Lon Chaney Movies

Star Lon Chaney Sr. and director Tod Browning bade adieu to the silent-movie era with 1929's Where East is East. His face covered with hideous scars (convincingly applied with nonflexible collodion), Chaney is cast as weather-beaten animal trapper Tiger Haynes, at present living and working in Indochina. Haynes' loving relationship with his nubile half-caste daughter Toyo (Lupe Velez) is threatened by the return of Toyo's scheming mother, Madame Da Sylva (Estelle Taylor). Still harboring a grudge against Tiger, the Madame decides to get even by stealing Toyo's sweetheart Bobby (Lloyd Hughes) away from her. The villainess also intends to destroy Haynes by turning his animal "pets" against him. But the Madame is herself destroyed by Haynes' loyal gorilla, who in a gruesome (but largely unseen) finale tears the viperish woman apart. A typically morbid entry in the Chaney-Browning series, Where East is East may elicit more laughs than chills when seen today. ~ Hal Erickson, All Movie Guide

Lon Chaney Sr. eschews his trademarked makeup in the MGM crime melodrama While the City Sleeps. The plot is sparked by the misbehavior of heroine Myrtle (Anita Page), who enjoys rubbing shoulders with gangsters like Skeeter (Wheeler Oakman). When she learns too much about Skeeter's set-up, Myrtle is put on the spot by the mob. Crusty veteran police officer Dan (Lon Chaney) takes it upon himself to put Myrtle in "protective custody" in his own apartment. Old Dan falls in love with the girl, but at fadeout time he willingly gives up to likeable reformed gangster Marty (Carroll Nye). The film is a heady combination of standard cops-and-robbers fare and "low" humor, featuring several visual jokes centering around the policeman protagonist's sore feet. Mae Busch, Lon Chaney's leading lady in Unholy Three, shows up in a flashy supporting role. ~ Hal Erickson, All Movie Guide

In this lurid Tod Browning melodrama, boasting a thoroughly creepy performance by Lon Chaney, Chaney plays Phroso, a limehouse magician who is thoroughly in love with his wife Anna (Jacquelin Gadsdon). Also in love with Phroso's wife is ivory-trader Crane (Lionel Barrymore). After a performance, Anna tells Phroso that she is leaving him to go away with Crane to Africa. After Phroso confronts Crane, Crane kicks him down a second-floor landing, crippling him. Months later, Phroso, now known as "Dead Legs" Flint, is now seen to be paralyzed from the chest down, and he gets around by pulling himself forward by his hands. He enters a church where he sees Annie has returned, but she is dead at the altar, leaving her child Maizie, whom Dead Legs assumes to be Crane's child, crying next to her. Hate consumes the soul of Dead Legs, and he swears vengeance on Crane. Years pass. Dead Legs is now lording it over a group of African savages as their god. Maizie (Mary Nolan) has been installed at a brothel in Zanzibar and is now a broken-down alcoholic prostitute. Dead Legs conspires to steal some of Crane's ivory so Crane can appear before Dead Legs, and his revenge can be redeemed. He sends for Maizie and reveals her to Crane. He plans on killing Crane and, due to an African tribal custom that says a man's daughter must be burned at the stake when he dies, have the savages have their way with Maizie. But when Crane arrives and he tells Dead Legs that Maizie is not his daughter but Dead Legs' daughter, Dead Legs is stupefied. Crane leaves and is shot by the savages, his body returned to Dead Legs. Now the bloodthirsty savages want Maizie, so that she can be sacrificed at the stake. Dead Legs, as her father, must now conspire a way to save his daughter from certain death. ~ Paul Brenner, All Movie Guide

As a group, the silent-movie collaborations between director Tod Browning and star Lon Chaney hardly represent the best work of either man, though each film definitely has its moments. One of the best, and weirdest, of the batch is The Unknown. Chaney plays a carnival performer known as the "Armless Wonder," who performs near-miraculous stunts with his bare feet. In fact, he is in possession of both his arms, but keeps them strapped to his side to maintain the illusion of being limbless. Chaney's beautiful assistant Joan Crawford has a pathological fear of being touched by any man. This leads Chaney to believe that he is attractive to Crawford so long as his keeps his arms hidden. Halfway through the film, Chaney murders the circus manager--a crime witnessed by Crawford, who was only able to glimpse Chaney's distinctively mutated thumb. To cover up his crime, and to make himself the perfect mate for Crawford, Chaney blackmails a doctor into amputating his arms. Upon returning to the carnival, the now-genuinely armless Chaney learns to his horror that Crawford has overcome her aberration of being touched, thanks to handsome circus strong man Norman Kerry. Enraged, Chaney plots to kill Kerry in a horrible fashion...but guess who ends up seriously dead? ~ Hal Erickson, All Movie Guide

The most tantalizing of the "lost" Tod Browning films, London After Midnight has gained a near-legendary status in recent years, especially since so many critics of the 1930s considered the film as vastly superior to its 1935 remake, Mark of the Vampire. Clearly inspired by the stage version of Dracula, the story concerns a fog-ridden London neighborhood that seems to have become a breeding ground for vampires. Ever since the mysterious death of wealthy old Mr. Balfour, strange things have been happening, prompting Scotland Yard inspector Edmund Burke (Lon Chaney) to investigate. For a while, it looks as though Burke is as stymied as the local authorities, especially when heroine Lucy Balfour (Marceline Day) is confronted with the "living corpse" of her father. But it soon develops that both Burke and Lucy are working in concert, staging an elaborate hoax to trap her dad's murderer into a confession. It is giving nothing away at this late date to reveal that Burke and the mysterious, fang-toothed "vampire man" Mooney are one in the same; indeed, this plot revelation hardly took anyone by surprise in 1927. A shooting script for London After Midnight still exists, suggesting that, if anything, the much-maligned Mark of a Vampire (in which the main "detective" role was split between Lionel Barrymore and Bela Lugosi) was an improvement on the original. ~ Hal Erickson, All Movie Guide

Having nothing whatever to do with the Rudyard Kipling poem, The Road to Mandalay is a typically bizarre collaboration between star Lon Chaney Sr. and director Tod Browning. Chaney plays Singapore Joe, the one-eyed proprietor of a Mandalay bordello. Joe's convent-bred daughter Rosemary (Lois Moran) is totally ignorant of her father's existence and of course knows nothing of the manner in which her education was financed. When the girl falls in love with Admiral Edward Harrington (Owen Moore), Joe recognizes the admiral as one of his old partners in crime and vows to save Rosemary from ruining her life. But Harrington has totally reformed, and it is he who ultimately rids the world of Singapore Joe. Even in 1926, critics recognized the Oedipal subtext in Road to Mandalay. ~ Hal Erickson, All Movie Guide

A tough-as-nails Marine sergeant sets about training a rag-tag group of boys into men. Though sporting a rough and gruff exterior, the sergeant is really a caring, gentle sort. During training, he is especially rough on a smart-alecky young man, whom he hones into a first rate fighter. More tension arise between the men when they fall for the same girl. In one of the film's highlights the sarge, and his protege save an imperiled group, including the girl, from a vicious gang of Chinese bandits. After the rescue, the selfless sergeant gracefully steps aside and returns to training recruits to allow the heroic young Marine and the girl to find romantic bliss. Featuring a nice blend of comedy, adventure and romance, Tell It to the Marines was MGM's second highest grossing film of 1926. It is also one of the rare instances when Lon Chaney, known as "the man of a thousand faces," appeared sans elaborate make-up. ~ Sandra Brennan, All Movie Guide

Lon Chaney stars as Erik, the Phantom, in what is probably his most famous and certainly his most horrifying role. Produced by Universal, the film shot in 1923 and shelved for nearly two years, and was subjected to intensive studio tinkering. While many expected a disaster, the film turned out to be a rousing success. It was both the stepping off point for Chaney's run as a superstar at MGM and the prototype for the horror film cycle at Universal in the 1930s. The story concerns Erik, a much-feared fiend who haunts the Paris Opera House. Lurking around the damp, dank passages deep in the cellars of the theater, he secretly coaches understudy Christine Daae (Mary Philbin) to be an opera star. Through a startling sequence of terrors, including sending a giant chandelier crashing down on the opera patrons, the Phantom forces the lead soprano to withdraw from the opera, permitting Christine to step in. Luring Christine into his subterranean lair below the opera house, the Phantom confesses his love. But Christine is in love with Raoul de Chagny (Norman Kerry). The Phantom demands that Christine break off her relationship with Raoul before he'll allow her to return to the opera house stage. She agrees, but immediately upon her release from the Phantom's lair, she runs into the arms of Raoul and they plan to flee to England after her performance that night. The Phantom overhears their conversation and, during her performance, the Phantom kidnaps Christine, taking her to the depths of his dungeon. It is left to Raoul and Simon Buquet (Gibson Gowland), a secret service agent, to track down the Phantom and rescue Christine. ~ Paul Brenner, All Movie Guide

It's hard to tell at times whether director Roland West was aiming for laughs or thrills in The Monster, but this ambivalence is all part of the fun. Hallam Cooley and Johnny Arthur, two dumb clerks in Gertrude Olmstead's small-town general store, try to impress Olmstead by joining the sheriff's investigation of a rash of disappearances. The two heroes and heroine discover that a local lunatic asylum has been taken over by mad scientist Lon Chaney, who lures victims into his lair by arranging automobile accidents (it's the old mirror-on-the-highway trick again). Chaney straps poor Olmstead to the operating table, preparing to transform her "immortal soul" to the body of one of his monstrous creations, but Coolley and Arthur come to her rescue. The Monster was based on a play by Crane Wilbur, with a dash of Poe's "Dr. Tarr and Professor Fether" tossed in. ~ Hal Erickson, All Movie Guide

American engineer Robert Maury (Conway Tearle) travels to Paris with his wife, Elsie (Dorothy Mackaill). He leaves her there while he goes to Argentina on business. Elsie, like most neglected wives (at least in films), uses this opportunity to get into mischief -- she dresses exotically and draws the attention of Spaniard Don Arturo (Richardo Cortez). She goes to visit Arturo at his estate and his ardor is so passionate that she decides to write her husband a "Dear John" letter. Arturo is killed by a man who is infuriated because he ruined his daughter, and Elsie returns to Paris. When she discovers the letter hasn't arrived yet, she goes with Maury to Argentina. Arturo's servant, Juan Serafin (Lon Chaney) tracks her down with the letter. Elsie confesses all to her husband and insists that he read the letter. When they open up the envelope, it only contains a black sheet of paper -- the original has been destroyed. Maury forgives Elsie, and husband and wife are reconciled. ~ Janiss Garza, All Movie Guide

This tale of a crook's reform takes place in the San Francisco of the early 1900s. Predictably, Lon Chaney plays a crook and a misshapen cripple (the type of role almost expected of him at this point in his career). Anne Vincent, better known as "Queen Anne" (Christine Mayo), sends Wilse Dilling (Chaney) to a small town to keep an eye on Mischa Hadley (William Welsh), an embezzling banker who is her lover. Dilling falls in love with Hadley's daughter, Gertrude (Virginia Valli), and blows up the bank's safe to destroy incriminating records. The blast, however, leaves Gertrude a cripple, and Dilling uses his savings to restore her to health. Queen Anne, whose greed knows no end, has told Hadley that he will either give her more money or give her his daughter. Ultimately, she has Gertrude kidnapped and taken to a Chinese den. Dilling rescues her and she helps in his regeneration. The 1906 San Francisco earthquake shakes everything up, and Dilling's reform is complete. ~ Janiss Garza, All Movie Guide

This second film version of the Victor Hugo novel Notre Dame de Paris (the first was a Theda Bara vehicle, The Dancer of Paris) was a super-duper-spectacular as only Hollywood of the 1920s could make them, but it is never so large that it dwarfs the contribution of its star, Lon Chaney. As the hunchbacked bellringer Quasimodo, Chaney adorned himself with a special device that made his cheeks jut out grotesquely; a contact lens that blanked out one of his eyes; and, most painfully, a huge rubber hump covered with coarse animal fur and weighing anywhere from 30 to 50 pounds. While Quasimodo is but one of many interconnecting characters in the original Hugo novel, he dominates the narrative of this expensive Universal production. Set in the walled city of Paris in the 16th century, the story is set in motion when the evil Jehan (Brandon Hurst), brother of saintly Notre Dame archdeacon Dom Claude (Nigel De Brulier), orders the dog-like Quasimodo to attempt to kidnap gypsy girl Esmeralda (Patsy Ruth Miller). Quasimodo is captured and flogged for his crime, whereupon Esmeralda shows him kindness by offering him water. He reciprocates when Esmeralda, framed on a murder charge by the obsessed Jehan (if he can't have her, no one can), is sentenced to be hanged. Quasimodo grabs a rope and swings down from the towers of Notre Dame, rescues Esmeralda from the gallows, and carries her into the church, shouting "Sanctuary! Sanctuary!" Through a series of convoluted plot twists, Clopin (Ernest Torrence), the king of beggars, leads an army of the Parisian poor to storm the gates of the cathedral and reclaim Esmeralda. Quasimodo defends both the girl and his church by tossing heavy objects and pouring molten lead upon the invaders. This climactic scene was filmed at night, requiring the services of literally every arc light in Hollywood. The Notre Dame set (which wasn't quite as large in real life as it seems on screen) remained standing on the Universal back lot for years after this film was completed, doing background service in the 1925 Lon Chaney starrer The Phantom of the Opera. With Hunchback of Notre Dame, Lon Chaney rose from mere leading player to major star, which led him to even greater success at MGM, where his reputation as "the man of a thousand faces" really got a workout. The story would be remade by in 1939 with Charles Laughton, in 1955 with Anthony Quinn, in 1982 with Anthony Hopkins, and again in 1996 as a sanitized Disney animated musical. ~ Hal Erickson, All Movie Guide