The Unknown

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Draco M Dec 9, 2018 Browning's version of the opposite side of the coins on emotions i.e. love and hate, is able to justify both of it thoroughly with unbiased perspective. The Unknown Browning's version of the opposite sides of the coin on emotions i.e. love and hate, is able to justify both of it thoroughly with unbiased perspective. Very few tales justify the agendas or logistics of the antagonist let along narrate through it. This clearly suggests how ahead of time Browning's vision is. And now to have an idea is one thing and to project it on screen is another, and with gripping screenplay and adaptive concept the story enfolds each puzzle layer by layer that puts you in a tight spot before jumping on any conclusion. And it is that parallel track that it chooses to venture that fuels this film to the thrill it possess. Now as far as the triangle love story, that it has weaved, is concerned, there is no doubt on whose side you are supposed to be, but with Chaney's majestic performance, for a brief period he will lure you in, in his webs of lies and deceits. It also has a strong illuminating background story that factors in effectively along with even the props and the backdrop of the set pieces that joins in majorly on the storytelling. Aforementioned, Chaney's performance elevates the film's drama to a whole new level, from being overprotective to be overpowered by obsession and rage. Crawford as the love interest and Kerry as a gullible good boy are convincing enough to drive this melodrama. The primary reason why we fall for Chaney's character, along with his performance, is his hardworking nature and his relationship with his friend that shows us the softer humane side of his. The Unknown would surely be an unknown tale for the audience at that stage, not because of the trajectory that it takes you to but the enthralling procedure that it has for you, it is and will be Chaney's journey. See more

Abraham W Nov 1, 2018 The most brilliantly perverse film of all time.

Theodore R May 24, 2018 This film by Tod Browning is a sort of predecessor to his own 'Freaks'. Lon Chaney's performance is fantastic, his facial impressions are incredibly nuanced and horrifying as to his role as a 'deformed' man craving to win a woman, but his deformity is rather 'interior', than exterior - his mind. The film is short and to the point. It was also a delight to watch the young Joan Crawford, the woman in question who too has her own peculiarities such as the morbid fear of men's arms. Tod Browning made an impressive career out of exploration of human deformities be they of spiritual or physical kind. See more

Leia R Sep 11, 2017 While very short at just 50 minutes, this film packs an emotional punch and is macabre in a way that is unique to the genre of horror movies. I won't spoil the big moments, but the tone is set from the beginning as we find ourselves at the circus performance with an armless man (Lon Chaney) hurling knives and firing a rifle at his partner (a young Joan Crawford). As we later see Chaney (and a real-life armless double) manipulate objects and do things like smoke with this feet, we're reminded of the film director Tod Browning would make five years later, 'Freaks'. Chaney's performance throughout the film is brilliant, and he dramatically captures angst, jealousy, and pain. John George turns in a strong performance as the little person in the circus who is Chaney's friend, and the two of them create a striking pair. While the overall tone of the movie is deliciously creepy, the romance Joan Crawford warms up to with a circus strong-man (Norman Kerry) is sweet, and Browning uses a piece of gauze over the camera lens to create an idyllic, dreamy feel to some of their scenes. The uncredited score that was used on the TCM showing was also fantastic. Great film, especially for 1927. See more

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The Unknown

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