L'homme aux mille visages

This picture distinguishes itself from the all-too-familiar reverential and sentimental quasi-biographies of show business legends by emphasizing the complex relationship between Lon Chaney and his first wife, Cleva Creighton, and by treating their problems in an even-handed manner. She emerges as flawed and difficult to deal with - but so does he. Their child is caught in the middle.

The story would be of interest even if it did not concern a famous person. Chaney's career provides a colorful background to an essentially human drama, one which may present its characters too often as one-dimensional prototypes lacking depth or subtlety, but is nevertheless a drama which (except for the maudlin deathbed scene) effectively develops the genuine emotional conflicts at its core. In a solid cast, Dorothy Malone, as Cleva, is most notable.

Saw this on the late show when I was 12 or 13: I was moved, even scared, by scenes with Miracle Man, Christmas dinner, Quasimodo, & especially with the legless man in the alley ("Pick me up & knock me down again!") We know now that LC, Sr., was less than pleasant to be around & that LC, Jr., grew up to be miserable. But this was an early introduction to what I'd heard of as "vaudeville," & the transitional sequences with Cagney as a film lot extra (with a real silent flick star Marjorie Rambeau, as Gert) were fast-paced & convincing. It was a fair cultural shock to see Jim Backus (as agent Locan) in a dramatic role, since until then I'd seen him only on sitcoms & as Mister Magoo.

I have it on tape & watch it maybe once a year & have seen Cagney & co-stars in other vehicles since then: especially Jane Greer in her unsavory "Out of the Past" role. Dorothy Malone (whom I knew only from "Peyton Place") was a great, underrated actress.

Yes, the ending is slow & shmaltzy, & it was hard to imagine even back then (I'd already seen scary LC, Jr., in the teleplay, The Ballad of Jubal Pickett) that Jr. was ever as handsome as Roger Smith. But if nothing else you can get a fictional behind-the-scenes account of the making of two great silents & cultural icons: Phantom of the Opera & Hunchback of Notre Dame.

MAN OF A THOUSAND FACES is one of Hollywood's better films about Hollywood! Produced by Universal International in 1957 it recounts the life and times of one of the silent screens most formidable icons - Lon Chaney. From an excellent Oscar nominated screenplay by R.Wright Cambell, Ben Roberts and Ivan Goff it was skillfully directed by Joseph Pevney. Peveny, himself a useful supporting player in such movies as "Body And Soul" (1947) and Fox's "Street With No Name (1948) directed some of Universal's biggest productions i.e. "Away All Boats" (1956), "Tammy & The Bachelor" (1957) and one of Erroll Flynn's last efforts "Istanbul" (1957). Playing the leading role in this marvellous biopic is James Cagney who gives an outstanding measured performance as Lon Chaney the strange tortured character actor of silent pictures who, ironically, died from throat cancer with the advent of the talkies.

Crisply photographed in black & white Cinemascope by the great Russell Metty ("Touch Of Evil") the picture conveys a strong sense of time and place. Expertly evoked is Vaudeville in the early part of the 20th Century where Chaney began as a song and dance man (Cagney delighting us with his special brand of hoofing) and early Hollywood where he became an extra at Universal Studios. Then with the help of his make-up box and his uncanny facility to alter his appearance - sometimes resulting in great pain - he soon became known as The Man Of A 1000 Faces.

Notable reconstructions of Chaney's creations are quite brilliantly achieved in the picture. Cagney excels as the cripple being cured in a reworking of Chaney's famous scene from "The Miracle Man" (1919)and the phantom being unmasked in "Phantom Of The Opera" (1925). But especially noteworthy is a re-staging of Chaney's "The Hunchback Of Notre Dame" (1923). Here Cagney is totally unrecognizable as he replicates Chaney's interpretation of Quasimodo being whipped on the punishment wheel in the village square. It is an intense moment in the picture and a remarkable achievement for Cagney the consummate actor! Little wonder that the great Orson Welles in the seventies declared that the screen's greatest actor was James Cagney!

Others in the cast of this splendid film are Dorothy Malone giving an excellent performance as the singer and Chaney's first wife Cleva Creighton, Jane Greer as his second wife, Jim Backus as his press agent and Robert Evens as the boy wonder of the motion picture business Irving Thalberg.

The picture also boasts a terrific music score by the underrated and now wholly forgotten film composer Frank Skinner (1897/1968). Skinner was composer in residence at Universal for many years and composed the music for some of their most prestigious productions such as "Tap Roots" (1948), "Magnificent Obsession" (1954), "Madame X" (1965) and "Shenandoah" (1965). "Man Of A 1000 Faces" was, however, his finest achievement! A soundtrack album of his music from the film - issued at the time of the picture's release - is now a much sought after recording!

A wonderful movie on DVD presented in a sharp black & white widescreen format that every collector will want to own if only for Cagney's amazing performance. His Lon Chaney is just as powerful and just as memorable as his George M. Cohan, Cody Jarret or Marty "The Gimp" Snyder!

An excellent story, well told in the manner of the era the film was made. This means the story telling was paramount - thank heavens no tedious digital effects.

So what the story was loosely based on Chaney's life. In the 2 hours or so the film ran it was not possible to tell the whole story. So they use shortcuts and invention - so what. I bet more than one person started to research Chaney and other stories from the silent era. Interest stimulated...... job done.

Rather like the Glenn Miller and Benny Goodman stories, same applies. How many started to appreciate the music, they knew nothing of the inaccuracies. They saw a good story and heard some interesting music, helped me to start listening to jazz and I am grateful.

You will never satisfy the 'expert'.

"Loosely based....". When I hear this about a bio-pic, it is a complete turnoff to me. I think some it was because I was a history teacher--and to me, history is sacred--you tell it exactly like it was. Yet, in so many Hollywood films, the truth isn't deemed interesting enough and they heavily embellish the picture. Thus is the story of Lon Chaney in "The Man of a Thousand Faces". While the main points are correct, Chaney's interesting life just wasn't interesting enough for the folks at Universal and they played fast and loose with some of the facts. I didn't like this--but must acknowledge that it was an entertaining story.

However, there is one other issue about the film about which I have a unique perspective. Like Chaney, I have a deaf family member--in my case, my daughter. And because of this, I can talk about a few things the average viewer wouldn't notice. When the people are using sign language in the film, they really are using sign language--though they do it a bit poorly. As a result, you can see that the parents of Chaney in the film are not natural signers--but I appreciate that they tried. One thing I did not appreciate, however, is that the film seemed to exploit Chaney's parents--creating problems that did not exist in real life. For example, when Chaney's first wife meets them, she has no idea they are deaf--but this was NOT the case in real life and it just felt cheap--like they were capitalizing on their deafness for the sake of a plot gimmick. That was pretty sad.

Aside from my complaints and observations, I still think this is a very good film. Just understand it all is heavily dramatized and you can take some of it with a grain of salt. Also, it was nice to see the silent comic Snub Pollard in a bit scene midway through the film.