The Man Who Laughs

"The Man Who Laughs" (1928, Paul Leni, Universal Pictures) is a wonderfully dark silent film based on the book by Victor Hugo. Whilst it was not intended to be a horror film, the plot and the gloomy expressionist styling of the production lend itself to the genre.

Based in England in the late 1690s, we are introduced to King James II and his psychotic jester. A Nobleman has insulted the king and is swiftly executed via the infamous Iron Lady. Before his demise, the nobleman learns that his only son, Gwynplaine, has been captured and delivered to the monstrous Comprachico surgeon, Dr. Hardquannone, who has surgically disfigured the child's face into a horrific and permanent grin.

On a cold evening, young Gwynplaine (Julius Molnar Jr.) is seeking shelter when he finds a dead woman clutching a still-living, blind infant. He takes the baby girl with him and seeks help at the nearest house, that of Ursus (Cesare Gravina). Ursus quickly sees an opportunity to use the disfigured boy to make money.

Years pass and the now adult Gwynplaine (Conrad Veidt) is making a relatively good, but unhappy, living as a sideshow attraction known as "The Laughing Man", with Ursus and the captivating and kind hearted, blind girl, Dea (Mary Philbin). Gwynplaine has fallen in love with Dea, but although Dea returns his feelings and Ursus has offered to marry them, Gwynplaine does not think his grinning visage is worthy of such a beautiful creature.

On their travels, Gwynplaine's noble heritage is discovered and Queen Anne (Josephine Crowell) decides that the raunchy, badly behaved Duchess Josiana (Olga Vladimirovna Baklanova) should marry Gwynplaine as the true heir to his father's estates. Things do not go well, as you can imagine.

This film is wonderful. It is shocking and dark with such a horrific premise. The styling of the "Laughing Man" character is very ahead of its time with impressive prosthetics and makeup. He portrays a grotesque yet sympathetic character.

The silent era of films created such beautiful and disturbing films. If you have not seen one yet, I would recommend starting with The Man Who Laughs due to its beautiful score by Ernö Rapée, Lew Pollack and Walter Hirsch (which you will recognise as having been sampled for some of the Batman movies), clear imagery and acting, relatively fluid plot and swashbuckling scenes.

The Man Who Laughs was also the key inspiration behind the Joker character from Batman and Rob Zombie also has a track named in the character's honour.

[Image: Universal Pictures]

 

Hani

 

Freaks (1932)

"Freaks" (1932, Tod Browning, Metro Goldwyn Mayer) is a controversial 'horror' about a travelling circus. All of the sideshow performers were played by actual performers with various deformities, not people wearing make-up. While this was the main reason for the film's financial failure in the '30s, today it adds a new dimension to this, now cult, film.

Cleopatra (Olga Baclanova) is a trapeze artist at the circus. She is known for her beauty but not her kindness. While already seeing the strong man, Hercules (Henry Victor), she becomes aware that Hans (Harry Earles), the small man, has come into a lot of money and decides to marry and then kill him to steal his fortune. Hans is in love with Cleo and heartily agrees to the engagement, much to the heartache of his previous sweetheart, the small woman, Frieda (Daisy Earles).

Cleo and Hans marry, but Cleo is scared when the 'freaks' hold a welcoming ceremony for her, chanting 'We accept her. One of us!' and passing around a goblet of wine. She insults them, chases them away and then proceeds to try to poison poor Hans.

With the help of Venus (Leila Hyams) and her clown boyfriend Phroso (Wallace Ford), the 'freaks' stop Cleo in her devious plan. But they can not stop the other circus performers exacting revenge on 'normal' Cleopatra, with rather frightening results!

A quite perturbing film, it all but ruined Browning's career due to its unsettling images which caused some audience upset. While still effectively shocking to today's audience, the film is more like an apt social comment and a record of circuses of old. Various scenes throughout the film demonstrate the day to day lives of the circus performers, which don't add to the plot particularly, but are an excellent addition and really demonstrates the lives and challenges the performers face in their daily lives.

The 'normal' people in the film are seen as the real monsters. However, the scene when Cleo is chased and captured by the angry circus people is very eerie.

Iconic and infamous, this film is an unusual black and white.

[Image: Metro Goldwyn Mayer]

 

Hani