Lo sconosciuto

This movie survives with about ten minutes missing, mainly the story of Alonzo (Lon Chaney) the criminal before he hides at a circus as "Alonzo The Armless" where he uses his feet to accurately throw knives at Nanon (Joan Crawford) without hitting her. He has his actual arms strapped to his sides, making himself appear armless, thus deceiving all except his confederate Cojo, who helps Alonzo in and out of his restraining outfit at night. Alonzo involves himself in this elaborate subterfuge because he is known to have two thumbs on one hand. If that hand was seen he'd be instantly identified as the murderer that he is. He falls in love with Nanon, and she conveniently can't stand to have a man's arms around her. She feels safe around Alonzo because of his "armless" state, and only considers Alonzo a friend, but then he has never disclosed his feelings to her.

When the circus strongman, Malabar, falls in love with Nanon, suddenly Alonzo has a competitor. One day, alone in his room, ruminating over the possibility that he could lose Nanon to the strongman, Alonzo absent mindedly lights a cigarette with his feet, even with his hands freed. Suddenly, Alonzo comes up with a horrible solution to his dilemma, one that would allow him to marry Nanon and not be forced to disclose his true identity.

So many unknowns, some likely explained in the missing footage. Where did Cojo, the dwarf, who assists Alonzo come from? Was he an accomplice in Alonzo's past crimes? Why does he stick around? Why did Nanon fear having a man's hands on her? How is it that Alonzo conveniently knows the criminal past of a talented surgeon who can give him what he wants? And, most importantly of all, why didn't Alonzo just have that double thumb amputated in the beginning rather than get involved in this complex plan that culminates in such a rash solution? I guess because we'd have no movie.

Even in its abbreviated state, this early example of body horror is worthwhile and completely creepy. Plus I've found that anything Lon Chaney stars in is interesting. Joan Crawford is only third billed at this point, with Norman Kerry as Malabar getting second billing. Kerry was one of the many casualties of the transition to sound film due to his thick accent.

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.

A circus performer ventures into THE UNKNOWN regions of fate when he allows love to be twisted by hatred.

Master actor Lon Chaney and his friend, acclaimed director Tod Browning, took their love of the macabre and fashioned this weirdly entertaining & suspenseful little silent film, made wonderful by Chaney's powerful over-the-top performance. Playing the armless wonder in a gypsy circus, Chaney's face is a casebook of emotions as he longs for the chieftain's daughter. After making a tremendous, indeed, outrageous, sacrifice for her, he discovers it is all an utter waste. Chaney's agony is horribly apparent as he feels his life crumble around him. The actor uses his superb physical conditioning to great effect, his feet as facile as any hands--the extreme punishment undergone to play the part enormously impressive.

In an important early film role, Joan Crawford is both sultry & disarming as the object of Chaney's desires; her intense neurotic phobia concerning men's hands certainly makes her character more interesting. Norman Kerry is affable & tender as the circus strong man who also loves Crawford. John George as Chaney's dwarf accomplice and Nick De Ruiz as the brutal circus chief are quite effective in their colorful roles.

MGM gave the film fine production values, especially in the circus scenes--a milieu dear to Chaney's heart.

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" returns to a theme common in many of Lon Chaney's films, that of a man hopelessly in love with a woman he can never have.

Alonzo, the armless man is performing in a gypsy circus as a sharpshooter/knife thrower working with the lovely Nanon (Joan Crawford) as his assistant. He is of course in love with her. Rounding out the triangle is circus strong man Malabar (Norman Kerry) who is also in love with Nanon. Nanon it seems cannot bear to have a man's hands touch her (Joan Crawford?).

Alonzo is not what he seems to be. It turns out that he is a fugitive on the run and it is revealed that he actually does have arms and has created the armless man to hide a deformity that would identify him as the criminal the police are seeking. And given that Nanon cannot stand for a man to touch her, she repels Malabar's advances and places her trust in Alonzo.

Nanon's father, Zanzi (Nick DeRuiz) wants his daughter to stay away from Alonzo and confronts him on the issue one night. Zanzi discovers Alonzo's secret so Alonzo murders him. Alonzo then re-confirms his intention to marry Nanon. Alonzo's trusted friend Cojo (John George) points out to Alonzo that should he marry Nanon, she would surely discover that he has arms on their wedding night. So, Alonzo sure that Nanon will marry him, arranges to have his arms amputated.

When Alonzo returns from his ordeal he discovers that Nanon has gotten over her fear of men's hands and now plans to marry Malabar. Alonzo devastated, plots his revenge.

Chaney plays an unsympathetic character in this film, so much so that he doesn't evoke the usual audience pity that he had in other films. His scenes as the armless man are outstanding and the things he does with his feet are truly amazing. And he could express so much emotion with just his facial expressions. Crawford was just getting her career into going and went on to a lengthy career spanning over 40 years. Kerry had also appeared with Chaney in both "The Hunchback of Notre Dame" (1923) and "The Phantom of the Opera" (1925). The running time of the film varies depending on your sources. The version I saw runs about 50 minutes. The Citadel Book, "The Films of Joan Crawford" lists it at 65 minutes. IMDb lists running times of 61 and 49 minutes respectively. Despite the short running time it nevertheless presents a complete and riveting story. I would like to know what was cut out though.