Man of a Thousand Faces

An excellent story, well told in the manner of the era the film was made. This means the story telling was paramount - thank heavens no tedious digital effects.

So what the story was loosely based on Chaney's life. In the 2 hours or so the film ran it was not possible to tell the whole story. So they use shortcuts and invention - so what. I bet more than one person started to research Chaney and other stories from the silent era. Interest stimulated...... job done.

Rather like the Glenn Miller and Benny Goodman stories, same applies. How many started to appreciate the music, they knew nothing of the inaccuracies. They saw a good story and heard some interesting music, helped me to start listening to jazz and I am grateful.

You will never satisfy the 'expert'.

1957 bio-pic on the life of silent film legend Lon Chaney,this overlong and poorly written film has only the central performance of James Cagney as the title character to recommend it. Nearing the end of his long and distinguished career, Cagney was already 10 years older than Chaney was when he died when filming began and is hardly convincing as a young and struggling vaudevillian and new father. Things improve when Chaney goes to Hollywood where the screenplay deals with his success as a character actor and his near miraculous ability to transform his face and body as necessary to play what became an amazing range of exotic and tortured characters.

Unfortunately the writers choose to concentrate the bulk of the film on Chaney's family problems. Chaney's parents were deaf mutes, which apparently accounted for their son's out-sized gift for pantomime. But the screenplay treats deafness as if it were the plague, something so embarrassing that Lon cannot bring himself to tell his pregnant wife (played by Dorothy Malone) that his parents are deaf. When she discovers the truth, she reacts in an absurdly hysterical tantrum, even threatening (in a veiled sense, of course, after all this is 1957) to have an abortion rather than risk the possibility of giving birth to a deaf child.

The Malone character is scapegoated throughout the film, becoming the screenplay's surrogate for society's prejudice towards the deaf, and later being punished for wanting her own career. Even though she eventually becomes a sympathetic character, the script comes down strongly in favor of Chaney's second wife, who dutifully gives up her own show business career to become the stay-at-home wife and step-mother to Chaney's young son.

Jim Backus does his best in the role of Chaney's friend/press agent to keep from being a walking cliché while forced to utter lines like " 'Mystery' did you say? That's it! We'll call him 'Lon Chaney, Man of Mystery!' " and " How many faces did you say? That's it! We'll call him 'Lon Chaney, Man of a Thousand Faces!' " Jane Greer gives up her usual femme fatale persona to play Lon's devoted second wife, and a very young Roger Smith plays son Creighton (later to become Lon Chaney, Jr.), hoping to follow in his father's footsteps. The sodden direction by Joseph Pevney precludes any mystery as to how this story will resolve itself.

Only the performance of James Cagney makes this film worth watching, even as the script wallows in Hollywood kitsch and repellent 50s attitudes towards women and the handicapped. John Bills

This picture distinguishes itself from the all-too-familiar reverential and sentimental quasi-biographies of show business legends by emphasizing the complex relationship between Lon Chaney and his first wife, Cleva Creighton, and by treating their problems in an even-handed manner. She emerges as flawed and difficult to deal with - but so does he. Their child is caught in the middle.

The story would be of interest even if it did not concern a famous person. Chaney's career provides a colorful background to an essentially human drama, one which may present its characters too often as one-dimensional prototypes lacking depth or subtlety, but is nevertheless a drama which (except for the maudlin deathbed scene) effectively develops the genuine emotional conflicts at its core. In a solid cast, Dorothy Malone, as Cleva, is most notable.

Cagney plays Lon Chaney in this film about the great imitator's life. Chaney himself was a very private person, preferring the quiet of hearth and home to the wild Hollywood night life. Hollywood was where he worked, not a way of life. In this way both he and the man who plays him (James Cagney) have much in common.

Cagney and Chaney looked totally different, yet Cagney makes this role work. In Cagney's biography "Cagney on Cagney", he admits that the story takes certain liberties with Chaney's life as most biopics do, but there are many actual events in Chaney's life that are in the movie. Chaney was indeed the child of two deaf mute parents - he got his gift for pantomime in communicating with them. His first marriage was a rocky one, just as the film portrays. Whether the trouble started over his first wife believing that their child would be deaf and being horrified by the possibility as is portrayed in the film I don't know, but given early 20th century attitudes toward disability it is entirely possible.

The film whether accurate or not, was a loving tribute to Chaney that was instrumental in a revival of interest in his films. I consider this to be possibly Cagney's best performance in a mature role with maybe the exception of 1956's "These Wilder Years", which is seldom televised nor on VHS or DVD.

MAN OF A THOUSAND FACES is one of Hollywood's better films about Hollywood! Produced by Universal International in 1957 it recounts the life and times of one of the silent screens most formidable icons - Lon Chaney. From an excellent Oscar nominated screenplay by R.Wright Cambell, Ben Roberts and Ivan Goff it was skillfully directed by Joseph Pevney. Peveny, himself a useful supporting player in such movies as "Body And Soul" (1947) and Fox's "Street With No Name (1948) directed some of Universal's biggest productions i.e. "Away All Boats" (1956), "Tammy & The Bachelor" (1957) and one of Erroll Flynn's last efforts "Istanbul" (1957). Playing the leading role in this marvellous biopic is James Cagney who gives an outstanding measured performance as Lon Chaney the strange tortured character actor of silent pictures who, ironically, died from throat cancer with the advent of the talkies.

Crisply photographed in black & white Cinemascope by the great Russell Metty ("Touch Of Evil") the picture conveys a strong sense of time and place. Expertly evoked is Vaudeville in the early part of the 20th Century where Chaney began as a song and dance man (Cagney delighting us with his special brand of hoofing) and early Hollywood where he became an extra at Universal Studios. Then with the help of his make-up box and his uncanny facility to alter his appearance - sometimes resulting in great pain - he soon became known as The Man Of A 1000 Faces.

Notable reconstructions of Chaney's creations are quite brilliantly achieved in the picture. Cagney excels as the cripple being cured in a reworking of Chaney's famous scene from "The Miracle Man" (1919)and the phantom being unmasked in "Phantom Of The Opera" (1925). But especially noteworthy is a re-staging of Chaney's "The Hunchback Of Notre Dame" (1923). Here Cagney is totally unrecognizable as he replicates Chaney's interpretation of Quasimodo being whipped on the punishment wheel in the village square. It is an intense moment in the picture and a remarkable achievement for Cagney the consummate actor! Little wonder that the great Orson Welles in the seventies declared that the screen's greatest actor was James Cagney!

Others in the cast of this splendid film are Dorothy Malone giving an excellent performance as the singer and Chaney's first wife Cleva Creighton, Jane Greer as his second wife, Jim Backus as his press agent and Robert Evens as the boy wonder of the motion picture business Irving Thalberg.

The picture also boasts a terrific music score by the underrated and now wholly forgotten film composer Frank Skinner (1897/1968). Skinner was composer in residence at Universal for many years and composed the music for some of their most prestigious productions such as "Tap Roots" (1948), "Magnificent Obsession" (1954), "Madame X" (1965) and "Shenandoah" (1965). "Man Of A 1000 Faces" was, however, his finest achievement! A soundtrack album of his music from the film - issued at the time of the picture's release - is now a much sought after recording!

A wonderful movie on DVD presented in a sharp black & white widescreen format that every collector will want to own if only for Cagney's amazing performance. His Lon Chaney is just as powerful and just as memorable as his George M. Cohan, Cody Jarret or Marty "The Gimp" Snyder!