| Credited cast: | |||
| Mary Philbin | ... | ||
| Conrad Veidt | ... | ||
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Julius Molnar Jr. | ... | |
| Olga Baclanova | ... |
Duchess Josiana
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Brandon Hurst | ... | |
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Cesare Gravina | ... |
Ursus
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Stuart Holmes | ... |
Lord Dirry-Moir
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Sam De Grasse | ... | |
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George Siegmann | ... | |
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Josephine Crowell | ... | |
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Charles Puffy | ... |
Innkeeper
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Zimbo the Dog | ... |
Homo the Wolf
(as Zimbo)
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| Rest of cast listed alphabetically: | |||
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Deno Fritz | ... |
Sword Swallower
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Gwynplaine, son of Lord Clancharlie, has a permanent smile carved on his face by the King, in revenge for Gwynplaine's father's treachery. Gwynplaine is adopted by a travelling showman and becomes a popular idol. He falls in love with the blind Dea. The king dies, and his evil jester tries to destroy or corrupt Gwynplaine. Written by Helen Elsom <helenel@sco.com>
The first time I encountered The Man Who Laughs was a photo in a horror movie catalog that I had when I was a very easily-spooked 8-year-old. For some reason that grotesque grin frightened me more than the Hunchback, the Phantom of the Opera, and Nosferatu combined. I couldn't bear to look at it, so I carefully marked the page so that I wouldn't accidentally catch a glimpse of it. However, if I had actually seen the movie I wouldn't have been frightened at all. I wouldn't consider The Man Who Laughs a horror movie, but a touching melodrama about a man whose appearance is horrific.
Gwynplaine is a very sympathetic, likeable character, and Conrad Veidt does an excellent job of conveying his inner torment and sadness with subtle eye movements and gestures. Gwynplaine's innate goodness is very clear, despite his macabre appearance. We root for him to overcome all obstacles to find happiness and true love, as we root for the evil jester Barkilphedro to meet with a bitter end. We are not disappointed. I was impressed with the beautiful cinematography, which is exceptional for the time. The score and sound effects are used very well, so well that sometimes you forget that you are watching a silent picture. With the outstanding performances, particularly Veidt's, this is a classic of silent cinema that deserves to have a much wider audience.