L'inconnu

One of the strong points of silent movies is that they are naive in the positive meaning of the word: they are creative.

If anyone does a story like that today, one has to choose to do a drama, a thriller or a black comedy. Browning did not have to choose... he just made a very strange film.

Another plus is the use of running time. No fillers. Just 60 minutes of strange ideas. The film is not perfect; and not anyone will enjoy it. But it features a great performance by Lon Chaney and nice photography (incl. creative use of backprojection). And if you like FREAKS, you have to see this one... the background of Browning as a circus assistant really shows up (though I hope, it wasn't that bad).

Sorry, no story details. I don't want to ruin your fun.

The Unknown is one of the more interesting Lon Chaney collaborations with director/writer Tod Browning, as Chaney's typically physically malleable performance is often executed here in conjunction with "stunt double" Peter Dismuki. It also features a great, early appearance by Joan Crawford, a complex, gripping, allegorically deep but economically told story by Browning, and it is an excellent instantiation of themes found throughout Chaney and Browning's other work. It even strongly presages Browning's 1932 film, Freaks.

Chaney is Alonzo the Armless, a performer in Antonio Zanzi's circus. Alonzo is in love with Nanon (Crawford), Antonio's daughter and Alonzo's assistant in his act, which consists of him using his feet to shoot guns and throw knives around Nanon with precision aim. In a typical Chaney film complicated love triangle, Nanon and Zanzi Circus strongman Malabar are also attracted to each other, but Nanon has an aversion to being touched and keeps distancing Malabar and any other man who wants to be intimate.

Alonzo is the perfect complement for Nanon then, since he cannot manhandle her. She feels safe with him. But Antonio objects to Alonzo's approaches towards Nanon. Complex confrontations and a number of fabulous twists ensue, and Chaney fans will likely expect the resultant profound tragedy with the reciprocally bittersweet "happy ending" consequences.

I probably made that synopsis sound more soap-operatic than it should, since it doesn't very well convey the overall twisted, creepy atmosphere that Browning achieves in The Unknown. Like Freaks, this isn't exactly a horror film, but it has all the unsettling, macabre attitude of one. Alonzo is one of Chaney's more demented, sinister characters, as almost every move he makes has a nefarious, ulterior motive. This even includes the reason that he joined the Zanzi Circus in the first place. It becomes quickly clear that Alonzo will stop at nothing to have Nanon all to himself. But because the character has no arms, he can't very well resort to physical bullying. Instead, Chaney paints a subversive and deviously manipulative character. Even the character's love for Nanon feels wicked--it's more of an unhealthy obsession than love.

Browning makes good use of his largely pared down sets and cast. Except for the opening circus scene, most of the film takes place among only four characters, in only a handful of circus wagon (used later for both Freaks and Chaney's 1928 film Laugh, Clown, Laugh) and apartment locations, with the ending, set in a theater, symmetrically reflecting the opening of the film. A single scene in a formal courtyard provides a nice, symbolic contrast, as does the use of the "extended technique" of a thin piece of gauze placed over the camera lens for some of Nanon's scenes.

Equally economical is Browning's complex story, which tells as much--with the aid of the performances--through implication of various backstories as it does through direct action. The (heavily allegorical) subtexts are fascinating. Nanon is frigid, so her most intimate relationship is with a man who has been effectively castrated. He is so obsessed with her that he'll physically sacrifice himself to enable a relationship. She secretly desires a normal love, but can't have one until she falls into it, or is tricked into it in a way. No one is quite honest with anyone else except for a man who is a relative simpleton, there to be manipulated. But he's the one who ends up coming out ahead, even though he never quite knows what is going on.

Browning had to construct a number of elaborate set-ups to produce the illusion that Chaney had been using his feet to do everyday activities for a long time. We often see Chaney's body but Peter Dismuki's feet, such as when Alonzo is playing guitar, smoking, drinking, and so on. Occasionally, Dismuki just stood in for Chaney, usually when Alonzo has his back to the camera, but at least in one wider shot, we can see Dismuki's face.

The 1997 score on the Turner Classic Movies version of the film by the Alloy Orchestra is occasionally excellent--especially during the climax of the film, and occasionally a bit pedestrian. When it's only pedestrian it's at least unobtrusive. The score has a modern, occasionally "rocky" feel that meshes surprisingly well.

There are a few scenes missing from the print transferred to the TCM DVD, but for many years, The Unknown was thought to have been lost, similar to Browning and Chaney's 1927 film London After Midnight. A print was found at the Cinémathèque Française, mixed in with a lot of other films marked "unknown" because the contents were (at least temporally) unidentifiable. The missing scenes do not hurt the coherency of the film, which is a must-see at least for any Chaney or Browning fans.

Tod Browning is one of the great mysteries of film history. His life story is filled with contradictions (some he created himself). No one argues the fact that he was the architect of the classic American horror film Dracula (1931), with Bela Lugosi as Dracula. His success is one that is grounded in his macabre but decidedly non-supernatural silent works. Beyond that the story gets cloudy. The "official" line is that he went on to make Freaks (1932) and the results were so horrific that it virtually destroyed his career, making the studio keep a tight rein on his subsequent genre efforts.

At the top of the list for strangeness is The Unknown (1927), one of the great silent films of all time. It was also one of the most offbeat psychological dramas ever produced by a major studio, especially one such as MGM. The collaboration between director/writer Tod Browning, himself a one time circus performer, and the intense performance by Lon Chaney, was a thing of magic.

The focus of the story is Alonzo (Lon Chaney) is an armless knife-thrower in a gypsy circus, known as "Alonzo, The Armless Wonder." He's really not armless, but has his arms strapped to his sides to appear limbless since he wishes to hide his identity from the cops. He's a career criminal on the run who with his cohort Cojo (John George), and continues to commit robberies while touring with the circus. Cojo is the only one who knows his secret and is the only friend he has. Alonzo is able to fling the knives with the toes of his feet, and his assistant Nano (Joan Crawford) is the target. She's the beautiful daughter of the circus owner and ringmaster, Zanzi (Nick de Ruiz).

Alonzo has become obsessed with Nano, and would do anything in the world for her love. He would also, he tells Cojo, do anything he could to someone who takes her away from him. Nano has a bit of a psychological problem, she can't stand any man who puts their arms around her or who tries to touch her. She feels very safe with Alonzo and they develop an affectionate bond of friendship, where she feels good hugging him. The circus strongman Malabar (Kerry) also compulsively loves her and won't take no for an answer, but he keeps putting his arms around her as she pushes him away.

Zanzi doesn't trust Alonzo and when he sees his daughter alone with him again, his anger builds because he feels he is putting "ideas" in his daughter's head. In a fit of rage he beats Alonzo with a whip until Malabar puts a stop to it and receives the thanks of Alonzo. But one evening Zanzi again confronts Alonzo, this time in the dark shadows nearby Nano's wagon and he notices that Alonzo has arms. This causes Alonzo to strangle him to death, but Nano could only see that the strangler had two thumbs on one hand.

Realizing that he can't marry her if he has arms, Alonzo decides to have them cut off. Alonzo blackmails a doctor (Lanning) into doing the procedure. But when he returns to see Nano, she tells him that she overcame her fear of having a man put her arms around her and will marry Malabar. The scene in this film when he realizes that he's cut off his arms for nothing is one of the most emotional in all of silent film (perhaps all of film), and it consists mostly of a closeup of his face as the horrible irony registers. Chaney's performance, and maybe our instinctive support of the underdog, has the odd effect of making you hope that he wins in the end, even though he's a murderer and he plots to have Malabar's arms ripped from his body by horses.

We get a glimpse of the pain that Chaney must have felt with his arms strapped to his chest day after day on the set. Mirroring that is a scene when he distractedly lights a cigarette with his feet, an intricate process that was aided by Peter Dismuki, a real armless man who served as a stunt double for many of Chaney's actions. Cojo (John George), Alonzo's dwarf assistant, looks on with growing mirth until he bursts out, reminding Alonzo that his arms aren't bound.

In the late silent period, filmmakers were advancing their art at an astonishing pace. Over at Fox, F.W. Murnau was making the most elegant of all silent films, Sunrise: A Song of Two Humans, which seemingly liberated the camera from gravity and demonstrated breathtaking in-camera optical effects. Browning and cinematographer Merritt B. Gerstad were not so precocious, but their experiments with filters and camera placement are nearly as intriguing. In a beautifully composed scene, Nanon grieves over her father's death and struggles between her love for the strongman Malabar and her fear of his hands; Malabar enters the room and confesses his undying love for her and his willingness to wait until her fear subsides. The shots are filmed through a heavy gauze that gives the entire composition the look of an oil painting with visible brushwork; it adds a softness and an intimacy that's similar to the effect later directors desired when they used soft-focus closeups of smiling women's faces, but there's nothing silly about its use here.

With that being said, Lon Chaney always played wild, scary and intriguing roles that garnered our pity and our sympathies no matter how horrifying they were. Part of the reason is because Chaney could play the agony of unrequited love like nobody else. His ability to lose the girl, when the movie hero would usually win her, was remarkably heartbreaking. This is just one reason why Chaney made an indelible impression on the history of cinema. The other was that he had a creepy presence on screen – even when he played the good guy.

"The Unknown" has to have one of the strangest plots of any movie I've seen, but I can't describe it without spoiling it. Suffice to say; coming from the mind of Tod Browning who set the story in a traveling carnival, you know it's going to be delving into some heavy weirdness.

"The Unknown" is a silent film starring Lon Chaney, Sr., as carnival star Alonzo the Armless, an expert with gun and knife, who, because of his condition, must use his feet instead of hands. His assistant and unrequited love interest is Nanon, played by a very young and beautiful Joan Crawford. There's a love triangle between these two and the carnival strong man, and oh, what Alonzo won't do to win his ladylove.

My only regret is that I saw the 49-minute version taped off of Turner Classic Movies, and the movie does go by quickly. Short as it is though, it's a weird and entertaining trip.

I've heard so much about this movie, and it was not a disappointment. The surviving print seems to be missing some scenes, which accounts for its short length, but I doubt it takes away much from this twisted, sadistic "Gift of the Magi" gone bad. Chaney's performance is remarkable and, at times, genuinely alarming, and the very young Joan Crawford is a typical, but nevertheless appealing silent film heroine. Parts of this film really had me squirming, particularly towards the end. Browning's visual sense is the most beautiful I've seen in any of his films other than Dracula, with a full range of greys, whites and blacks and painterly compositions. It's available on TCM's excellent Lon Chaney Collection DVD.