BLOOD WORK: HALLOWEEN HORROR DAYS ~ DAY 20: THE MAN WHO LAUGHS (1928)

The bedrock of cinema can be found in the early films at the dawn of the twentieth century. Much of what we love about films today we owe to the great works of yesterday. I enjoy tracking down the origins of the horror genre. One of the aspects of early horror and early cinema in general was how frequently they adapted classic novels and stories like the HUNCHBACK OF NOTRE DAME (1923) and THE PHANTOM OF THE OPERA (1925) and so on. Not much has changed in almost 100 years. But the early horror films especially were almost always based off of a preexisting work.

THE MAN WHO LAUGHS is one of the last great jewels in the silent film era. It is the screen adaptation of Victor Hugo's novel of the same name. Originally it was supposed to be another vehicle for silent film mega-star LON CHANEY and another one of Universal Studios lavish productions hoping to cash in on everything that had made Hunchback and Phantom the successes they were. The man of a thousand faces opted out and Universal tapped another, arguably even better, soon to become screen legend, CONRAD VEIDT. Together with famed German expressionist director PAUL LENI another true cinematic masterpiece was created.

THE PLOT

The film takes place near the dawn of 18th century England. When Gwynplaine was a young child his father, a nobleman in King James II's court, offended the king grievously. For his offense he was sentenced to die via the Iron Maiden. Gwynplaine's father's shame was also his shame too to bear. Gwynplaine's face was sliced open and carved into a permanent smile, condemning him to forever laugh at his father's foolish mistake. The mutilated boy is then cast out into the world to fend for himself or die. Wandering through a snowstorm Gwynplaine comes across a baby girl who had been cast out to die as well. He takes the baby to the first house he sees and the two are taken in and cared for. The extreme cold however had frozen the baby girl's eyes rendering her blind.

Gwynplaine and Dea, the girl he rescued in the snowstorm, are now full grown adults traveling the countryside from town to town as part of a traveling act. She displays her skills as a singer and musician and he performs, showing off his maligned countenance for the audience's grotesque fascination. Dea and Gwynplaine are very much in love but he can't bear the thought of her being married to a hideous creature like himself. Their travels take them back to the city of Gwynplaine's birth and his father's legacy in the court of the king. Gwynplaine is recognized and is conscripted back into royal life and away from his love. He is ordered by the queen to marry the duchess who has appropriated his father's assets. Gwynplaine refuses and flees for his life as the queen sends her soldiers to kill him.

THE GOOD

The great horror movie monsters of the 1930's and 40's would've been nothing had it not been for the efforts of one man, JACK PIERCE. Pierce was responsible for the Karloff Frankenstein make-ups, the Karloff Mummy, and the Wolf-Man among many many others. Before all of those he received his first assignment to design the horrific face of Gwynplaine. His designs and Conrad Veidt's brilliant acting created a truly inspired horror icon. This depiction would live on through others such as the JOKER from BATMAN. Batman creator Bob Kane admitted that much of the inspiration for the Joker was due to The Man Who Laughs. Who'd have thought a simple smile would be such a terrifying image?

In truth it is Conrad Veidt's performance and Jack Pierce's make up effects that are the most poignant aspect of the film. They alone merit the film's legendary status. But also much of it is due to visionary director Paul Leni and the massive production scale in which Universal produced the film. The sets and costumes are first rate and expansive. Nowadays such grand scale period sets would be realized through CGI but back then they built everything for real. It's this reality that makes the film feel larger than life and immersive. Director Paul Leni brings his own dark realistic approach to the film too adding a unique touch to what could've been just another Hollywood feature, calling to mind the German expressionist film movement.

Also worthy of note is that this film was made during the pre-code era of Hollywood. Meaning there weren't a whole lot of restrictions on filmmaking. As a result we are privy to such grim content as child mutilation and child violence (which still doesn't fly very often in today's cinema). Then there is the nudity. Yes, this film contains nudity, another rare quality for films of this era. All these aspects elevate the film as being very much ahead of its time. This feeling is reinforced by the climactic chase scene at the end of the film. The action jumps to a whole new level as Gwynplaine escapes the queen's men along the rooftops, again showing off the impressive sets, but also showing some exciting stunts too.

THE BAD

In 1928 films were making the transition from silent to sound. THE JAZZ SINGER had revolutionized cinema forever and the other studios, Universal included, was struggling to catch up. They tried some interesting approaches to the sound of The Man Who Laughs, like substituting crude vocals in the score. The results didn't sync with the lips movements very well. In truth it is still a silent film, perhaps the last great silent film, but the crude masquerade of being a "talkie" still shows. All in all it doesn't detract from the film very much and lends itself to a unique movie experience.

THE VERDICT

You know my stance on films like these: true cinematic classics above repute. The legacy of this film alone speaks volumes. What still stands out today and is still entertaining to watch are the pre-code risque elements, Conrad Veidt's incredible performance, and Jack Pierce's gruesome make-up effects. The story seems like a darker version of Hunchback of Notre Dame in many respects (both originally novels by Victor Hugo) but that isn't to say that they are identical. Just like the Hunchback, the monster in The Man Who Laughs is perhaps the most human of the characters and the aristocracy are the actual monsters, a classic horror monster movie theme. If you get the chance check this film out, if anything than for the genesis of the Batman villain the Joker.