AVALIAÇÃO DA IMDb
7,5/10
2,2 mil
SUA AVALIAÇÃO
Adicionar um enredo no seu idiomaA professional clown and a self-indulgent count learn to help each other with their problems, but then become romantic rivals.A professional clown and a self-indulgent count learn to help each other with their problems, but then become romantic rivals.A professional clown and a self-indulgent count learn to help each other with their problems, but then become romantic rivals.
- Direção
- Roteiristas
- Artistas
- Prêmios
- 4 vitórias e 2 indicações no total
Cissy Fitzgerald
- Giancinta
- (as Cissy Fitz-Gerald)
Robert Brower
- Stage Manager
- (não creditado)
Julie DeValora
- Nurse
- (não creditado)
Helena Dime
- Lady at Luigi's Party
- (não creditado)
Leo Feodoroff
- Minor Role
- (não creditado)
Frankie Genardi
- Peasant Italian Boy
- (não creditado)
Lilliana Genardi
- Peasant Italian Girl
- (não creditado)
Betsy Ann Hisle
- Little Girl at Tito's Death
- (não creditado)
Emmett King
- Doctor
- (não creditado)
Carl M. Leviness
- Party Guest
- (não creditado)
Mickey McBan
- Oldest Boy at Tito's Death
- (não creditado)
Evelyn Mills
- Little Simonetta
- (não creditado)
Avaliações em destaque
10teehee7
Not only is this the greatest performance I've seen by Chaney, it is one of the great films.
In this, Chaney definitively proves he is one of the greatest actors, perhaps the greatest, in all of film. Although he appears in different make-ups in almost every scene, the make-up is to portray himself as a younger man who slowly grows older as the 25-year span of the film tells the well-known tragic love story more familiarly known as "Pagliacci," the clown who could not laugh.
The film co-stars a radiant 14-year-old Loretta Young, who Chaney supposedly guided to another great performance. Without the director, who was unduly harsh on her, knowing it. When Chaney found out, he made sure he was always with Young whenever the director was. Young's mistreatment ended.
Several times I was near tears because Chaney's performance--watch his eyes, hands and demeanor--is so naturalistic, even though somewhat melodramatic, as all silent performances were.
Almost all of Chaney's films were about unrequieted love, but here he may have reached his apotheosis. I won't know until I see a few more of his non "horror" films, especially, "He Who Gets Slapped."
Don't let what I've said make you think this is some clunky "tear-jerker," It is filled with good laughs, drama, wonder and real pathos. Chaney's final scene is utterly tragic and beautiful.
Even non-Chaney fans will be awed by "Laugh, Clown, Laugh."
In this, Chaney definitively proves he is one of the greatest actors, perhaps the greatest, in all of film. Although he appears in different make-ups in almost every scene, the make-up is to portray himself as a younger man who slowly grows older as the 25-year span of the film tells the well-known tragic love story more familiarly known as "Pagliacci," the clown who could not laugh.
The film co-stars a radiant 14-year-old Loretta Young, who Chaney supposedly guided to another great performance. Without the director, who was unduly harsh on her, knowing it. When Chaney found out, he made sure he was always with Young whenever the director was. Young's mistreatment ended.
Several times I was near tears because Chaney's performance--watch his eyes, hands and demeanor--is so naturalistic, even though somewhat melodramatic, as all silent performances were.
Almost all of Chaney's films were about unrequieted love, but here he may have reached his apotheosis. I won't know until I see a few more of his non "horror" films, especially, "He Who Gets Slapped."
Don't let what I've said make you think this is some clunky "tear-jerker," It is filled with good laughs, drama, wonder and real pathos. Chaney's final scene is utterly tragic and beautiful.
Even non-Chaney fans will be awed by "Laugh, Clown, Laugh."
I recently viewed this film on TCM for the second time, and I enjoyed it even more. True, the fact that Chaney is in love with a teenager which he raised from a child is somewhat disturbing, but I think Chaney's portrayal in the film shows that he is aware of the inappropriateness of his love, however, he is unable to stop it. I particularly enjoyed the conflict Chaney experiences between his role as a performer and his needs as a human being. He displays a touching sense of obligation, stoicism, and vulnerability that only a master actor such as himself could manage. The final scene where he has fallen is absolutely heart wrenching, especially when he says, "I am an old man" as if he only realizes it for the first time. Complete with a wonderful new score, I would recommend this film for any fan of silent films, or just great acting in general. Long live Chaney!
...the Pagliacci story has become a keystone of American popular culture, all the way from Enrico Caruso's Metropolitan Opera performances in the Leoncavallo classic (his various recordings of "Vesti la Giubba" combined to sell over a million copies according to the Guinness Book of World Records) through to the Smokey Robinson & The Miracles hit record "Tears of a Clown." This Lon Chaney movie was once a primary link in that chain, but because it was considered "lost" for many years (before a British release print with two reels missing was found towards the end of the century) it was forgotten. Now that it's available on DVD with a beautiful H. Scott Salinas musical score worthy of Morricone, as well as a scholarly audio commentary by Michael F. Blake, it deserves to be restored to its former status as one of the greatest American films of the silent era...
This is such a sad movie; after watching the great "Phantom of the Opera" I became more open to Chaney's movie. This is such a sad heart-wrenching film. Chaney is at his best in this film giving a bittersweet performance becoming both entertaining and tragic. These are characters we can care about and that's what made this movie effective. The fact that Chaney is in love with a younger woman and knows he can never have her is possibly the biggest aspect that tugs on your heart as you watch. The ending is possibly the most heartwrenching. I won't give it away, though. You have to see it for yourself.
*** and a half (out of 4 stars)
*** and a half (out of 4 stars)
I've been a die-hard Lonaholic since the early 70's, but only managed to see this in a terrible 16MM bootleg print over 30 years ago, and then a fragmentary view when it was shown on TCM. Watching this DVD now has given me a whole new perspective on how great a silent picture can be, and on why I fell for Chaney as well.
The story, while it apparently bears the stamp post-Victorian melodrama, is also very complex and has sexual undercurrents that are surprisingly modern. It portrays emotions that are so primal, and portrays them so well, that its dated elements don't prevent it from feeling current and emotionally valid.
The acting is top notch. The deep and conflicting feelings that are a component of any of the three sides of a love triangle are brilliantly, subtly portrayed by all the principals. Fourteen year-old Loretta Young is perfectly cast as the girl who is becoming a woman, with her experiences always ahead of her understanding.
You can really see in LCL why Lon Chaney was considered the actor's actor of his day. He's superb; his Tito Beppi is an irresistible combination of simplicity and depth. At first I thought Chaney was hamming a bit, but ultimately it contributes to the impact of his portrayal of Tito's honest and profoundly compassionate character. The few seconds when Beppi realizes that his fatherly love for Simonetta--whom he has raised since she was a child--has suddenly veered into desire, ought to be taught in acting classes. That Chaney was capable of portraying so many strong, and subtle, deeply personal emotions, without a single word, goes a long way towards explaining the powerful grip his on screen charisma had on audiences of the Twenties.
James Wong Howe's photography is stunning. He was famous for having been able to get Mary Miles Minter's pale blue eyes to register on orthochromatic film; LCL shows how he brought that same testimonial to the richness of black and white to the more realistic palette of panchromatic stock.
The DVD's presentation is excellent. The new musical score really enhances the film without calling attention to itself. Its quiet urgency contributes to the sense of inevitable tragedy without ever veering into clichéd dramatics. I think this print of Laugh Clown Laugh is the only one surviving; there are some small continuity hiccups from lost footage but it doesn't detract.
Anyone who is or has been in love should see this film; it's hard not to identify with elements of the plights of all three protagonists. Put this on a double bill with City Lights and it's liable to kill you.
Regards, Richard Day Gore
The story, while it apparently bears the stamp post-Victorian melodrama, is also very complex and has sexual undercurrents that are surprisingly modern. It portrays emotions that are so primal, and portrays them so well, that its dated elements don't prevent it from feeling current and emotionally valid.
The acting is top notch. The deep and conflicting feelings that are a component of any of the three sides of a love triangle are brilliantly, subtly portrayed by all the principals. Fourteen year-old Loretta Young is perfectly cast as the girl who is becoming a woman, with her experiences always ahead of her understanding.
You can really see in LCL why Lon Chaney was considered the actor's actor of his day. He's superb; his Tito Beppi is an irresistible combination of simplicity and depth. At first I thought Chaney was hamming a bit, but ultimately it contributes to the impact of his portrayal of Tito's honest and profoundly compassionate character. The few seconds when Beppi realizes that his fatherly love for Simonetta--whom he has raised since she was a child--has suddenly veered into desire, ought to be taught in acting classes. That Chaney was capable of portraying so many strong, and subtle, deeply personal emotions, without a single word, goes a long way towards explaining the powerful grip his on screen charisma had on audiences of the Twenties.
James Wong Howe's photography is stunning. He was famous for having been able to get Mary Miles Minter's pale blue eyes to register on orthochromatic film; LCL shows how he brought that same testimonial to the richness of black and white to the more realistic palette of panchromatic stock.
The DVD's presentation is excellent. The new musical score really enhances the film without calling attention to itself. Its quiet urgency contributes to the sense of inevitable tragedy without ever veering into clichéd dramatics. I think this print of Laugh Clown Laugh is the only one surviving; there are some small continuity hiccups from lost footage but it doesn't detract.
Anyone who is or has been in love should see this film; it's hard not to identify with elements of the plights of all three protagonists. Put this on a double bill with City Lights and it's liable to kill you.
Regards, Richard Day Gore
Você sabia?
- CuriosidadesHerbert Brenon reportedly loved to pick on and ridicule a 14-year-old Loretta Young (Note: Young turned 15 on day 18 of the 45-day shoot.) in her first big role, but was civil with her whenever Lon Chaney was present on the set. Chaney noticed this and never left her side, even if his character wasn't needed for shooting that day. He directed her throughout the shoot and became her surrogate father on the project. "I shall be beholden to that sensitive, sweet man until I die", said Young of Chaney.
- Citações
Simon, aka Flok: Laugh, clown, laugh... even though your heart is breaking!
- Versões alternativasAn alternate "happier" ending was shot and was available to theaters who did not like the original. Unfortunately this no longer exists.
- ConexõesFeatured in Lon Chaney: A Thousand Faces (2000)
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- How long is Laugh, Clown, Laugh?Fornecido pela Alexa
Detalhes
- Data de lançamento
- País de origem
- Idioma
- Também conhecido como
- Laugh, Clown, Laugh
- Locações de filme
- Jewett Estate, 1145 Arden Road, Pasadena, Califórnia, EUA(Count's estate)
- Empresa de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 293.000 (estimativa)
- Tempo de duração1 hora 13 minutos
- Mixagem de som
- Proporção
- 1.33 : 1
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By what name was Ridi, Pagliacci! (1928) officially released in Canada in English?
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