Ríe, payaso, ríe

...the Pagliacci story has become a keystone of American popular culture, all the way from Enrico Caruso's Metropolitan Opera performances in the Leoncavallo classic (his various recordings of "Vesti la Giubba" combined to sell over a million copies according to the Guinness Book of World Records) through to the Smokey Robinson & The Miracles hit record "Tears of a Clown." This Lon Chaney movie was once a primary link in that chain, but because it was considered "lost" for many years (before a British release print with two reels missing was found towards the end of the century) it was forgotten. Now that it's available on DVD with a beautiful H. Scott Salinas musical score worthy of Morricone, as well as a scholarly audio commentary by Michael F. Blake, it deserves to be restored to its former status as one of the greatest American films of the silent era...

Not only is this the greatest performance I've seen by Chaney, it is one of the great films.

In this, Chaney definitively proves he is one of the greatest actors, perhaps the greatest, in all of film. Although he appears in different make-ups in almost every scene, the make-up is to portray himself as a younger man who slowly grows older as the 25-year span of the film tells the well-known tragic love story more familiarly known as "Pagliacci," the clown who could not laugh.

The film co-stars a radiant 14-year-old Loretta Young, who Chaney supposedly guided to another great performance. Without the director, who was unduly harsh on her, knowing it. When Chaney found out, he made sure he was always with Young whenever the director was. Young's mistreatment ended.

Several times I was near tears because Chaney's performance--watch his eyes, hands and demeanor--is so naturalistic, even though somewhat melodramatic, as all silent performances were.

Almost all of Chaney's films were about unrequieted love, but here he may have reached his apotheosis. I won't know until I see a few more of his non "horror" films, especially, "He Who Gets Slapped."

Don't let what I've said make you think this is some clunky "tear-jerker," It is filled with good laughs, drama, wonder and real pathos. Chaney's final scene is utterly tragic and beautiful.

Even non-Chaney fans will be awed by "Laugh, Clown, Laugh."

I recently viewed this film on TCM for the second time, and I enjoyed it even more. True, the fact that Chaney is in love with a teenager which he raised from a child is somewhat disturbing, but I think Chaney's portrayal in the film shows that he is aware of the inappropriateness of his love, however, he is unable to stop it. I particularly enjoyed the conflict Chaney experiences between his role as a performer and his needs as a human being. He displays a touching sense of obligation, stoicism, and vulnerability that only a master actor such as himself could manage. The final scene where he has fallen is absolutely heart wrenching, especially when he says, "I am an old man" as if he only realizes it for the first time. Complete with a wonderful new score, I would recommend this film for any fan of silent films, or just great acting in general. Long live Chaney!

"Laugh, Clown Laugh" is another masterpiece from Lon Chaney. Although I didn't like it as much as some of his other work, it is nevertheless considered as one of his best films.

Tito (Chaney) and Simon (Bernard Siegel) are traveling clowns moving from town to town in Italy. One day Tito stumbles upon an abandoned little girl and rescues her. Despite protests from his partner, he names her Simonetta (to appease Simon) and raises her as his own. The grown up Simonetta (Loretta Young) blossoms into a beautiful young lady. Tito and Simon meanwhile, have become successful and now headline the grandest theaters in the land.

One day Simonetta, while out for a walk becomes entangled in a barb wire fence. She is rescued by Count Luigi Ravelli (Nils Aster) and taken to his home. There she learns that he is a womanizer and escapes. Tito suddenly discovers that he is in love with Simonetta when she appears before him in a stylish new dress.

Three Years later, Tito and Luigi meet while being treated by a doctor (Emmett King) for emotional problems. While in the office, Simonetta meets up again with Luigi and after some reservations begin to see each other ultimately becoming engaged. Tito is devastated and becomes distraught. In his sorrow he must continue to make people laugh as the show must go on even though he is being torn apart inside. Finally Simonetta discovers that Tito is also in love with her. Now she must choose.

Chaney returned to the eternal triangle theme time and time again in his films. He usually played the rejected lover and expressed such pathos that one could hardly help but feel pity for him. This film is no exception. The scenes where he must mask his sorrow and continue to play the clown, are classic Chaney.

Loretta Young, who would go on to a successful career spanning many decades was but a sweet sixteen when this film was made. The vast difference between her age and Chaney's made Chaney's character all the more pitiful.

Lon Chaney is Tito Beppi, an Italian clown better known to his audiences as "Flik", in this Herbert Brenon directed film. Tito and his partner, Simon (Bernard Siegel), or "Flok", have a traveling two-man circus act. Tito finds an apparently abandoned young girl near a river and decides to adopt her. Simon objects, but Tito butters him up slightly by announcing that he'll name her Simonetta.

We quickly move forward in time, and Simonetta is now a young woman, played by Loretta Young, who was only 14 at the time of shooting. She's now skilled at tightrope walking, so Tito wants to work her into the act. On their promoter's advice, they try to make Simonetta look womanlier. They fix her hair and she heads out to a well-known spot where roses grow to acquire one as a coiffure accoutrement. It happens to be on Count Luigi Ravelli's (Nils Asther) property. The Count sees her and immediately falls in love. Tito has come to realize that he's in love with Simonetta, too, and thus the film is about the dilemmas of a morally and socially complex love triangle.

Like many films from the earlier years of Hollywood, Laugh, Clown, Laugh is an instantiation of a story that had a circuitous route to the silver screen. The script, by Elizabeth Meehan, with titles by Joseph Farnham, was adapted from a 1923 play by David Belasco and Tom Cushing, which was itself a version of an earlier (1919) Italian play--Ridi, Pagliacci--by Fausto Martini, which was very loosely based on Ruggiero Leoncavallo's 1892 opera Pagliacci. Films such as this are handy to keep in mind, by the way, whenever you want to counter someone complaining that only newer films rely so heavily on adapting stories from other media. Not that there is anything wrong with this, despite some saying it shows a "lack of originality" or "paucity of ideas" (fueled by them believing it's a new phenomenon). Laugh, Clown, Laugh has a nicely focused, parable-like script that works well despite the fact that all we have available now is a version of the film with a section missing. In fact, it's so well constructed that I couldn't even detect the missing section--I wasn't aware of it until I listened to the DVD commentary by Lon Chaney biographer Michael F. Blake.

This is the second time Chaney played a clown, the first being He Who Gets Slapped (1924). We might have expected Chaney to tackle a clown even earlier in his career given his notoriety for transformative makeup designs. He does a fantastic job in the role, as we'd expect. It's especially amazing to watch his ability to turn on a dime as he adjusts his depressive backstage persona (especially in the later sections of the film) to the happy-go-lucky Flik for the benefit of the audience on the other side of the curtain.

Laugh, Clown, Laugh incorporates compelling and even controversial themes, subtexts and direct content. Two scenes are relatively racy for the late 1920s, including one that builds up to a bit of foot fetish material and another containing a kiss with incestual subtexts--it's important to remember that this was an era when some states would not even allow films that showed a woman's bare leg or shoulder. The ending is somewhat nihilistic and surprisingly tragic.

On one level, the film is largely about social and dramatic contrasts. Tito and Simon are successful and popular when they perform, but they are almost gypsy-like, spartan itinerants. Like many comedians, Tito's public persona is joyous and exuberant, but behind the scenes he's not quite so happy. The love triangle involves both a man who is incredibly wealthy and in the upper niches of society and a man who is well liked but not wealthy and who is considered on lower or outside social rungs. There is a fabulous scene where both men head to a "neurologist" (more a psychologist) because one is suffering from mania characterized by uncontrollable laughter and the other is suffering from depression characterized by outbursts of crying--it's a personification of the comedy/tragedy masks. And of course, the film itself appears to be a comedy for much of its length, but ends up as a tragedy.

At the same time, Laugh, Clown, Laugh is a morality play. Tito ends up falling in love with his much younger, functionally adopted daughter. That's controversial material for the era--it's still controversial even now. Like many Chaney films, the climax hinges on the moral quandaries suggested by this love triangle and Chaney's difficult decisions.

While Laugh, Clown, Laugh is a quality film, it wasn't a complete artistic success in my view. I watched it on Turner Classic Movies' "Archives" Lon Chaney Collection disc, which also contains The Ace of Hearts (1921), which I just watched yesterday and preferred. The story here never quite captivated me in the way that Ace of Hearts did. The new score, by H. Scott Salinas, was also good (although maybe a bit too literal to the action at times for my tastes), but didn't match the sublime, sustained beauty of Vivek Maddala's Ace of Hearts score. Laugh, Clown, Laugh is well loved by many Chaney fans, though, and by some accounts, this was one of his favorite roles. Chaney's performance, at least, deserved a 10 even if the film overall wasn't up to the same degree of excellence.