La serpe di Zanzibar

"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. (***)

Very interesting and unusual silent film starring Lon Chaney as Phrosos the Magician, a stage show performer who has a wife he really loves - but she informs him she is planning to leave him for a man named Crane (Lionel Barrymore). When Crane tells Phrosos he is taking her away to Africa - he fights with Phrosos sending him falling over the railing of a second floor landing. His legs now paralyzed, Phrosos goes around riding a cart or pulls himself around by his arms, with his lifeless legs dragging behind. When the wife comes back with a baby, he finds the wife dead - so Phrosos, bitter and full of hate, sets out for Africa to seek his revenge on Crane and the baby daughter. Eighteen years pass - Phrosos, now known as "Dead-Legs", uses his magic to trick the natives with fake "voodoo" so he can steal elephant tusks from Crane, now a trader. Meanwhile, he has the daughter being raised in a Zanzibar brothel and he sends for her to come to him - all part of his evil plan. He now holds the poor girl captive and treats her like dirt - doing such things to her as making her eat on the floor and giving all her clothes to the natives. Twists and turns to follow.

This is an absorbing, well done film - odd, creepy, and sad too. Chaney is really excellent in this - he gets such a look of evil and hate on his expressive face and is just SO good at making his legs look completely lifeless. Mary Nolan, who plays the daughter, spends most of the film looking around her with a complete look of disgust (and who can blame her!) - but her facial expressions are slightly over the top sometimes. Warner Baxter is handsome here playing Doc, Chaney's sidekick in Africa who falls in love with the girl. Very good.

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.

The opening sequences of Lon Chaney as the magician foreshadow the dark atmospheres that director Tod Browning would later create for Freaks and Mark of the Vampire. Excellent photography and an astonishing physical performance that was the hallmark of Chaney's work.

I remember this film being shown on Chicago's PBS outlet WTTW-TV during the 1970s. It was tinted in certain scenes and featured a new score that was fresh, yet not too modern. A master from this television showing has to exist somewhere.

Why this fantastic film is not more readily available is a mystery. It deserves to be seen on DVD or Turner Classic Movies.

One year after these two prominent figures of the silent era cinema worked together for The Unknown, here they team again for another tragic story of despair, loss and revenge. Clocking at little more than an hour, West of Zanzibar combines the best of both worlds: Browning's atmospheric direction that turns Africa (or the studio backlot that stood for it) in a dark limbo where cannibal tribes perform weird rituals to their gods and drums of doom sound in the night, and Lon Chaney, the man, the myth.

Saying that Lon Chaney is among the finest character actors of all time is an understatement. Mostly known for his macabre make-up that made him almost unrecognizable from one role to the other, Chaney was also a fantastic actor, able to emote and connect with the audience with a gesture or a look of his eyes. West of Zanzibar's story works on the same motif of tragic irony that made The Unknown so good and offers the perfect role for this great actor. Unsurprisingly he makes the most of it.

A great companion piece for The Unknown and a fine movie on its own right, West of Zanzibar is the result of two inspired artists at the top of their craft working together. Recommended.