The Warner Archive February 27, 2018 2-disc DVD release "Lon Chaney Collection" gives modern audiences a chance to see why this Phantom of the Opera and Hunchback of Notre Dame is known as The Man of 1,000 Faces. We also receive additional evidence that he apparently often plays the Popeye in melodramatic love triangles that are reminiscent of the rivalry between that sailor and the larger Bluto (or Brutus) for the love of Olive Oyl.
An another equally awesome universal aspect of these films is that they are accompanied by spectacular orchestrations that will make you wish that you could have heard that music live in the '20s.
Archive kicks things off with arguably the best of the four feature-length films in this lot. The aptly titled 1921 silent "The Ace of Hearts" has Chaney playing Farallone, who is a member of a secret society of anarchists. His fellow members include the object of his affection Lilith, who is the sole female member of this small cabal. His romantic rival is brother-in-bombs Forrest.
The parallel plots are that the latest object of assassination of the group is the robber-baron figure "the man who has lived too long," whose sole crimes seem to be conspicuous consumption and exploiting the masses in ways that apparently do not violate formal law, and Lilith choosing Forrest over Farallone.
The drama builds regarding uncertainty as to whether Forrest will carry out his mission of no mercy and Lilith imploring Farallone to protect Forrest from the group if he wimps outs. One spoiler is that not every character lives happily ever after.
A notable scene that is reminiscent of a Charlie Chaplin film makes particularly good use of the incredible expressiveness of Chaney. He spends a night that changes everything for him, Forrest, and Lilith on a stoop in the middle of a torrential rain. The companion who joins him also is pure Chaplin.
"Laugh, Clown, Laugh" (1928) is on par with "Ace" from an artistic perspective. Further, it seems familiar for reasons that extend beyond including the well-known phrase "laugh, clown, laugh though your heart is breaking." The problem with this one is that it has an incredibly creepy element even for a pre-Code film.
Chaney gives a superb performance regarding both the personal and professional personas of acclaimed clown Tito and the sometimes rapid shifts between the two. His life dramatically changes when (giving him every benefit of the doubt) he is in his mid-20s and is on a break from performing with long-time fellow clown Simon when he finds an abandoned roughly six year-old girl.
It is not creepy that Tito convinces Simon to have the girl join their family. It also is fine that Tito names the girl Simonetta out of a possible love that dares not speaks its name regarding Simon. The creepy part is when Simon falls in love with an adult (Loretta Young) if not teens Simonetta. The at least 20-year age difference is one factor; Simon being a father figure to the girl since her tender years is another.
Some solace regarding this ick factor is the opportunity to joke about a harlequin romance and the fact that Simonetta does not fall for every Bozo.
A less icky eleemnt is the Yoko-style threat that Simonetta poses regarding the band; the only issue here is a superstition of Simon.
The romantic rivalry this time involves Count Luigi, who becomes entranced with Simonetta when she crosses onto his estate. His subsequent gift of a pearl necklace has even greater significance 90 years after the making of the film.
The final scenes of "Clown" are among the best in film history and showcase the talent of Tito; his emotions are very clear, and we feel them as deeply as he does.
"The Unknown" (1927) is one of several collaborations between Chaney and writer/director Tod Browning of "Freaks." The Chaney character Alonzo, the circus performer with many secrets makes wonderful use of the talents of Browning and of the ability of Chaney to bring the id to the surface.
The reasons that Alonzo perpetuates an elaborate hoax regarding not having arms extends well beyond landing a gig in the traveling gypsy circus of Zanzi; this alleged condition allows him to literally get away with murder.
Great fun relates to having then Hollywood royalty Joan Crawford play Nanon, who is the daughter of Zanzi and is a fellow performer. Her burlesque-style striptease in a knife-throwing act is pure '20s fun.
The triangle this time is wonderfully pulp fiction. Malabar the strongman is the rival of Chaney this time. A point in the favor of Alonzo is that the checkered past of Nanon makes her very adverse to being touched. The downside is that Alonzo allowing Nanon to get close creates certainty of her learning his secret with consequences that extend well beyond discovering that he has been lying to her about his arms.
Of course, everything comes to a head at the end on concludes on a typically melodramatic note.
Archive wraps things up with a change of pace on many levels. Scrolling intertitles at the beginning of the aptly titled "London After Midnight" (1927), which is another Browning film, explains that there are not any known surviving prints of this film. This introduction goes onto explain that 100s (if not not 1,000s) of production stills that are interspersed with the intertitles for this silent film are the best possible reproduction of it.
The other difference is that "London" is a Browning take on a traditional British murder mystery. A nobleman in both senses of the word is found dead from a bullet wound in an apparent suicide, but suspicions remain.
The mystery is solved five years later at a time that two ghoulish figures who seem straight out of "The Rocky Horror Picture Show" appear on the scene. This resolution is satisfyingly dark and complex.
The appeal of these films of cinephiles and horror fans is obvious; the remaining viewing public should rejoice regarding this chance to see silents in all their melodramatic glory and to watch a performer who is a star, rather than an actor.
Anyone with questions or comments regarding "Chaney" is encouraged either to email me or to connect on Twitter via @tvdvdguy.
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