Browning's Second To Last

 

DEVIL DOLL-1936-Two Devil's Island escapees hide out. One guy, Marcel (Henry B. Walthall), a scientist can shrink living things (he's only done it with dogs so far). He seems to think this will provide more food for mankind. The other guy Paul Lavond (Lionel Barrymore) wants revenge on the business partners who put him in jail. When Marcel dies, Lavond helps Marcel's wife experiment on their servant girl ("We can make the whole world small"). He really doesn't want any part of it but then has an idea. He disguises himself as an old woman and plans his vengeance against the three who did him in. Meanwhile he also visits his daughter Lorraine (Maureen O'Sullivan) who hates her father. She lives with her grandmother who knows her son's secret. Lavond sends a shrunk down person to rob and kill his accusers. In the end, he makes one of them confess (Pedro DeCordoba) and Marcel's wife tries to kill Lavond but she accidentally blows herself up. Lavond meets Lorraine but doesn't reveal his identity, pretending to be Marcel. He says her father is dead but he loved her very much. 

Although for some reason he isn't credited this is director Tod Browning's penultimate film (he made his last MIRACLES FOR SALE 3 years later). It makes good use of the miniature people and has good acting. One of the screenwriters was Erich von Stroheim. Guy Endore (MAD LOVE) was also a co-writer. It's based on a novel by A. Merritt.

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The Legend Begins

DRACULA-1931-Every horror fan knows this was the first sound horror film and despite its flaws it ushered in the “golden age” of monsters and vampires. Universal followed it with their adaptation of Mary Shelly's Frankenstein and at night a special Spanish language version was filmed using many of the same sets. Some claim it's better than the famous Tod Browning version but Carlos Villarias in the lead is no Lugosi. Here are some quotes:

“I dislike mirrors”.

“For one who has not even lived a single lifetime you are a wise man, Van Helsing”.

“The Strength of the vampire is that people will not believe in him”.

“Isn't this a strange conversation for men who aren't crazy?”.

“I am Dracula”.

“I bid you welcome”.

“Listen to them. Children of the night. What music they make”.

“The Spider spinning his web for the unwary fly. The blood is the life, Mr. Renfield”.

“I never drink... wine”.

“Your will is strong Van Helsing”.

Rats,rats rats! Thousands, millions of them. All red blood. All these will I give you”.

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Early Talkie

THE THIRTEENTH CHAIR-1929-This creaky old early talkie features (pre-Dracula) Bela Lugosi as an Inspector (who's not much better than Inspector Cousteau) who investigates a murder that took place during a séance. Conrad Nagel and Leila Hyams are the real stars. They play an engaged couple (he's rich, she's not and hides a secret about her mother). They and several others are all suspects of the murder of a police officer who was investigating another murder. A medium (Margret Wycherly, later James Cagney's mother in WHITE HEAT) may have been in cahoots with the officer in trying to catch the murderer. She's also the mother of the girl but no one knows it. 

This was Tod Browning's first sound film and like most of them around this time it's almost like a filmed play. One scene begins with  the actors waiting for their cue! Holmes Herbert is also in it.  Co-star Leila Hyams was later in Browning's FREAKS (and ISLAND OF LOST SOULS). She made her last film in 1936 and retired. She died in 1977.  

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The Unholy 3

THE UNHOLY 3-1925-This was the first collaboration between actor Lon Chaney and director Tod Browning for MGM. (Their previous films had been for Universal). It's the story of three circus performers who decide to turn to crime. 

Their leader is Echo (Chaney), a ventriloquist who disguises himself as an old woman. Harry Earles (Hans in 1932's FREAKS, also directed by Browning) is Tweedledee, a sadistic little person who pretends to be a baby! Future Oscar winner Victor McLaglen is Hercules the strongman who's more subservient to Tweedle than Echo. They set up shop in a store that sells birds (where Echo's skills make the parrots talk a lot!). Mae Busch is Rosie, the con woman in on their act. 

It's unusual but cool the way Browning gets across the ventriloquism scam considering this is silent film!

By coincidence every time the store sells a bird, the residence they sell to is robbed. Unfortunately, things don't turn out so good. Tweedledee and Hercules don't like being "bossed" by Echo and Hector, the store manager falls for Rosie, making Echo jealous. When Echo is delayed in going out on a job the duo goes out on their own and a man is killed. They decide to pin the murder/robbery on Hector but Rosie doesn't like it. They tie her up and decide to lam it with a bound Rosie in tow and a mean looking ape that they just have to happen in the store (Echo wants to take it because it's stronger than Hercules). The gang hides out in a cabin while Hector is left to fend for himself against the trumped-up charges. Animosity grows in the hideout. 

Meanwhile Rosie tells Echo if he helps vindicate Hector, she will stay with him forever (in spite of the fact she's in love with Hector). He goes to the courtroom and after some ventriloquism tricks fail, he admits his guilt in front of the judge. While this is going on, back in the cabin Tweedledee overhears Hercules tell Rosie they could split the stolen loot 2 ways. The little guy releases the angry ape. It goes after the strongman who kills Tweedledee right before he's done in by the ape! Echo's confession exonerates both him and Hector and Echo releases Rosie from their bargain so she can be the one she loves. 

THE UNHOLY 3 once again proves Lon Chaney's prominence as the greatest silent screen actor of all time. Without the use of make-up, he conveys the tone of the story with facial expressions alone. It's an incredible sight to witness which once again makes the usual love triangle (a mainstay of so many Chaney films) plausible and heartfelt. The screenplay is by Waldemar Young (who wrote several other Chaney/Browning vehicles like THE BLACKBIRD, LONDON AFTER MIDNIGHT and WEST OF ZANZIBAR). It's based on a story by Tod Robbins, who also wrote the story that became the infamous FREAKS.

So popular and successful MGM chose to remake this in 1930 as Chaney's first talkie (and ultimately his last film) although Browning did not direct it. 

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I've heard bad things about THE MEDALLION (2003) with Jackie Chan but I kind of enjoyed it. It's much better than the Hollywood lensed THE TUXEDO and in some ways rather similar. Chan is a detective who has to protect a young boy dubbed "The Chosen One". While doing this he's killed but the title object that the boy possesses brings him back to life and as a invulerable superman to boot! Some of the SFX do leave a bit to be desired but Jackie gets to actually kiss his girl (Claire Forlani) a couple of times. The biggest disapointment for me was the boring Julian Sands as the main villian and the great Anthony Wong wasted in a "lackey" role. English comedian Lee Evans is also around to act stupid and Gimli himself John Rhys-Davies appears too...



DRAGONS OF THE ORIENT (actually made in 1988) is really more like a travelogue than a documentary. It's mostly footage of temples, movies clips, segments of Jet Li as a kid and some nice martial arts style demonstrations (the "duck style" is the most unusual). For some reason two fictional characters are also present. A guy who claims to be Li's sparring partner and a woman claiming to be a reporter. They challenge each other then provide some narrration of their own but the voices are of the ridiculous dubbed '70's variety providing some unintenional chuckles.



FAST WORKERS from 1933 is interesting for a number of reasons. It's based on a play (called "Rivets") and much of it takes place on the frame of a soon to be skyscraper. Two riveters (Robert Armstrong & John Gilbert) have problems with a woman (Mae Clarke, Elizabeth in the original FRANKENSTEIN). Jealously threatens their friendship in this drama directed by the once great Tod Browning. Both he and Gilbert were at the end of their long careers. 

Browning who had made FREAKS the previous year and DRACULA 2 years before would make only three more movies: the disappointing MARK OF THE VAMPIRE, the clever DEVIL DOLL and the uninspired MIRACLES FOR SALE in 1939. He never made another film and died in 1962 poverty stricken and forgotten. 




John Gilbert was actually in "comeback mode" while making FAST WORKERS after several years of alcoholism and vicious rumors related to his "high feminine" voice. However he died of a heart attack in 1936 having made only one more film. Of course Robert Armstrong played Carl Denham in KING KONG (and SON OF KONG) the same year. FW also features the unique talents of Sterling Holloway...

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A Silent Film That Was Never Remade..

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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