The Penalty

A deformed criminal mastermind (Lon Chaney) plans to loot the city of San Francisco as well as revenge himself on the doctor who mistakenly amputated his legs.

"The Penalty" was one of Chaney's breakout roles, showcasing his taste for the macabre and talent for contortion and disguise. He had previously demonstrated similar qualities in the previous year's "The Miracle Man", but "The Penalty" and "Treasure Island" secured Chaney's place as one of the greatest character actors, before moving on to his more famous roles in "The Hunchback of Notre Dame" and "The Phantom of the Opera".

This story is great, the acting is fine and the directing is good, too. But really, the draw of this film is Chaney -- a man who was willing to undergo extreme and permanent bodily pain in order to make his role as believable as possible. I am not entirely sure why an amputee was not hired, but if it launched Chaney to the big time, I am glad it worked out the way it did.

A master criminal pays THE PENALTY for a life full of evil.

Lon Chaney became a major movie star with his role in this shocker. Already regarded as a fine actor for his performances in lesser films, he now proved he was quite willing to go far beyond mere makeup for the enhancement of his screen persona. His dedication to his craft, coupled with an outsized talent, were to make Chaney one of the foremost film actors of the 1920's.

Here Chaney plays a legless mobster who plots terrible revenge upon the doctor who maimed him (his plan to sack San Francisco of its wealth is almost incidental.) In order to create the illusion of being a paraplegic, Chaney bound his legs back and encased them in stumps. He is able to hop about with great alacrity using crutches, but he suffered intense pain during the filming and could only abide the prosthetics for short periods of time.

As remarkable as what he's able to achieve on his knees might be, it is the face of Chaney which is equally memorable here. The fact that he's able to model for a bust of Satan as part of the plot is no accident. His features take on the visage of pure unadulterated evil. The blood chills to look at him. Chaney the Actor has wordlessly spoken.

The film itself is a pleasantly florid potboiler, with plenty of menace, mayhem and damsels in distress. But it is Chaney who lingers longest in memory's darkest recess...

I saw this film on the big screen. From the beginning, one may get the impression that this could be one of the "been there...seen this" plots. Not true. The storyline is full of twists and turns throughout. Even the title has a twist at the end of the movie. While watching the plot unfold, I thought that it referred to the penalty the doctor and his family had to pay for the operation performed on Blizzard as a boy (Lon Chaney's character), making him handicaped...not so! Another twist is the female detective's turning from her investigation to admiration of Blizzard; the twist in the operation procedure performed on Blizzard to restore his legs; and then, the final twist at the end of the movie. Not what you would have expected...however, the final "penalty" is paid.

To sum it up...great actor and great story. Worth a repeat viewing. Rating: 9/10

If not the very first to reach a wide audience, Wallace Worsley's The Penalty survives to this day certainly at least as one of the more memorable and enjoyable proto-noir gangster thrillers from the mid-to- late silent era. Featuring engrossingly dark imagery throughout, a wonderfully gritty plot line filled with characters blooming from a pre-code era and a sense of pace in editing and direction so brisk you might have to look twice at its production date; The Penalty has plenty going for it but by far its best feature lies in the magnetic and grotesquely alluring performance of its lead star Lon "the man of one-thousand faces" Chaney.

Committing fully to his role as a man wrongly crippled at a young age by inept Dr. Ferris in the late 1890s, Chaney is so convincing in his role that viewers unfamiliar with his more famous works could be forgiven for Googling his name to find out if he really did have legs or not. Apparently the apparatus he wore to achieve the effect (which he had to insist on wearing against the studio's reported resistance) left him with lasting back problems for the remainder of his life. Whether true or not, the result is nevertheless a marvel to watch as his character of Blizzard—a brilliantly creative, megalomaniac-kingpin of sorts—hobbles his way in and out of people's lives, playing their strings all the while grinning sardonically with facial contortions likely to strip paint off walls.

When Blizzard begins to enact on a long-dreamt-of plan of retribution against the now-successful Ferris however, it's the inclusion of the doctor's daughter Barbara that allows the audience to see briefly the sadness and morose qualities underneath the surface of the crime- lord's chagrined demeanour. Chaney nails both sides of the coin equally well, despite the film's best and most enjoyable moments resulting from Blizzard's more-often-than-not irritable and ill- tempered outbursts. Then there are the moments where the character switches back and forth like a light switch. During an early scene, Blizzard, while playing a wonderfully sombre and melancholic classical piano piece, begins: "I shall be the master of a city! And for my mangled years the city shall pay me—with the pleasures of a Nero and the power of a Caesar!" The contrast here is palpable, and were it in the hands of a lesser talent, may have come off stilted or jarring for the wrong reasons.

On the other hand, the picture is by no means without its flaws. It's sometimes a little too melodramatic for its own good, specifically during the last 10 or so minutes. Furthermore, some plot lines go nowhere interesting, and the overall wrap-up is misguided and rushed to the point where it leaves a bitter taste in the mouth, even though it does boast the best line in the film. As a package however, I would recommend at least one viewing. Much like Dr. Jekyll and Mr. Hyde released a few months prior, the performance of its lead star is worth the time invested alone. Unlike said film however, The Penalty still has plenty else going for it outside of Chaney whether it's from the performances of the supporting cast or the brisk direction by Worsley cut with incisive, well-written and paced intertitles.

If you do seek out the film, again I would recommend the newly restored blu-ray which has been respectfully scanned and cleaned up by the George Eastman House Motion Picture Department and released by Kino. The disc also features a score composed by Rodney Sauer performed by the Mont Alto Orchestra which bounces off and compliments the film beautifully to the point where they actually bring piano melodies played by Blizzard alive as he muses over his plans to conquer San Francisco by force. It's a nice touch and much like Chaney strapping his legs behind his thighs, brings a level of commitment and dedication that gives an extra spark to already bright and highly enjoyable film.

Lon Chaney gives yet another outstanding performance as a man living with his legs amputated at a young age by mistake. He overhears the doctors first saying it was a mistake and then forging a pact to lie and say the surgery was essential. Chaney grows up to be a bitter, malevolent leader of underground activities in San Francisco. The role gives Chaney several opportunities to show his undeniable skill as an actor and human contortionist. Doubling his legs up and walking on his knees, Chaney mesmerized me with his ability to change reality into fantasy. He looks like a crippled man. Chaney also again showed me his range as an actor that could create pathos through his facial expressions. Never playing a one-dimensional part, Chaney is often brutal and cruel throughout much of the film, yet he enjoys music and art and always possesses a certain charm and affability. A wonderful performance all around! The other actors are very good and the direction is nice and tight. The story is very strong with some melodramatic overtones to be sure. There are some great scenes in this film like Chaney carrying on like a madman demanding the legs of a young doctor and, in particular, the scenes where he poses as Satan after the fall. The film has a nice pace for a silent picture, and the title cards are extremely powerful and literate.