To the extent that he’s known at all, director Tod Browning is known by his DRACULA, the 1931 Bela Lugosi original, creakyist of Universal’s foundation monster pics. Truth is, Browning never did become comfortable or find a working rhythm in sound film to match the weird wonders of what survives of his silents. And that makes this Criterion double-feature doubly appreciated. UNKNOWN, restored with ten extra minutes to something near its initial release length (10" from a 68" running time no small deal), possibly his best/certainly his sickest film, stars frequent collaborator Lon Chaney in a typically masochistic turn that goes farther than even Chaney dared before or after. He’s Alonzo the Armless Wonder, a circus performer who specializes in throwing knives with his feet at lovely teenage assistant Joan Crawford. Naturally he’s in love with her, but there’s a problem: she can’t bear to have a man’s hands touch her. An unexplained neurosis, but likely stemming from past sexual abuse; perhaps raped by her circus owner father. But wait, there’s also a solution . . . with a catch: Chaney’s armless wonder ought to be a perfect match, but he has a deep dark secret . . . ARMS! His merely strapped down for the act, and to hide the telltale double-thumb on his left hand, proof of his guilt in some unspecified, but undoubtedly dreadful crime. Yet Chaney would do anything (repeat, anything) to have the girl. And it only grows more perverse from there, taking in the girl’s father, the circus strong man who hopes to overcome her aversion, a medical surgeon who can be blackmailed into performing an unnecessary amputation by a double-thumb. Yikes! (And you thought SAW was OTT.) Utterly extraordinary stuff, which is more than can be said for MYSTIC, it settles for the merely extraordinary. This one, featuring a favorite Browning trope of a small confidence gang of hustlers ripping off the rich, features a Gypsy psychic (Aileen Pringle, delightful), her Pop, her would-be lover, and American huckster Conway Tearle (excellent!) who brings them Stateside to fleece New York Society with fake spiritual readings and messages from dead loved ones.* More well-made scenario than UNKNOWN, with twists & reverses, sacred & profane love, even a change-of-heart redemption for a tag ending. Both silent films as dynamic as Browning’s sound work is lethargic, and with no less atmosphere. MYSTIC also features truly splendid costumes for Pringle designed by none other than Art Deco specialist Erte.* (Double-Bill self-explanatory.)
ATTENTION MUST BE PAID: *Dean Hurley’s new soundtrack for THE MYSTIC is designed to mimic the style & even the audio frequency limitations of silent-to-sound transition era synched audio, with basic ‘Foley’ sound effects (steps, closing doors, gun shots) alongside music cues & lacquer disc surface noise from the playback record. And in THE UNKNOWN, note the visually poetic use of see-thru scrim curtains on many of Crawford’s scenes. Not a new technique (D.W. Griffith used it to fine effect when The Mountain Girl died in INTOLERANCE/’16 and tableau became tapestry), but it's unexpected lyric visual finesse from Browning.
SCREWY THOUGHT OF THE DAY: *Pringle’s high society act hilariously close to one of those baffling museum-ready Performance Art experiences from world-renowned Marina Abramovic.
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