When one thinks of romantic characters, Lon Chaney’s name does not spring to mind. Remembered mostly for his extraordinary abilities with makeup (The Man of a Thousand Faces), and work in the Horror genre, Chaney seems totally unsuited for romantic roles. Not handsome like Valentino or possessing a great physique like Douglas Fairbanks, Chaney was a man of ordinary build and features. Yet when it came to love and sacrifice, there was no one who could compete on his level. His characters were always outsiders who yearned for love that was never realized and would go to tremendous lengths to prove themselves. In this light, it could be said that all of Chaney’s roles were romantic ones. There have been few in the history of cinema that suffered for love as his characters did.
The Unknown (1927) showing this weekend on TCM, is a case in point. Chaney plays Alonzo, an armless knife thrower in a circus. He’s deeply in love with his assistant Nanon (an early role for Joan Crawford), who has a deep resentment of men’s touch. She feels comfortable with Alonzo and is quite fond of him. Alonzo holds a dangerous secret from her in the fact that he actually does have arms (they are tied to his side in a corset he wears under his shirt). Alonzo is a criminal hiding from the law, but he worships Nanon and will do anything to possess her. He sabotages his main rival, Malabar the Strong Man whenever he can and tries desperately to win Nanon’s love. Finally, Alonzo resorts to blackmailing a doctor into amputating his own arms! When he recovers from his operation he discovers Nanon has fallen for Malabar and loves the feel of his arms around her. Now fully unhinged and thirsting for revenge, Alonzo plots a similar fate for the Strong Man.
Directed by Tod Browning who made several films with Chaney, The Unknown is probably the best example of their unique collaborations. Browning loved carnival or circus settings, often using them as a stage for his physically and emotionally maimed characters. The circus also carries the idea of role-playing and fantasy. People are often not their true selves, but providing an illusion to create others happiness, many times camouflaging their own pain or feelings to do so.
Alonzo is an evil man, but shows kindness and is tender to Nanon. She is his hope, an angel that has flown into his personal hell to befriend him. Whatever goodness remains in him comes to life in her presence. It’s this part of himself she stirs that he values above everything—even his own limbs. When he makes a devastating sacrifice for her and then realizes he is left with nothing, all he has left is hatred.
Chaney plays this bizarre part as only he can. Although some of the scenes used another actor’s legs, it’s Chaney’s face that reflects evil, hope, despair, and finally madness that legitimizes the film. Burt Lancaster in viewing this film remarked how Chaney influenced him, particularly in the scene where he discovers he has cut off his arms in vain and emotion just pours out of his features. At one point we see tears roll down his cheeks to which Nanon says to her lover “Look Alonzo is so happy for us he’s crying!” Twisted indeed.
Crawford is very young here, but does an excellent job walking a tightrope between purity and lust. Notice the scenes where she is in Malabar’s arms purring like a cat or cracking a whip during his performance in a brassier! These scenes are balanced with tenderness toward Alonzo and an almost childlike dependence upon him. One can hardly blame him for feeling betrayed.
The Unknown is an interesting title. It refers to Alonzo’s true nature, but also Nanon’s fear of touch. Both issues are what isolate these characters from love and fulfillment. Nanon overcomes her obstacle from within while Alonzo seeks to bypass his by changing his physical appearance. This is why Nanon finds happiness, but Alonzo is driven mad. We cannot change our nature by physical means. Change begins inside an individual and flows outward to action. Alonzo is touched by love, but is unable to give or receive it. He in fact, discards his physical sense of touch through amputation. Though capable of great sacrifice, his early motivation is selfishness and possession. He does not understand love’s true nature until he takes Nanon’s place in death. This last act of selflessness joins him to Nanon, for by saving her life she becomes the point of his redemption.
