Forgotten Films: The Unholy Three (1925)

In The Unholy Three, Tod Browning directs Lon Chaney in a dark crime film.

By Scott A. Cupp

This is the 189th in my series of Forgotten, Obscure or Neglected Films 

Sometimes, I have previously seen the films that I decide to review. Others, I see them for the first time with the idea of writing about them. This week is one of the latter. I became aware of Long Chaney’s work when I saw the film Man of a Thousand Faces with James Cagney, which was a fascinating biographical film. And I initially saw the work of his son, Lon Chaney Jr. in a wonderful series of Universal horror films.

In college, I got to see my first Lon Chaney film, The Phantom of the Opera. What a thrill! I witnessed the wonderful acting, the various stylized movements that he used, the pathos and the horror.

But I never saw any of his others. I recorded several but erased them when I began to run out of space. Silent films take a dedication from the viewer. Watching a talking film allows you to multitask. You can listen to the dialogue while checking email and not necessarily miss much. But silent films require your full attention. You never know when a card is going to appear explaining something essential. And you cannot be assured you’ll catch all the action when there are no loud explosions or screeching tires to draw your attention to the screen.

All that said, I sat back on a Sunday afternoon to watch a classic Chaney film, The Unholy Three. I knew it was one of his big roles so I was ready. At 84 minutes, I could give it all of my attention and still not require the entire afternoon to watch and digest.

Ventriloquist Professor Echo (Chaney) works at a sideshow with several memorable characters. There are the Fat Lady, the Tattooed Lady, Hercules (Victor McLaglen), the diminutive Tweedledee (Harry Earles) and others. Sweet Rosie O’Grady (Mae Busch) works the crowds as a pickpocket. Their lives all get unsettled when Tweedledee gets into a fight with an unruly spectator kid. The ensuing riot ends with them leaving the sideshow.

Echo suggests an alliance between himself, Hercules, and Tweedledee. “We will make millions!” he tells them. They laugh together and Tweedledee proposes the name the Unholy Three.

The next scene shows Rosie entering O’Grady’s Bird Shop, where she greets clerk Hector McDonald (Matt Moore) who sells parrots at the store. Rosie flirts with him. They are interrupted by her grandmother and the infant Little Willie. But things are not as they appear. Grandmother O’Grady is Chaney and Little Willie is Tweedledee. They have a scheme going. Hector sells talking parrots but they really talk for Mrs. O’Grady.

When the birds are delivered, they don’t really talk in the homes of their owners. Mrs. O’Grady goes to visit the homes and case the joints. She brings the pram with the baby inside and he helps in the casing.

One such visit takes place on Christmas Eve at the Arlington home. Grandmother and baby see a wonderful ruby necklace which they prepare to steal that evening. As they make their plans, Rosie comes to visit, but she runs into Hector carrying a tree and ornaments to set up for Little Willie. Grandmother is jealous of Hector and Rosie (since Rosie is his girl). With Echo trapped, Hercules and Tweedledee go on without him to carry out the robbery. Things do not go well and Mr. Arlington is murdered.

Police begin to suspect the grandmother, so Echo sets up Hector to be the fall guy. But Rosie has fallen in love. And the unholy trio has some dissention in their ranks. Thoughts that the loot might be better split by two, or not even split at all, run through their minds.

Bad things happen, some at the hands of a killer ape! My type of film!

I liked this Tod Browning-directed piece quite a lot, though TCM had a film score appended that intruded more often than not. In fact, I just hated the music. It’s a pretty dark film and the ending lacks some believability. But, despite those quibbles, I would watch it again in a heartbeat. Chaney is remarkable. Harry Earles tries to steal every scene, and I had to admire his effort, even though I hated his character.

If you can read your films (and many folks I know can’t. I’m looking at my wife as I type this. She’s one of them!), this is one you should see.

Series organizer Todd Mason host Tuesday Forgotten Film reviews at his own blog and posts a complete list of participating blogs.

Forgotten Films: The Cabinet of Dr. Caligari (1920)

The bizarre sets of the silent film The Cabinet of Dr. Caligari make for a skewed viewing experience.

The bizarre sets of the silent film Cabinet of Dr. Caligari make for a skewed viewing experience.

By Scott A. Cupp

This is the 172nd in my series of Forgotten, Obscure or Neglected Films

The Cabinet of Dr. Caligari is hardly an unknown film to this crowd, but it was to me. I know that I saw it, but it must have been in the 70’s and much of that time is lost to my fuzzy memory. And, no, it wasn’t drugs. It’s been a long fun road since then and plenty of memories.

I picked up a nice DVD of the film at least 15 years ago but never got around to watching it. Always too many other, newer things to see. But today, I needed to watch and review something since my move is upcoming and I will be missing some weeks. I had watched a Marvel animated thing called Hulk Vs. which featured the Hulk in fights with Wolverine and Thor. But it was awful and I couldn’t justify writing about it other than to say “don’t bother with it.” Pretty mindless stuff there with passable animation but no real plot.

And, since I have been away from home for a couple of months and my selection of films is limited to DVDs only. (Even though I have some wonderful Blu-Ray films with me, I don’t have a useable Blu-Ray player. I have one, just not a TV to connect it to.)

I looked through the stack of films (about 30 or so) and Caligari called out to me, so here we are.

The film is a short, silent German expressionistic horror film, told primarily in flashbacks. Young Francis (Frederick Feher) is speaking to an old man when a young woman named Jane (Lili Dagover) walks by in a trance. He explains that she is his fiancé and that they have been involved in an odd ordeal.

In the town of Holstenwall, Francis and his friend Alan (Hans Heinrich von Twardowsky) are rivals for Jane’s hand. Alan suggests that they all go to the fair. At the fair, Dr. Caligari (Werner Kraus) is setting up a somnambulist show. When he applies for a permit, he is insulted by the town clerk. The clerk is mysteriously murdered that night. When Alan and Francis visit the show, Francis asks the somnambulist Cesare (Conrad Veidt), how long he will live. He is told that he will die at dawn.

That night Cesare visits Alan and kills him in his bed. Suddenly the town has two violent unsolved murders. Francis fears that it is Caligari and Cesare, so he brings his suspicions to the police. As they are investigating, an old woman is attacked by a man and he is arrested for the three murders. He confesses to the one attempt but says that he hoped his killing would be lumped with the other two.

There is further investigation and Jane is abducted at night by Cesare and a crowd follows the monster. Jane is rescued Cesare escapes, only to die out on his own.

The police were watching Caligari and it is reported that no one left. But when they investigate the cabinet where Cesare is housed, they find a dummy with a wig. Francis investigates a mad house looking for a patient named Caligari and does not find one, but sees that the head of the institution has that name. He finds a ledger which details a mad 11th century mountebank who tried to use a somnambulist to commit murders. The flashback shows the doctor succumbing to the idea of using the sleep walker as an experiment to see if it would commit crimes that he might not otherwise do. But these are delusions in Francis’ mind and he is the insane one.

The main thing you notice in watching this are the sets and images. The sets have few right angles or perpendicular walls. Even the windows are skewed. The images are wonderful and bizarre. The actors are have heavily mascara’d eyes, almost modern Goths before their time. The camera work is frequently less than full scene and often not in a rectangular format. Shots are done is circles and zoom in and out.

It was wonderfully odd and wild and I really enjoyed seeing it for the second time. I had totally forgotten everything since my last likely experience. If you too have not seen it in quite a while, I recommend watching it again. Being silent, you will have to read the film to enjoy it.

Of course, your mileage may vary. For a film 96 years old, it holds up well for me.

Series organizer Todd Mason host Tuesday Forgotten Film reviews at his own blog and posts a complete list of participating blogs.