The Unholy Three

"The Unholy Three" was the last film made by the great Lon Chaney -- and the only talking film which he completed before his untimely death at age 47. Chaney is nothing less than marvelous as "Echo", the sideshow ventriloquist who forms a criminal collaboration with a midget (Harry Earles) and a strongman (Ivan Linow).

After fleeing a carnival bust, this threesome sets up a burglary ring with Echo also posing as an old lady pet shop owner. The gang also recruits Rosie (Lila Lee) as the sexy "granddaughter". This front works well enough for the gang until one of Rosie's suitors (Elliott Nugent) naively and innocently undermines the gang's unity.

This is a very enjoyable film, which has nice comic touches and some racy, pre-Code dialougue. The best scenes involve "Grandma" (Chaney in drag is a hoot!) fighting with the gang as the old lady. Other priceless scenes include "Baby" (Earles) casing a wealthy home ("pretty beads...) and where the gang eludes the police inspector watching Baby play around the Christmas tree ("my cow, gimme my cow!...). Very funny stuff.

This film is highly recommended to all film buffs -- and in particular, to fans of Lon Chaney. The real pleasure of course, is Chaney, who adds several vocal textures to his already incredible repertoire. He not only is the voice of Echo, but also "Grandma", a sideshow dummy, and a parrot! It is indeed a shame that we could not have had more from this incredible talent ...

Why this wonderfully crazy film from 1930 isn't more readily available is a total sin. Of course, THE UNHOLY THREE (1930) is most famed for the only time we can hear the great silent horror star Lon Chaney speak. When he speaks, this rather gruff, but ordinary voice comes out. I sat there thinking "That's Quasimoto, Eric the Phantom, Dead Legs Flint, and that's what Dracula would of sounded like if Chaney lived to get the part? Wow!")

The film is really out of control. Three out of work circus performers (Chaney, midget Harry Earles and strongman Ivan Linow) decide to become a trio of jewel thieves. Midget Earles has the best dialog, delivered in a squeaky voice- "I like it" (meaning the plan) "It's unholy!" This motley trio decide to disquise themselves very outlandishly (Chaney as an old woman, Earles as a cooing baby) They couldn't just lay low, or take assumed names? They had to resort this sort of lunacy? Lila Lee is also a wonderful treat here. Why didn't she do more talkies?

Definitely worth a look. There are some advantages/disadvantages to the original. Disadvantages: Well, there are a few. The tension isn't as great. Lila Lee is not as sympathetic a "Rosie" as Mae Busch from the original. I am a HUGE fan of Harry Earles, but he is all but incoherent here unfortunately. Ivan isn't as good as Victor in the role of Hercules, and Hector really bugs me in this version. Advantages: Of course, YOU GET TO HEAR LON CHANEY! His one and only "talkie"! That's worth the price of admission alone! My grandmother used to head a movie theater waaaay back in the late 20's and early 30's and said that people went crazy for their chance to hear Chaney talk! I believe it! Okay, besides that, the scene with the police detective and the toy elephant is great! The scene where Harry Earles tries to get an early bonus with the necklace is very good and the whole relationship between the midget and the strongman is better defined, IMHO, in this version. All in all, check it out if you have a chance!

As all Lon Chaney fans know, this was Lon's first talkie, and what a talkie it was. The dialogue was a little rusty at times (mostly from the midget), but the presence of Chaney added much more excitement because it was probably the first time that the public had ever heard him speak (his lifestyle was very secluded and he was a fairly private person, so it's possible that his biggest fans of the time only saw him on-screen, never in public). He had a very good voice, although if he had lived long enough to play Dracula, I'm not sure if I could picture that. I can see him in costume, but not with the kind of voice he had. It seems very symbolic in a way. He had not spoken by word of mouth in the 153 pictures he did before this one, but each performance he had had a new face with a new voice and/or message each time (thus the title "man of a thousand faces"!). When he made this picture, however, the only real "voice" and "face" he had left, was his own voice! It was better than I expected. Chaney plays the same kind of character he did in pictures like "The Penalty" (1920) and, "The Ace of Hearts" (1921); a violent minded individual who is willing to go to any lengths for what he believes in or for love, even if it means doom for others around or working for him or for himself. There is much tension between the characters, but not as much as everyone seems to have with Tweedle-Dee. A circus midget is one thing (I have nothing against them), a circus midget with an attitude is another. JEEZE! The main reason why I like this picture so much is that it is an important record of a screen legend who was ready to step up, did, and succeeded immensely. It is also a reminder that you can never underestimate an actor, especially Lon Chaney. If you challenge an actor to do something you think they can't do, 9 out of 10 times, they will do it, do it well, show you up, and get RICH! PLENTY RICH!

This is a fine debut for a top & unique silent film star. Considering Chaney's vocal accomplishment in the early torturous sound on film system, one wonders how Chaney would have faired a few years down the road in films like The Invisible Man with only his voice and no face whatsoever. Lon barely was able to make this remake as he was suffering from advanced stages of throat cancer and it shows on his face throughout the film. His face is gaunt and withdrawn which only adds to the oddness of the story. Thalberg most likely gave the go ahead for Lon to remake his 1925 silent hit as it was popular with the public and after five years he would have been still familiar with the story. Thus learning lines would have come a lot easier to the suffering and ultimately dying Chaney. Sound actually improves the story somewhat and indicates the same circus environment that Chaney's director friend would make two years down the road in Freaks. Browning had actually made the silent Unholy Three and the script or scenario must have not gathered too much dust when director Jack Conway did this sound remake. But Conway & Chaney scored a 1930 triumph and it's a shame Chaney had to die on the cusp of it.