Mockery

It's the chaos of the Russian revolution. Countess Tatiana Alexandrova (Barbara Bedford) is alone and on foot, desperate to get to Novokursk. She encounters peasant Sergei (Lon Chaney) who is picking over the corpses of dead soldiers. She hires him as her guide and promises to be his friend upon arrival. They pretend to be a married couple when they run into revolutionaries.

This is a fascinating exposition of the Russian revolution. Neither side is right. In a way, I am a little disappointed with some of Alexandrova's actions, but it is very much indicative of the society in general. At last, there is no satisfying ending and there isn't one in the real world. I probably would have ended the movie before the final fight.

As a lifelong fan of Chaney Sr., this film was on a very short list of existing Chaney films I had yet to see. I watched it last night for the first time and was pleasantly surprised. Although I admit this is far from Chaney's best work, I suspect many of the negative reviews, both then and now, come from unmet expectations. "Mockery" does not have grotesque make-up like "Hunchback of Notre Dame". It lacks bizarre story elements like "The Unknown". Chaney only plays one character instead of two, as he did in "A Blind Bargain". And if you wanted to see sets and scenery on a grand scale, as in "Phantom of the Opera", forget about it.

So what does this film have? Well, this melodrama, set in Russia around the time of the revolution, revolves around the theme you see in most of Chaney's films: unrequited love. Chaney's character is a peasant named Sergei, who reminded me of "Lenny", the character portrayed by Lon Chaney Jr. in "Of Mice and Men". Sergei is a good hearted simpleton, unable to understand matters of love. Sergei's love for the Countess, like Quasimodo's longing for Esmarelda, is destined for failure, but he's the only one who cannot see this.

As the story unfolds, we get glimpses into the good and bad (or Jekyll and Hyde, if you will) found in all of us. Sergei's pure love turns to lust. Tatiana's indifference evolves into compassion.

If you're expecting a 1927 era melodrama, you'll get a good one. If you're expecting something bizarre, like "Novokursk After Midnight", you'll have trouble keeping awake.

In this silent Lon Chaney film, he once again plays a non-traditional role. This time he is a dull-witted peasant, Sergei, during a revolution. He survives by taking food off dead bodies on the battlefield. While at this, he is discovered by a beautiful woman, who enlists his aid in trying to escape. He is primarily responsible for getting her out of a potentially deadly situation. What he doesn't realize is that she is a countess, living the high life, ruling the servants. She never intended any sort of relationship, obviously. He doesn't see it this way. So it is hopeless. He then gets enlisted by a cook, who works in the mansion. He uses Sergei to manipulate his situation, wanting to get his hands on the countess. Sergei just doesn't get it. Chaney is fantastic. His amazing facial expressions and his interpretation of the role are superb.

After recently viewing this film, I was rather perplexed to read the disparaging remarks aimed at Lon Chaney's performance. I will not argue with the general consensus that the film's story line is weak, and the overall feeling of the film is rather somber and oppressive. What would one expect to find when you're dealing with the stark realities of life in Siberia during the Russian Revolution? A light, carefree musical, perhaps? Danish director Benjamin Christensen does a masterful job of capturing the despair and gloom of the period, and the desperation of the central characters. The viewer never really gets to know the background of Chaney's character, Sergei, but his poignant confession to the Countess (who was disguised as a peasant woman at the time) that he never had a friend before provided a glimpse into the loneliness and harshness of Sergei's life. The Countess knew Sergei was `mentally challenged', and used this to her advantage to obtain safe passage to Novokursk. She made Sergei promise to tell any soldiers they met that she was his wife, and to say nothing more. Poor simple Sergei stuck to his story even after being savagely beaten by marauding Red soldiers. Sergei confused the woman's attentions and friendship, and believed it to mean much more.

What impressed me the most about this film was Chaney's performance. Though some dismissed his efforts as being unconvincing, or complained he `does little more than lumber about the set', I came away with a very different opinion. Chaney's gift was not only for make-up-which was expertly employed in this film-but for emotionally compelling pantomime. Chaney's Sergei exuded a rough, animalistic power in the way he moved and expressed himself. The performance was remarkably restrained, considering how easy it would have been to go over the top with this type of character. The one thing that proved to me Chaney's command of his craft is the way he looked out of his eyes. It is one thing to be able to change the expressions on your face to appear to be a simple, dim-witted peasant, but to show that in your eyes requires the height of brilliant acting acumen. Chaney's eyes reflected a supremely vacant expression that matched Sergei's mental state perfectly. Overall, I firmly believe this is one of the best performances of Chaney's career. There is even a very funny comedy scene featuring a drunk Sergei taunting the pompous Mr. Gaidaroff. The film, on the other hand, is certainly not everyone's cup of tea due to its subject matter, but I feel it has a lot of hidden meanings and pathos that can be tapped into to create a much broader picture of life amongst the privileged and lower castes of Revolutionary Russia.

This little known title still manages to draw audiences thanks to Lon Chaney, although it is a bit hard to find. However, when found, it is a crowd pleaser thanks to a decent story, great acting, and nice production elements.

Chaney stars as Sergei, an unintelligent peasant who happens upon a woman (Barbara Bedford) while lurking in the forest in search of food. She requests that he accompany her to the city and to comply with whatever she says. His agreement of these terms becomes useful when revolutionists try to attack her. Sergei's actions in the situation make it possible for the two of them to reach the city, where he discovers that the woman is Countess Tatiana. In gratitude, she offers Sergei a job in the kitchen where she is staying under the direction of burly Ivan (Charles Puffy). He agrees and grows more and more fond of Tatiana and jealous of her relationship with soldier Dimitri (Ricardo Cortez) until he is driven to action by revolutionist Ivan.

As always, Chaney gives a stirring performance through a transforming makeup job. His character is rude and dirty, but we somehow sympathize with him even though we are brought to like both sides of the spectrum. Sometimes Lon is supposed to be sweet but sometimes he is supposed to be evil, but his character is realistic enough to be forgiven. Bedford is stunning as his love interest, first appearing dressed down in a Madonna-like fashion and then cleaning up to look Garbo-esquire.

The mechanics of the film are great too. It opens with an extreme close-up on Chaney's hungry hands searching through a dead soldier's effects. It follows him as he roams around. Lighting is used to highlight the scenes, especially toward the end of the film when lights flicker on and off constantly. These provide an added touch to make the film even better than it already would have been.