THE UNKNOWN On Blu-ray From Criterion

 

A major highlight of Criterion's TOD BROWNING'S SIDESHOW SHOCKERS Blu-ray set is a restored version of the 1927 MGM film THE UNKNOWN. 

THE UNKNOWN is also a major highlight of the careers of director Tod Browning and actor Lon Chaney. It's a disconcerting, memorable tale that is one of the most unusual productions ever released by a major American movie studio--although that could also be said about any film directed by Browning. 

Set in "Old Madrid", the story concerns a circus performer billed as Alonzo the Armless (Lon Chaney of course). Alonzo's gimmick is that he performs all sorts of feats with his feet....but the man really does have arms. He pretends he doesn't because he's wanted by the police, and his double thumb would give him away. 

If you think that strapping yourself into a tight corset and pretending to be an armless circus entertainer to avoid the law is a bit extreme, that's nothing compared to what Alonzo does for love. The man is smitten with the gorgeous assistant in his act, Nanon (a very young Joan Crawford). The thing is, Nanon has a phobia against being touched by men....and the reason she treats Alonzo kindly is that she believes he can't touch her. Alonzo decides to take the incredible step of having his arms amputated....only to later find that while he was away recuperating from the operation, Nanon has lost her phobia due to the attentions of circus strongman Malabar (Norman Kerry). After finding out about this situation, the stunned Alonzo plots his ultimate revenge. 

Needless to say, this scenario conjures up all sorts of intriguing insights. especially about Browning, Chaney, and their onscreen work. Contrary to popular belief, Chaney did not perform any tricks with his feet (a double who actually was armless did these), but this is still one of the most important roles of his career, due to the amazing (and at times feral) intensity he brings to the part of Alonzo. Chaney's reaction when Alonzo finds out that Nanon and Malabar are planning to be married is a disturbing wonder to behold. 

As with most silent features directed by Tod Browning, THE UNKNOWN has a simple narrative, without any visual flourishes. But this is a story that doesn't need any unnecessary complications. There's a sense of dread throughout the running time, and Alonzo's line about having "lost some flesh" is more skin-crawling than anything shown in a modern horror film. 

The version of THE UNKNOWN that is presented on this Criterion set is one that was recently restored by the George Eastman Museum. This version is about ten minutes longer than the one most widely available. The added footage doesn't significantly change the storyline--the main difference is that the circus sequence at the beginning of the film is longer. The restored version does have a better flow to it, and it appears that the camera lingers a bit longer on some close-ups. The visual quality isn't brilliant, but the main thing is that this version exists at all, and is now available on a major home video release. 

A new music score by Philip Carli accompanies this restored version of THE UNKNOWN, and it's an excellent one. The score works with the movie instead of trying to overshadow it. There's also a new audio commentary by Tod Browning biographer David J. Skal. Skal goes into the backgrounds of both Browning and Chaney, and he also spends a lot of time on the Freudian aspects of the story (as well he should). 

THE UNKNOWN is a must for fans of Tod Browning, Lon Chaney, and unusual cinema. It's more proof that the silent era was far more provocative and perverse than one usually believes. The fact that the restored version of this film is on the Criterion Tod Browning Blu-ray set makes that release an even more enticing purchase.