El príncipe de los infiernos

A deformed criminal mastermind (Lon Chaney) plans to loot the city of San Francisco as well as revenge himself on the doctor who mistakenly amputated his legs.

"The Penalty" was one of Chaney's breakout roles, showcasing his taste for the macabre and talent for contortion and disguise. He had previously demonstrated similar qualities in the previous year's "The Miracle Man", but "The Penalty" and "Treasure Island" secured Chaney's place as one of the greatest character actors, before moving on to his more famous roles in "The Hunchback of Notre Dame" and "The Phantom of the Opera".

This story is great, the acting is fine and the directing is good, too. But really, the draw of this film is Chaney -- a man who was willing to undergo extreme and permanent bodily pain in order to make his role as believable as possible. I am not entirely sure why an amputee was not hired, but if it launched Chaney to the big time, I am glad it worked out the way it did.

Combining a creative, atmospheric story with a fine performance by Lon Chaney makes "The Penalty" an effective and memorable suspense classic. In one of his earliest leading roles, Chaney is a complete success, both in defining an unusual character and in bringing out everything inside the mind of the sinister "Blizzard". You can already see his determination to make his character visually convincing and flawless, even at the cost of great discomfort. Chaney also shows, as he would so many times, his rare skill in using facial expressions and gestures to show just the right amount of emotion and intensity.

The story is quite interesting in itself, and though it slightly stretches plausibility at times, it is by no means predictable. The brief opening scene of the childhood accident efficiently sets up the background for the strange world dominated by Chaney's vengeful character when he becomes an adult. From there, the well-crafted story keeps you interested and keeps you guessing. The settings are well-chosen, creating an interesting and appropriate atmosphere, with Blizzard's strange hideout and the sculptress's cluttered studio both standing in contrast with the respectable-looking Dr. Ferris and the other characters.

A mere account of the events in the story would not convey the success of the movie in creating a distinctive world in which the characters come to life. This is also a case in which a silent film is probably more effective than a sound film would have been. One of the main flaws in many movies of this type is the vapid dialogue that dissipates the tension through unintentional humor. Here, the title cards need only convey some basic ideas - the rest of it is handled without sound by Chaney, by the rest of the cast, and by the production crew who put everything together so well.

If anyone has any doubts as to who is the greatest actor of all times, CHECK OUT THIS FLICK!!! No CG here to make legs disappear. Just One mans creativity and iron will. There is nobody in Hollywood (or anywhere else for that matter) who has the kind of mettle this guy had. Those who believe Lon only did Phantom and Hunchback type fare really need to see this. I have been a fan of Lon's work since seeing The Phantom at an early age. His makeup job nearly scarred me for life. My father had to explain to me that it was only makeup, show me a picture of what he really looked like (a picture of a middle aged, jowly, smiling man,) and tell me the tale of "the Man of a Thousand Faces." This hooked me. Lon delivers in this role. His animated face goes through all gears with liquid rapidity. The new "industrial" flavored soundtrack definitely adds something, too. Kudos to Kino for that. If you like Lon Chaney, you will love this movie. If you have never seen any of his work, this is a great place to start.

This was the first starring role for Lon Chaney, and he's terrific playing a double amputee whose legs were both needlessly cut off as a boy by a young doctor who felt it was required to save the child's life after a serious accident. The boy eventually grows up to be an embittered underworld leader, looking to settle the score. Chaney gives a great performance and he is still amazing to watch today, even 86 years later, while painfully contorting his body to produce the needed effect, utilizing only his talent and ingenuity in place of today's CGI effects. Sure, Hollywood would have used CG back then if they had the luxury, but I still find it more mesmerizing this way. Lon had to pull his legs up behind his back and have them strapped tightly underneath a long overcoat, hobbling about on his knees. The direction is solid and the story is consistently interesting and multi-layered. It's very easy to sympathize with Chaney's character through his strong performance, but I felt that the way his criminal behavior was explained for the conclusion was a tad of a letdown. Still, quite a worthwhile film. *** out of ****

Lon Chaney (as Blizzard) is the underworld lord and master of San Francisco, despite a striking disability - he has no legs. Mr. Chaney's "Blizzard" was, as a boy, a "victim of San Francisco traffic", and had his legs amputated above the knees, after an accident. Moreover, the amputations were unnecessary; they were needlessly preformed by young, inexperienced Charles Clary (as Dr. Ferris); Mr. Clary also leaves a brain contusion untreated. As a boy, Chaney hears an older, experienced doctor scold Mr. Clary on the unnecessary procedure; but, they cover up the crime, and dismiss the young amputee's protests as delusions, caused by ether.

Twenty-seven years later, the powerful crime lord decides to enact his terrifying revenge on the doctor who cut off his legs. Cheney answers a newspaper ad posted by Clary's daughter Claire Adams (as Barbara Ferris); she is a sculptress, looking for someone to model Satan, for her bust:

"WANTED -- Model to pose for statue of 'Satan After the Fall.' If you think you look like Satan, apply at studio of Barbara Ferris, 32 Institute Place. 8284"

The Satanic-looking Chaney is the perfect candidate to sit for the young woman; and, Ms. Adams welcomes him into her art studio, unaware (yet) of his unfortunate association with her father. Meanwhile, Cheney's underworld operation is being infiltrated by a spy; lawman Milton Ross (as Lichtenstein) has sent his best undercover agent, Ethel Grey Terry (as Rose), to gets the goods on Chaney. He is especially interested in why Chaney has his "show girls" making thousands of hats…

"The Penalty" has a noticeable degree of implausibility, as do many films; and, it does become make the film more than a little distracting, at times. Yet, Chaney's performance is so commanding, and so thoroughly enjoyable, it's really pointless to list faults. The film works on the strength of Lon Chaney's performance. Director Wallace Worsley, photographer Donovan D. Short, and art director Gilbert White contribute to the master, by giving the film a great, atmospheric look.

Among the supporting players, James Mason (as Frisco Pete) is easily the standout. Young Edouard Trebaol (as Bubbles) is also well-employed, and natural, alongside the high degree of emoting present amongst the adults. Trebaol memorably re-teamed with Chaney in "Oliver Twist" (they were "Fagin" and "The Artful Dodger"). Interestingly, in the original Gouveneur Morris novel, "Bubbles" had an expanded role, which eventually revealed him to be the son of "Blizzard". That subplot would have added greatly to this film, further contrasting cruelty and humanity; and, of course, recalling the boy "Blizzard", and his earlier loss. It would have also confirmed the adult Chaney's obvious sexual prowess (note how women kneel down to play Chaney's pedals has he tickles the ivories).

Whatever its faults, "The Penalty" set the standard for the expertly performed and extremely successful Lon Chaney role - grotesque, anguished, sympathetic, and/or deformed. It started here. Give yourself a penalty if you pass up this Chaney classic.

********** The Penalty (11/15/20) Wallace Worsley ~ Lon Chaney, Ethel Grey Terry, Claire Adams, Jim Mason