Summer Under the Stars: The Unknown 1927

Nanon comforting Alonzo in Browning's The Unknown

This is another year of Turner Classic Movies' August Summer Under the Stars and a few days ago, it was Joan Crawford's turn for the day. While I think the eventual circumstances that have circus performer assistant (for Chaney's Alonzo the Armless) play by Joan Crawford winding up in the arms of a dull but kind-hearted romantic strongman were par for the course in films of that era, seeing Chaney go to work was (and continues to be) a pleasure every time I re-visit this. The Unknown, to me, is perfect viewing really early in the morning (silent films have always been that way with me for some reason) and perfect for a Summer of the Stars type of marathon where you get to see Crawford when her career was in its infancy. But, make no bones about it, this is Chaney's world and the cast are just in it. His face wrapped in total madness and ready to burst from the knowledge that while he was away recovering from surgery that would remove his arms (he secretly had a harness for them, with dwarf confidente, Cojo (John George) often helping him get free from it to let his arms relax when inside his trailer) the strongman and his muse had agreed to be wed. Nanon (Crawford) totally devoid of her phobic repulsion for hands, as the strongman, Malabar the Mighty (Norman Kerry) gets to hold her gleefully in his grip lovingly; this is the whole ball of wax, performance-wise. Chaney has the chance to really emote ghastly feelings of pure rage and unveil deeply held joys of Malabar not being able to secure his love in his arms when the camera is right up there in his face. Browning's camera is never static, so that can't be used against him, either. A real showcase that I never tire of. It is just about 50 minutes, too, and that finale where the "villain" (a thief and killer, his giveaway is a double-thumb: a "freakish bodily anatomical addition" that Browning once again utilizes) loses his ability to rein in his disregard for Malabar during a horse stunt where the strongman proves how he can withstand the gallop of horses, tugging on both arms, running on treadmills. Speeding up one of the treadmills, it will take a potential self-sacrifice of Nanon in order to save Malabar, with Alonzo proving his love for her with his life. All ends well, though, for Malabar and Nanon while Alonzo, stomped a horse, is out of the picture and forgotten. It is quite a potent ending to me: Alonzo is simply gone.