THE UNKNOWN-MGM-1927- Here’s a neglected Lon Chaney-Tod Browning collaboration set in a circus (a familiar setting for the duo) co-starring a very young Joan Crawford. Yes! Mommie Dearest herself in a movie with The Man Of A Thousand Faces!
Chaney plays Alonzo, the armless wonder, who performs daring stunts using only his feet. Crawford is Nanon, the circus owner's daughter who can’t stand having a man touch her. Naturally, she feels quite comfortable around Alonzo because he has no hands. Secretly Alonzo is in love with her and keeps believing that someday she will be his. But strong man Malador (Norman Kerry) also has set his sights on Nanon. To make sure Nanon will reject Malador’s advances Alonzo encourages his buddy to embrace the girl every chance he gets. Needless to say this sends Nanon into a rage. Meanwhile it is revealed that Alonzo is not exactly the arm-less wonder he appears to be. As a matter of fact, he has two very good arms, although one of his hands supports two thumbs! He keeps his limbs strapped to his sides when performing. One night the circus owner discovers his secret and Alonzo kills him. His daughter sees the murder committed by a man with double thumbs but does not see the murderer’s face. Alonzo doesn’t come under suspicion for obvious reasons. While Alonzo feels that Nanon would understand were he to reveal his secret to her, she might not be so forgiving to learn that he is the twin thumb killer who choked her old man to death. So, with some fiendish encouragement from his little assistant Cojo, he decides to make the supreme sacrifice. He blackmails a doctor into amputating both his arms! However, while Alonzo is recuperating from the surgery, Nanon and Malador are falling in love. By the time the now real armless wonder returns to the circus the two lovebirds are ready to get married. This sends him into an insane fervor and during one of his strong man stunts Alonzo tries to have Malador torn in half by two horses! Nanon risks her own life to save the one she loves and Alonzo realizing the woman he loves is in danger pushes her away and is stomped to death by one of the wild horses.
While THE UNKNOWN might be tossed away as just another love triangle melodrama, Chaney proves once again why he is probably the century’s most unique actor. Here as Alonzo he uses his feet to manipulate rifles, knives, cigarettes and even a guitar. His portrayal as the love torn performer is conveyed almost entirely by facial expressions. The standout scene being Alonzo’s laughing fit break down on learning of Nanon’s impending marriage.
Joan Crawford of course went on to stardom in the thirties and infamy in the seventies when her adopted daughter Christina wrote a tell all book about her. Norman Kerry was a popular leading man (and villain) in silents and played the romantic hero to Chaney’s unforgettable Erik in THE PHANTOM OF THE OPERA (1925).
THE UNKNOWN was one of a dozen collaborations Chaney had with director Tod Browning (the lost film LONDON AFTER MIDNIGHT was made the same year) beginning in 1919. Browning is credited with THE UNKNOWN’S story while the screen writing is by Waldemar Young who wrote some of the greatest Browning-Chaney collaborations including LONDON, THE UNHOLY THREE and the incredible WEST OF ZANZIBAR (1928).
THE UNKNOWN is an excellent starting point for those familiar only with Chaney as The Phantom or The Hunchback. Dialogue? We don’t need no stinkin’ dialogue! For more on Chaney, the man, his life and films check out Jon C. Mirsalis’ excellent LON CHANEY HOMEPAGE.
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