West of Zanzibar

This film can be discounted as unacceptable by many modern audiences. It is filmed in black and white. It is silent and it shows African blacks in a stero-typic manner that would not be accepted today.

Saying all that, it is a must-see film for any serious student or fan of drama. Chaney gives in this film one of the most powerful and convincing acting performances of any actor in any film. Without a single spoken word he shows anger to the point of madness, sly intelligence and overwhelming remorse and sorrow.

There is no feel of "miming emotions " or "mugging for the camera" about this film. The emotions that Chaney display feel so authentic that at times this viewer feels a discomfort for intruding into the personal torment of the character.

The director has used the talents of Chaney and to a lesser extent those of the other actors to relay most of the story with minimal use of "Text Cards", which otherwise would have disrupted the flow of action.

Very interesting and unusual silent film starring Lon Chaney as Phrosos the Magician, a stage show performer who has a wife he really loves - but she informs him she is planning to leave him for a man named Crane (Lionel Barrymore). When Crane tells Phrosos he is taking her away to Africa - he fights with Phrosos sending him falling over the railing of a second floor landing. His legs now paralyzed, Phrosos goes around riding a cart or pulls himself around by his arms, with his lifeless legs dragging behind. When the wife comes back with a baby, he finds the wife dead - so Phrosos, bitter and full of hate, sets out for Africa to seek his revenge on Crane and the baby daughter. Eighteen years pass - Phrosos, now known as "Dead-Legs", uses his magic to trick the natives with fake "voodoo" so he can steal elephant tusks from Crane, now a trader. Meanwhile, he has the daughter being raised in a Zanzibar brothel and he sends for her to come to him - all part of his evil plan. He now holds the poor girl captive and treats her like dirt - doing such things to her as making her eat on the floor and giving all her clothes to the natives. Twists and turns to follow.

This is an absorbing, well done film - odd, creepy, and sad too. Chaney is really excellent in this - he gets such a look of evil and hate on his expressive face and is just SO good at making his legs look completely lifeless. Mary Nolan, who plays the daughter, spends most of the film looking around her with a complete look of disgust (and who can blame her!) - but her facial expressions are slightly over the top sometimes. Warner Baxter is handsome here playing Doc, Chaney's sidekick in Africa who falls in love with the girl. Very good.

The opening sequences of Lon Chaney as the magician foreshadow the dark atmospheres that director Tod Browning would later create for Freaks and Mark of the Vampire. Excellent photography and an astonishing physical performance that was the hallmark of Chaney's work.

I remember this film being shown on Chicago's PBS outlet WTTW-TV during the 1970s. It was tinted in certain scenes and featured a new score that was fresh, yet not too modern. A master from this television showing has to exist somewhere.

Why this fantastic film is not more readily available is a mystery. It deserves to be seen on DVD or Turner Classic Movies.

Somewhere WEST OF ZANZIBAR, a crippled magician insanely plots revenge on the ivory hunter who ruined his life...

Lon Chaney dominates this fascinatingly bizarre little silent movie. More than just a ‘horror actor,' Chaney was a consummate craftsman who, here using a minimum of makeup, could sway an audience with the slightest facial twinge or glance from his haunted eyes. Completely convincing as a cripple, dragging his dead legs behind him across the floor, he becomes more a monstrous aberration than a human being.

Lionel Barrymore, Warner Baxter & lovely Mary Nolan all give excellent performances in supporting roles, but this is really Chaney's picture all the way. The fine production values , courtesy of MGM, only enhance its star's dominance of the medium.

With Tod Browning, Chaney's frequent collaborator, as director, it is fascinating to speculate how much Chaney's physical performance here later influenced Browning's vision in his masterwork, FREAKS (1932).

Crippled during a confrontation with his wife's lover, Phroso, a famous English magician (Lon Chaney, Sr), vows to exact terrible revenge on wife and lover. A couple of year's later when the wife, fatally ill, returns to London with a young child, Phroso's plans are put into action. After she succumbs to her illness, Phroso emigrates to Africa with her child, where the wife's lover is an ivory trader, a vocation also undertaken by Phroso.

Now known as Dead-Legs he becomes the most feared and degenerate backcountry ivory trader west of Zanzibar. He raises his daughter, who he presumes is not his own, to be a drug-addicted prostitute. With his wife's child debased, he waits like a spider in his web for the man who cuckolded and then paralyzed him. Dark stuff, this.

It's a morbid although entertaining little tale, and Lon Chaney gives his usual top-notch performance, transitioning from the big-hearted Phroso to the crippled (in both body and sole) Dead-Legs. The movie is worth watching just for his performance. Tod Browning is in his element and delivers up a dark, creepy tale. So what that the plot twists are telegraphed from a mile away, and the portrayal of Africans is negatively stereotyped. If these shortcomings can be overlooked, this is a good example of the Browning-Chaney collaborations. Not bad for a silent film, which has a recorded soundtrack, coming as it did on the cusp of the transition to sound.