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The Unknown (1927)

 -  Drama | Horror | Romance  -  4 June 1927 (USA)
7.9
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Ratings: 7.9/10 from 4,677 users  
Reviews: 94 user | 38 critic

A criminal on the run hides in a circus and seeks to possess the daughter of the ringmaster at any cost.

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(story), (scenario), 2 more credits »
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Title: The Unknown (1927)

The Unknown (1927) on IMDb 7.9/10

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Cast

Complete credited cast:
...
Alonzo
Norman Kerry ...
Malabar
...
Nanon
Nick De Ruiz ...
Zanzi
John George ...
Frank Lanning ...
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Storyline

Alonzo is an armless knife thrower and gun shooter for a circus---or so he appears. He is actually a burglar with his arms intact. He and his accomplice, Cojo (a little person), are hiding from the police, and Alonzo views his disguise as perfect, especially since it keeps from view an unusual deformity of his left hand that would immediately give him away as the burglar. Nanon, the daughter of the circus owner, is the target in his act. Although Alonzo is in love with her, Nanon's father despises him. Nanon is attracted to Malabar, the circus strong man, but she is also repulsed by his uninhibited sexual advances and desire to touch and hold her. Apparently her phobia extends to the touch of any man. Alonzo feeds her fears in the hopes that Nanon will fall in love with him since he is "armless." Because Zanzi discovers Alonzo really has arms, Alonzo kills him, but Nanon witnesses the killing without seeing Alonzo's face; however, she does see the telltale deformity of his left hand. ... Written by Patrick Robbins <elfdorado@sbcglobal.net>

Plot Summary | Add Synopsis


Certificate:

Unrated | See all certifications »

Parents Guide:

 »
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Details

Country:

Language:

Release Date:

4 June 1927 (USA)  »

Also Known As:

Alonzo the Armless  »

Box Office

Budget:

$217,000 (estimated)
 »

Company Credits

Production Co:

 »
Show detailed on  »

Technical Specs

Runtime:

| (BFI print) | (alternate)

Sound Mix:

Aspect Ratio:

1.33 : 1
See  »
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Did You Know?

Trivia

Joan Crawford always considered The Unknown (1927) a big turning point for her. She said it wasn't until working with Lon Chaney in this film that she learned the difference between standing in front of a camera and acting in front of a camera. She said that was all due to Lon Chaney and his intense concentration, and after that experience she said she worked much harder to become a better actress. See more »

Goofs

During the scene where we fist meet Alonzo and he is throwing knives with his feet, the shot shows the girl against the board and there are no knives. It cuts to Alonzo throwing and when it goes back to the girl to see the impact there are knives in a silhouette around her. See more »

Quotes

Malabar the Mighty, Circus Strongman: You are a riddle, Nanon. You shrink from me... yet you kiss my flowers when I am gone.
See more »

Connections

Featured in Tod Browning and Lon Chaney (2000) See more »

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User Reviews

 
A thrill if you can look the other way now and then--Crawford comes alive
27 January 2010 | by (United States) – See all my reviews

The Unknown (1927)

We can see The Unknown today and say, wow, look at the young Joan Crawford. And she does help make this movie come alive, more than even Lon Chaney, who was the big draw for audiences in 1927. Crawford's spark (inspired by Chaney, by her own account), and her character's phobia of men's hands (which she explains quite reasonably, having been groped too many times against her will) make her curious and very sympathetic. She's terrific to watch, and the metaphor of abuse against women is not lost on anyone paying attention.

But Crawford was essentially unknown back then, and the movie depended on the name, and the high dramatics, of Chaney and the other lead male, the charming, somewhat overly chipper strong man in this huge sideshow of a movie. Both are good enough in their roles, Chaney pulling out all the stops in a performance that might be bravura or might just be virtuosic indulgence, probably a bit of both.

And the movie depends on the story itself, the plot, the strange and gruesome series of events, which are gripping at times even if you know what's coming all too well. For viewers then as much as now, there is also the whole milieu, director Tod Browning's leaning to the macabre and the small time circus. This will see a more amazing fruition five years alter in Freaks, shortly after his very successful Dracula (with its self-sustaining sideshow of bizarre, legendary types). But here we have Browning at the end of the silent era, pushing gestures and expressions outward in the place of sound. It's a bit strained, and with the sensational plot, the whole movie lacks subtlety and depth.

What it doesn't lack is high drama, though, and a few surprises. At times touching, at times simply shocking (in its own way), it's enjoyable, and never really flags, which some "better" silent films like Broken Blossoms can't claim. So forget beauty, or elegance or emotional insight and you might really like this.

Oh, and Chaney? He is a marvel of his time, and this film shows him in one of his best roles as an actor, one of many. The armless man is yet another echo of the horrors of mutilated soldiers coming home from World War I and their inability to really assimilate and be accepted. The fact that his character is obsessed with Crawford's we might understand, but it's a love that we don't sympathize with after awhile.


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