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"West of Zanzibar" (MGM, 1928), directed by Tod Browning, is the first screen carnation to the Broadway play, "Kongo," which starred Walter Huston. In the silent production made during the dawn of sound, it stars Lon Chaney giving another fine performance, this time playing an embittered cripple out to avenge the man who had wronged him.

The story opens with Phroso (Lon Chaney), a lime-house magician who is assisted by his wife, Anna (Jacqueline Gadsdon) with his magic tricks. After she goes to her dressing room, she is confronted by Crane (Lionel Barrymore), her lover, who wants to take her with away with him to Africa, but Anna hasn't told her husband about their upcoming plans and of her intentions of leaving him. Crane advises her to get ready while he breaks the news to Phroso. After being given the shocking news, Phroso becomes upset, which finds Crane accidentally pushing Phroso over the railing where he crashes into the platform below, causing his spine to break and to become crippled for life. One year later, Phroso is seen heading for a church on a wooded platform on wheels where he is to meet Anna. By the time he gets there, Anna has died, leaving behind a little girl child. Believing the baby to be Crane's, Phroso decides to avenge himself on Crane for all the suffering he has caused by raising the child of his own choosing, and to have her suffer when the time comes. Eighteen years later, the now bald-headed Phroso, now known as "Dead Legs," is living in Africa where he occupies his time in performing magic tricks to the natives. He sends for Maizi (Mary Nolan), the child now a grown woman, and Crane, who is in Africa collecting elephant tusks and ivory, to make preparations to satisfy his long awaited revenge.

Supporting the legendary Chaney are Warner Baxter (only a year away from his Best Actor Academy Award for "In Old Arizona" in 1929) as the young doctor; Roscoe Ward as Tiny; and Curtis Nero as Bumbo, all acting as assistants to Phroso/Deadlegs.

"West of Zanzibar" was one of the 13 silent MGM movies that initially premiered in New York City on the PBS series, MOVIES, GREAT MOVIES (Original air date: WNET, Channel 13, November 1, 1973), accompanied by a new orchestral score. Currently shown on Turner Classic Movies, "West of Zanzibar" is presented with its original musical score and sound effects. If that musical score that accompanies "West of Zanzibar" sounds familiar, portions of it were used for the 1930s presentation of the TARZAN adventure series starring Johnny Weissmuller and Maureen O'Sullivan. Remade by MGM in 1932 as "Kongo" starring Walter Huston and Virginia Bruce in the Chaney and Nolan roles, the sound version became longer and more of a more violent nature than the Chaney film.

"West of Zanzibar" adds to the long list of Chaney's many screen characters. As for his many faces, he presents two of them. One as a young magician with make up and dark hair, the second as a mean-faced bald-headed cripple with hate in his heart, dragging himself around by his hands with his useless legs behind him. One thing about Lon Chaney, he never ceases to amaze his audience. Although bizarre as the Chaney-Browning combination is concerned, it's worth a look. (***)

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.

What would appear on the outset to be another insane horror feature along the lines of Freaks (at least from the definitely deceptive publicity picture with Lon Chaney as a chicken or other, which never happens in the film), West of Zanzibar is just another melodrama. Actually, that's a lie. West of Zanzibar is one of the finest examples of the wild, over-the-top melodrama in the silent era. This is a filmmaker who understands what makes a melodrama tick and tickle, and in this film it's about the details of its plot unfolding at a quick clip but with enough characterization to make it never less than fascinating. At worst, it is painfully dated (the stereotypes of tribes people on screen seem a little flagrant), but at best its an example of what could be possible when a director could get his cast to convey all necessary through pantomime and gesture, of grandiosity loaded with little details stitched in there.

It helps that Lon Chaney is starring, however. This is probably what makes it a must-see for me; between just seeing two of his films, this and Phantom of the Opera, he appears to be one of the giants of his time. Maybe even more-so in the case of Zanzibar, one sees Chaney's skills without make-up, with the only gimmick of his "Dead-Legs" not obfuscating what is most interesting about him which is his face and eyes. This man conveys so much without ever, for a second, going too far over the top, at least to how far Browning's melodrama commands. Lionel Barrymore, for the supporting-role time he's on camera, doesn't disappoint either, and character players Mary Nolan and Warner Baxter don't do bad at all, but Chaney just hits it so far out of the park it's without compare in this case.

Playing especially this character, a man with a revenge plot that he has 18 years in the making (sound like that guy in 2009 Star Trek to you?), is a leap of faith, but its one the audience will make since this actor is so determined in this character, invested to the point where we believe how he's a jaded guy, as Doc describes him as despicable and very human at the same time. It's far more complex a character than I would have ever expected going in; the casket he has isn't too shabby, either.

As for Browning fans looking for mood, there's lots of it, especially of the voodoo kind (again, some of it is a little squirm-in-your-seat variety, just in terms of the faces not necessarily the rituals and fire-dances). It's never too laugh-out-loud funny, but it has its moments, like when Maizie's clothes are used for ritual purposes by the tribe-folk. There's also a very sublime touch near the end, perhaps expected in the bittersweet vein but still very satisfying, and I'm sure that was the filmmaker's sensibility all the way. It's a wonderful movie, for fans of the star and director, and if you can see it with a live piano by any chance it's highly recommended.

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.

Silent film of crippled Lon Chaney Sr. who blames a man (Lionel Barrymore) for causing it. He tortures and turns his young daughter (Mary Nolan) into a drug addict to punish him.

Very strange but absolutely fascinating movie. The story is strong (but not overly gruesome like its remake "Kongo") with great acting. Nolan is very good at playing innocent and drugged out. Barrymore isn't in it much, but he's very good when he is. Chaney is just great in his role--quite possibly one of the best performances I've ever seen on film, and I've seen hundreds of them.

Quite simply, this is one of the best silent films ever. A definite must-see.