By Michael F. Blake
For the 1st time, you could positioned conjecture apart and skim definitive facts in regards to the roles Chaney had behind the curtain in addition to in entrance of the camera.
Blake examines Chaney's movie roles during this follow-up to the author's previous biography (Lon Chaney: the fellow at the back of the Thousand Faces, Vestal Pr., 1993). through correspondence, studio notes, and stories from the preferred press, Blake completely reconstructs the cultural context during which Chaney's movies have been produced, exhibited, and got. even supposing sometimes topic to silent movie histrionics, Chaney created the position of the twisted antihero, and it truly is this contribution to the pantheon of reveal forms that Blake hails the following. He tracks Chaney's upward push from freelancer to MGM superstar, in addition to his partnership with director Tod Browning, whose darkish visions accepted Chaney's tortured protagonists to thrive. regrettably, Blake's ardour as a fan and knowledgeable curiosity in Chaney's artistry (the writer himself is a make-up artist) is suffocated via a turbid textual content. now and then Blake overexplicates and makes noticeable inferences. The textual content contains meticulous endnotes, copious photos, and a bibliography.
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Additional info for A Thousand Faces: Lon Chaney's Unique Artistry in Motion Pictures
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Lon replied, Only agreement I have made is for one picture only with Universal in which I have a very good part. Finishing in time to start with you on or about Sept. 19. 69 The deal with Brenon ultimately fell through after Lon received no further replies to his telegrams. The rumors of his signing a contract with Universal surfaced after the announcement “Lon Chaney Is Signed as New Universal Star” in the September 17, 1921, issue of Exhibitors Trade Review. The one-picture deal was for Wolf Breed , released as The Trap.