Enter your email address and click “Subscribe”: When the reclusive actor known as “The Man of a Thousand Faces,” aka “The Man of Mystery,” grants an interview about his latest film, chances are that he’s considerably invested in it. The costumes are appropriately medieval for the men and the women’s costumes are mixed with the style of the 1920 to make they look more stylish regardless of period appropriateness. Hewing closely to Leroux's description, Chaney's Phantom is cadaverous and ghastly, with hollow eyes, ruined nose, and a mouth pulled into a skull-like rictus. For the hunch he wore a 15-20 pound plaster hump. However the worse offender of the 1920 style in a costume is Marie’s. By this time, Chaney had worked as a stagehand in a local theater and appeared onstage in a few bit roles. No ghostwritten articles with his name added for the byline. Lon Chaney as Quasimodo 1923 Hunchback of Notre Dame. However, the modern consensus, backed by the account of cinematographer Charles Van Enger as cited by author David J. Skal in his book The Monster Show, is that the actor used a contoured wire appliance concealed by putty and makeup to lift and flare his nostrils. Marie is Clopin’s wife. Dust jacket from the Victor Hugo novel, colorized by Robert M. Fells. Among Chaney's missing films is one picture that is arguably the most famous lost film of all time. Chaney also employed false teeth and a wig. Lon apparently had no objection to Worsley and in fact he had made a few pictures with him (The Penalty, The Act of Hearts, A Blind Bargain) but he confided to his manager that Worsley was about the best among “the second-raters.”. Lon Chaney was a genius with make-up. If you think the man you are playing, you’ll be that man. Marie actually has two costumes but they’re very similar. Lon Chaney’s makeup was the talk of the film reviewers. London After Midnight, directed by Tod Browning, stars Lon Chaney in a dual role as a Scotland Yard inspector and a sinister stranger in a top hat presumed to be a vampire. Some felt that his Quasimodo was too grotesque but Lon faithfully followed Hugo’s description of the character. As recounted by Nige Burton of Classic-Monsters.com, Erik's gruesome visage caused "women to scream and strong men to faint.". It also had straps at the shoulders that attached to the belt to keep Chaney in a hunch position. Universal kept Chaney's horrifying new creation under wraps, barring the release of photographs of the actor in makeup until the film's premiere. "...It gave him that feeling he wanted to have of a tortured creature.". However with the exceptions of Chaney’s make-up for Quaimodo the costumes are not spectacular . Nevertheless, a new opportunity in the burgeoning medium of film quickly arose for the struggling actor. According to Robert Gordon Anderson, author of Faces, Forms, Films: The Artistry of Lon Chaney, Sistrom bluntly told Chaney that he was just another actor and would never be worth more than $100 a week. However, he didn't consider acting a serious career option until some time later. How Chaney achieved the effect of the Phantom's hideously upturned nose remains a point of contention among film scholars. About a year later, according to his biography, Chaney learned the trade of carpet laying and wallpaper hanging at the urging of his father. While shooting the railroad melodrama Thunder on location in frigid Green Bay, Wisconsin, in March 1929, Lon Chaney caught a severe cold. At least so it has since seemed to me. According to Chaney biographer Michael F. Blake, Chaney's reputation as a master of makeup caught the eye of the entertainment press as early as 1916, when his work was featured in both Motion Picture Weekly and Photoplay Journal.

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