. The real father of the girl also answered questions following the screening. It was a moving experience altogether.

The Road Winds Ever Onward:

"I don't trust you when you're not playing a quiet crazy person, Brain."

“I don’t trust you when you’re not playing a quiet crazy person, Brain.”

Would you believe I never saw John Carpenter’s Escape From New York (1981) all the way through before? Well, I hadn’t and it was a lot of fun. The president is held hostage in a future burnt-out Manhattan that has been converted into a giant prison and only Kurt Russell can rescue him. It’s gritty, silly, weird, and violent. Really, just wandering the nightmarish apocalyptic New York hell-scape is worth the viewing. Put some nice 80s action in there and it’s the icing on the cake. Isaac Hayes, Harry Dean Stanton, Lee Van Cleef, Ernest Borgnine, and Donald Pleasence are some of the supporting cast.

Side-effects may include fever-dream hallucinations.

Side-effects may include fever-dream hallucinations.

Heaven and Earth Magic (1962) is a wild, stream-of-consciousness, bulldozer to the expectations of what animation is supposed to be. Harry Smith’s surreal cut-out animations are reminiscent of the work of Gilliam and Svankmajer. Despite not having a narrative, the dance of the papers becomes hypnotic and fascinating. It won’t be for everybody, but for those with the right kind of mind, it’s a zany vintage treat.

It's Asia. Sex shops are everywhere.

It’s Asia. Sex shops are everywhere.

This next one is interesting. I had never seen a film like João Pedro Rodrigues and João Rui Guerra da Mata’s The Last Time I Saw Macao(2012). Essentially they just film random corners, streets, hallways, and people in Macau guerrilla style and lay a noir-type mystery narration over it. You really never see a main character, apart from the occasional hand reaching for a door knob or clasping a mysterious birdcage. It appears to be a mixture of the filmmakers’ actual memories of Macau and a murder plot involving a missing transgendered singer. It’s haunting and enigmatic. I don’t wish all movies were made this way, but I’m glad at least one was.

The Music Swells:

Be prepared to see amazing colors and fabric designs in addition to having your heart ripped out.

Be prepared to see amazing colors and fabric designs in addition to having your heart ripped out.

Andrew Dosunmu paints a gorgeous but troubled portrait of Nigerian immigrants in Brooklyn in Mother of George (2013). The unique cinematography playing with focus and off-center framing may take a little getting used to, but if it clicks you might just find it wonderful. It immerses you in a beautiful and colorful exotic world and then dishes out some serious drama. When newlywed Adenike (played wonderfully by Danai Gurira) cannot conceive a child and her husband (Isaach De Bankolé) refuses to go to a doctor, her deeply conservative mother-in-law pushes her to see a witch doctor and conceive secretly with the husband’s brother. Needless to say, the emotional anguish that follows is hefty.

Moral: don't take the drug known as culture.

Moral: don’t take the drug known as culture.

There’s something so sumptuously elegant within the animated minimalistic lines of Stéphane Aubier, Vincent Patar, and Benjamin Renner’s whimsical and insanely adorable Ernest & Celestine (2012). A mouse cannot be friends with a bear, so the old mice warn, but orphan Celestine doesn’t believe it—especially after she meets the outcast Ernest. Their inter-species friendship flies in the face of the prejudices of both mouse society and bear society. This is a really sweet movie with beautifully styled animation, soft colors, and some of the cutest images you’ll see. Say what you want. I loved it.

The Cymbals Crash Mightily:

"What's the most you've ever lost in a coin toss?"

“What’s the most you’ve ever lost in a coin toss?”

A vintage French documentary about slaughterhouses might not sound like a feel-good movie…and it really isn’t. Georges Franju’s Blood of Beasts (1949) is a difficult film to get through, but I would encourage everyone to see it. It unapologetically shows the butchering of animals for human consumption in an all too matter-of-fact way. Franju is not trying to demonize the butchers, or even the consumers of the meat. The camera points merely to show and leave you with your own feelings on the subject. It’s grisly and unpleasant and I had to look away several times, but I will never forget it and I hope it changes how I look at eating meat even if it doesn’t quite make me a vegetarian.

Grandpa from "King of the Hill"???

Grandpa from “King of the Hill”???

Lon Chaney, Sr. is great and I would watch him in just about anything. Wallace Worsley’s The Penalty (1920) stars Chaney as Blizzard, a wicked but ultimately sympathetic deformed crime boss. Having lost his legs in childhood due to a surgical mishap following an accident, Blizzard grows up evil and twisted. The plot concerns investigators trying to find out more about his organization and Blizzard’s chance meeting with the surgeon who handicapped him. Like the best Chaney movies it is weird and tragic and has a memorable twist ending.

Bill. But who is he really? And who are any of us?

Bill. But who is he really? And who are any of us?

Many might know Don Herzfeldt as the animator of the brilliant short Rejected (2000) and several other wonderfully warped short subject cartoons. His first feature, It’s Such a Beautiful Day (2012) is a deliciously deranged elliptical examination of identity, memory, reality, and insanity. Protagonist, Bill, a simple stick man with a hat, stumbles through life wondering who he really is and trying to remember and rationalize random snippets from his past. It’s all served up with Herzfeldt’s trademark darkly surreal humor that balances a kitten on the edge of a knife. There are many serious philosophical questions beneath this wild collage of quirkiness.

The Inconsequentials

Somewhere there’s in immense list of all the movies you should see before you die. They are powerful, iconic, historic, influential, quotable. We call these movies “The Essentials.” Most of them you’ve seen or at least heard of; anything from Star Wars to One Flew Over the Cuckoo’s Nest. How many people know The Pink Panther (1963) with Peter Sellers? Now, how many people know Topkapi (1964) with Peter Ustinov? In an effort to preserve all of the iconic, unmitigated masterpieces from film history (which is a very good thing), we can sometimes forget the smaller, old films that might not exactly be considered “essential” viewing.

Personal feelings: I think Topkapi is a far superior heist comedy to The Pink Panther.

I use the term “inconsequentials” as a sort of joke, but I think it’s a shame more people are not clamoring for copies of West of Zanzibar (1928), Shanghai Express (1932), and White Zombie (1932). These are three movies that I personally love and I will tell you what makes them special and why nobody cares today. Join me as we travel from the deepest African jungle to dangerous Chinese railways and then into Haitian voodoo country on our tour of some of the “inconsequentials.”


Lon Chaney, Sr. is a gateway drug into the world of silent cinema. Chaney, Chaplin, Fairbanks, Sr., the whole lot. They pull you in. West of Zanzibar is one of those strange silent jungle melodramas, and if you have ever heard of this one it was because you are a die-hard Lon Chaney fan. It also has the added cult appeal of being directed by the great Tod Browning (Dracula, Freaks, The Unholy Three). Chaney is most famous for his roles in The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His uncanny ability to utilize makeup and physically painful-looking bodily distortions are what made him a legend of the silver screen. This film is a little different. Chaney wears no disguises. No clown makeup, no monster deformity, no Fu Manchu getup, no drag. Nothing. Chaney plays a stage magician of great prominence named Phroso. He is betrayed when his wife, Anna, cheats on him with his arch rival, Mr. Crane (played by Lionel Barrymore of Key Largo and It’s a Wonderful Life). When Crane announces that he is taking Anna away with him to Africa, Phroso attempts to stop him, but is thrown off the balcony and becomes paralyzed from the waist down. Later Phroso, now a paraplegic, discovers that Anna has died and so he vows revenge. Phroso moves to Africa to get Crane. Eighteen years have passed and Phroso is now the grimy “Dead Legs,” a strange witch doctor type guy to a primitive jungle tribe. He uses his magic tricks to frighten the natives of a nearby tribe…who happen to be under the watch of who else but Crane. “Dead Legs” kidnaps Crane’s daughter and tortures her to make Crane feel the pain he felt. *SPOILER ALERT* Well into the plot, “Dead Legs” learns that the girl he captured is actually his own daughter and that Crane has been taking care of her all these years, but it is too late to fix the damage he has done. He has killed Crane and his real daughter sees him as an evil murderer. To reveal his true identity at this point would destroy the girl, so he sacrifices himself to the natives to buy her time to escape into the night with her main squeeze.

The movie is dark, demented, and perfect for fans of Lon Chaney. He’s great at playing these deranged patriarchs, vengeful creeps, sympathetic deformed characters, and the subject of impossible tragedy and in West of Zanzibar he gets to play them all at once. The story is very pulpy and silly, but it’s a lot of fun and it has a wonderful exotic feel. The reason West of Zanzibar gets overlooked is because of the more popular films like The Phantom of the Opera and Dracula. The average person gets a sense of who Chaney and Browning are and moves on, never discovering their smaller films. Like I said, you’d have to be a real Lon Chaney geek or silent film nerd to seek this one out, but for my money it is well worth it even if you’re not.


Shanghai Express is an exorbitantly pulpy flick about women of sin, how much faith it takes to love someone, and a train on an exotic track with a rendezvous with the Chinese civil war. Marlene Dietrich (Witness for the Prosecution, Destry Rides Again) stars as Shanghai Lily, the most famous and successful prostitute in the orient (don’t worry, she’s not in yellow-face). When she boards the Shanghai Express with her friend and fellow woman-of-ill-repute, Hui Fei (played by the always fascinating Anna May Wong), everyone is perturbed by their presence. Several colorful and leisured characters are on board the train including a very outspoken missionary, an officer, a fickle woman, an opium dealer, an exceedingly gregarious gambler (Eugene Pallette, who always seems to be playing priests, The Adventures of Robin Hood and The Mark of Zorro), the shady half-Chinese Henry Chang (Charlie Chan himself, Warner Oland), and Lily’s old flame, the stoic British Captain Harvey (Clive Brook). Lily still has feelings for Captain Harvey, but Harvey is displeased with the life she now leads (although we sense he still fancies her greatly despite their 5 year separation). Can these two lost souls rekindle their dwindling romance? Moreover, will everyone get out alive after the train is stopped and they are taken hostage by Henry Chang who turns out to be a powerful warlord and rebel in the civil war? What makes this film work is the fun cast of characters, the steamy locations, the feelings of entrapment, the themes of faith and love…and revenge. I was only nominally with this film until the train got stopped. Then I was fully invested. The stakes are raised and the plot thickens. Murder, torture, sex, betrayal, the works. It’s amazing how much they got away with in those pre-code days.

Shanghai Express is pulpy fun. Most of the characters are fairly broad or rigid. I honestly don’t know how Captain Harvey and Shanghai Lily ever got together to begin with. The film also throws in random spiritual elements that don’t exactly seem to mesh, but it’s a good trip on a mysterious train that collides with danger and intrigue. Shanghai Express is filmed well and Eugene Pallette really livens things up and Anna May Wong delivers another dark and subtle performance that steals every scene she’s in. I love this movie for its simple but interesting story and rich atmosphere. The reason why this movie gets overlooked? Because Casablanca was a better movie. Plain and simple. Brooks can’t compete with Bogart, but Shanghai Express is still a great little movie on its own and should be celebrated more these days.


The last two films I talked about had a few things in common. They were pulpy, exotic, and atmospheric “inconsequentials” and my last pick is no exception. White Zombie might be a little more well-known for two very important reasons: a.) it stars Bela Lugosi (Dracula) and b.) it’s the first zombie movie. Many people regard George A. Romero’s Night of the Living Dead (1968) as the first zombie movie, but White Zombie has it beat by a good 36 years. Romero’s film changed the rules for zombie flicks and added social commentary, but White Zombie is all just for fun. Bela Lugosi plays Murder Legendre, an insidious voodoo master and owner of a Haitian sugar plantation. As you might have guessed, his Haitian slaves working the spooky sugar cane mill are actually zombies! Here’s the plot in a nutshell: Charles (a plantation owner) loves Madeleine, but Madeleine is in love with and getting married to Neil, so Charles goes to Murder for help. Simple. But!…the only way for Murder to make Madeleine love Charles is to make her into a zombie. So that’s exactly what they do, but Neil discovers his dead fiancee’s tomb to be empty and recruits the knowledgeable missionary, Bruner, and meanwhile Charles is regretting his decision for a zombie romance and Murder is actually slowly turning Charles into a zombie too! It all builds up to an exciting climax in Murder’s cliff-side castle. Zombies attack and spells are broken and there’s voodoo and people die and stuff and bad guy’s name is Murder! It’s fun.

Despite the relative cheapness of the production, White Zombie boasts some fantastic atmosphere and one of Bela Lugosi’s best performances. The scenes in the zombie sugar mill are spooky and deliciously atmospheric. The castle is great and the shots of the zombies assembling in the hillside cemetery are fun and a lurking Lugosi practicing voodoo in the shadows is  just great. It’s a slight movie (some might call it “inconsequential”), but I really love it. The reason you don’t see this one on a lot of lists is because of legendary movies like Dracula, Frankenstein, The Wolfman, and others that overshadow it. White Zombie has a fairly insignificant villain as far as supernatural antagonists go and it doesn’t seem to have been made with as much care…or money. All that being said, it’s a great bit of cheap horror and much better than The Creature From the Black Lagoon. It also makes for a delightfully inconsequential double-feature with The Vampire Bat (1933) starring Fay Wray (Doctor X, King Kong), Lionel Atwill (Doctor X, Captain Blood), Melvyn Douglas (The Tenant, Being There), and the always wide-eyed Dwight Frye (Frankenstein, Dracula, Bride of Frankenstein). (Incidentally the guy who directed the extremely “inconsequential” Doctor X just so happens to be Michael Curtiz, the guy who directed Casablanca. It all comes full circle).

 

One more film I must mention as I recently revisited it after several years and I am pleased to say it still holds up is Bluebeard (1944). Fans of John Carradine are probably quite familiar with it. Carradine plays Bluebeard, a puppeteer/painter/serial-strangler in 19th century Paris. It’s a delightfully low-budget yarn of the macabre.

As a lover of old movies it takes more than just the undeniable classics to appease me. Sometimes I like the smaller films just as much as the great ones. Don’t let the greats cast too long a shadow that they blot out the smaller film achievements. Use them as a reference point to find more movies from those eras. West of Zanzibar, Shanghai Express, and White Zombie may not be on anybody’s “essentials” list, but I’d say make room for these “inconsequentials.” You might be surprised by what you find.

picture references:

mubi.com

doctormacro.com

Originally published for “The Alternative Chronicle” Feb. 9, 2011.

A Man for All Faces

The Hunchback of Notre Dame (1923)

The Hunchback of Notre Dame (1923)

My biggest regret in tackling this article is that I have not seen more of Mr. Lon Chaney, Sr.’s (1883-1930) work. Of the handful of films I’ve seen of his, none have disappointed and all have been wonderfully twisted. Lon Chaney—father of the Wolf Man, Lon Chaney, Jr.—was one of the biggest icons of the silent era. Praised alongside silent legends such as Charlie Chaplin, Douglas Fairbanks, Sr., Mary Pickford, Theda Bara, and Rudolph Valentino, Chaney was every bit as talented and engaging. Chaney’s trademark, however, is what separated him from his contemporaries. They loved Chaplin for his comic humanity; Fairbanks for his swashbuckling acrobatics; Pickford for her beauty and the dramatic chances she took; Bara for her exotic, seductive persona; Valentino for his rich, foreign good looks; they loved Chaney for playing grotesques and psychotics. His real claim to fame was that not only did he portray gross villains and sympathetic monsters, but also he designed all of his own makeup and prosthetics to astounding effect.

lon slapped

He Who Gets Slapped (1924)

Lon Chaney, Sr. made his living by playing some of the most demented characters in movie history. He was known for the incredible emotional power he could evoke even beneath layers of makeup and for his amazing facial and bodily expressiveness. Both his parents were deaf-mutes, so he had to learn at a young age how to express himself without words.

From mad doctors, to amputees and deformed deviants, to bent Chinese patriarchs, to tragic clowns, to insane killers and criminals, Chaney played them all.

Mr. Wu (1927)

Mr. Wu (1927)

The first film of his I ever saw was the classic 1925 horror flick, The Phantom of the Opera (directed by Rupert Julian). This is easily his most famous and well-known role. Naturally, he plays the diabolical and disfigured eponymous phantom. He wears a most unnerving rubber face-mask with a crude veil over his mouth to hide his hideousness. The best scene of the film occurs when his lovely muse, Christine Daae (Mary Philbin), is taken to his secret lair beneath the streets of Paris and her curiosity spurs her to approach her musical master while he plays the organ and she removes his mask to reveal his true ugliness. Chaney’s reaction is one of the most memorable few seconds you are likely to see on film. This movie also boasts a colored Masque of the Red Death segment. Although the lavish film presents the Phantom as a deranged killer out for revenge, Chaney brings a darker, more tormented side to his performance. He is the character we see the rest of the film through. We recognize his sorrow and—on those wonderful occasions—cavort as he executes his judgment on the little people of the opera house. We catch ourselves sympathizing with this murderous monster and even rooting for him.

Phantom of the Opera (1925)

Phantom of the Opera (1925)

Besides the Phantom, Chaney played a very noble Quasimodo in Wallace Worsley’s  The Hunchback of Notre Dame (1923), again implementing his own inventive makeup effects. In 1922 he was a pretty solid Fagin in a silent version of Oliver Twist (co-starring The Kid star Jackie Coogan). He played a deranged and possessive Chinese patriarch in Mr. Wu (1927) (he actually plays a double-role and Anna May Wong has a small part). Chaney received much acclaim for his performance as a tough Marine Sergeant in 1926’s Tell It to the Marines. He played a brilliant scientist whose heartless betrayal at the hands of his mentor and his fiancée, drive him to become a tormented circus clown whose sole act consists of being slapped in the face in Victor Sjostrom’s bizarre carnival tragedy He Who Gets Slapped (1924). Chaney played another conflicted, tragic circus clown in Herbert Brenon’s Laugh, Clown, Laugh (1928). He joined the circus again for Tod Browning’s (Dracula, Freaks) The Unknown.

The Unknown (1927)

The Unknown (1927)

The Unknown is a particularly strange movie. As only a sample of the weirdness of some of these plots, I shall explain. Set in Spain, Chaney plays a wicked fugitive with double-thumbs, who stuffs his arms in a corset-like device so he can join the circus as Alonzo the Armless, the amazing knife-thrower (he uses his feet…or rather Chaney used the feet of real-life armless wonder, Paul Desmuke). He falls in love with a beautiful circus girl, Nanon Zanzi (Joan Crawford) and—in order to ensure that she will love him instead of the circus strongman—he psychologically bewitches her into developing a phobia human arms. Alonzo kills and creates general mayhem while he dreams of how he will make this poor girl his own…until his sidekick reminds him that if they were to marry, Nanon would find out he really has arms and be repulsed. Distraught, Alonzo devises a plan. He cashes in on a favor owed him by a shady doctor and has the doctor amputate his arms. While Alonzo recovers in the hospital, the strongman gets cozy with Nanon and cures her of her fear of arms. When Alonzo meets Nanon again she is engaged to the strongman and Alonzo becomes quite mad. He sabotages a circus stunt to have the strongman ripped apart by horses on treadmills. It goes awry and Alonzo gets fatally trampled.

London After Midnight (1927)

London After Midnight (1927)

Chaney worked with Tod Browning on several projects, including the most famous lost movie in film history, London After Midnight (1927). The original The Unholy Three (1925) was another great film Chaney collaborated with Browning on. He played a circus ventriloquist who turns to crime along with a strong man and a dwarf (played by Freaks star, Harry Earles). Chaney dresses as an old granny who runs a parrot shop and the dwarf poses as a baby. Together the trio act as jewelry thieves. The film is wonderfully peculiar and a must-see. Chaney’s final film was the 1930 remake of The Unholy Three.  It was Chaney’s first and only “talkie” and he performed five different voices in the film. Apparently “the man of a thousand faces” (as he was so dubbed for his talent with makeup) was also ready to become “the man of a thousand voices” when he died of lung cancer in 1930 at age 47.

The Unholy Three (1925)

The Unholy Three (1925)

I think Chaney was at his best when paired with Tod Browning because it seemed Browning was about as messed up and screwy as he was. A few other Chaney-Browning films I really enjoyed were The Penalty (1920), The Road to Mandalay (1926), and West of Zanzibar (1928). Both are awesome and West of Zanzibar might be among my favorite movies. Yeah. It’s that pulpy, strange and great. Imagine if he hadn’t died and Browning had cast him as Dracula instead of Bela Lugosi. I don’t know if it would have been better, but our understanding of vampire motifs would be quite different today.

After making well over 150 films in his lifetime and establishing himself as a true master of his craft, Lon Chaney, Sr. stands as a real treasure that film has been able to make immortal. Chaney’s films are quiet oddities, psychotic marvels, and horrific tragedies and deserve to be celebrated. His performances have been highly regarded for decades and are still just as enchanting today. If you like movies and have never seen anything with Lon Chaney, Sr., I strongly recommend you remedy this, and if you’re like me and you’ve seen several of his films already then I needn’t hesitate to tell you to see more. My hat’s off to you, Mr. Chaney. Thanks for giving us so much.

The Penalty (1920)

The Penalty (1920)

Originally published for “The Alternative Chronicle” Oct. 29, 2009