IMDb > The Unholy Three (1930)
The Unholy Three
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The Unholy Three (1930) More at IMDbPro »

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Overview

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6.8/10   868 votes »
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Popularity: ?
Down 6% in popularity this week. See why on IMDbPro.
Director:
Writers:
Clarence Aaron 'Tod' Robbins (from the book by)
J.C. Nugent (continuity and dialogue) ...
(more)
Contact:
View company contact information for The Unholy Three on IMDbPro.
Release Date:
12 July 1930 (USA) See more »
Genre:
Tagline:
Lon Chaney Talks See more »
Plot:
"Talkie" remake of Tod Browning's 1925 silent film. A trio of former sideshow performers double as the "Unholy Three" in a scam to nab some shiny rocks. Full summary » | Add synopsis »
Plot Keywords:
User Reviews:
A must for Lon Chaney fans See more (35 total) »

Cast

  (in credits order) (verified as complete)

Lon Chaney ... Echo

Lila Lee ... Rosie

Elliott Nugent ... Hector

Harry Earles ... Midget

John Miljan ... Prosecuting Attorney

Ivan Linow ... Hercules
Clarence Burton ... Regan

Crauford Kent ... Defense Attorney
rest of cast listed alphabetically:
Jack Baxley ... Outside Sideshow Barker (uncredited)

Sidney Bracey ... Arlington's Butler (uncredited)

Richard Carle ... Sideshow Barker (uncredited)
Ray Cooke ... Sailor at Sideshow (uncredited)
De Garo ... Fire Eater (uncredited)

Dot Farley ... Woman Buying Parrot (uncredited)

Trixie Friganza ... Lady Customer (uncredited)
Charles Gemora ... Gorilla (uncredited)

Joseph W. Girard ... The Judge (uncredited)
Armand Kaliz ... Jeweler (uncredited)

Fred Kelsey ... Detective at Train (uncredited)

Cecilia Parker ... First Siamese Twin (uncredited)

Linda Parker ... Second Siamese Twin (uncredited)
Sylvester ... Sword Swallower (uncredited)
Birdie Thompson ... Ida From Idaho - Fat Lady (uncredited)

Directed by
Jack Conway 
 
Writing credits
Clarence Aaron 'Tod' Robbins (from the book by) (as Clarence Aaron Robbins)

J.C. Nugent (continuity and dialogue) and
Elliott Nugent (continuity and dialogue)

Produced by
Irving Thalberg .... producer (uncredited)
 
Original Music by
William Axt (uncredited)
 
Cinematography by
Percy Hilburn (photographed by)
 
Film Editing by
Frank Sullivan (film editor)
 
Art Direction by
Cedric Gibbons 
 
Makeup Department
Lon Chaney .... makeup artist (uncredited)
 
Second Unit Director or Assistant Director
Jack Mintz .... assistant director (uncredited)
 
Sound Department
Douglas Shearer .... recording director
Anstruther MacDonald .... sound recording engineer (uncredited)
 
Camera and Electrical Department
George Hurrell Sr. .... still photographer (uncredited)
 
Costume and Wardrobe Department
David Cox .... wardrobe
 
Crew verified as complete


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Additional Details

Also Known As:
Runtime:
72 min
Country:
Language:
Aspect Ratio:
1.20 : 1 See more »
Sound Mix:
Mono (Western Electric Sound System)
Certification:
Finland:(Banned) (1931) | Netherlands:18 | USA:Passed (National Board of Review) | USA:TV-G (TV rating)

Did You Know?

Trivia:
Lon Chaney's only sound film.See more »
Quotes:
[first lines]
Sideshow Barker:This is just a little sample of what you will see on the inside. The beginning of the religious dance of the muscleman. This is the dance that broke the sultan's thermometer! Just a moment there, the big sensations for the inside. Remember I said, the big sensation on the inside. The admission is a dime, ten cents or ten part of a dollar.
See more »
Movie Connections:
Referenced in Man of a Thousand Faces (1957)See more »
Soundtrack:
A Hot Time in the Old TownSee more »

FAQ

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9 out of 12 people found the following review useful.
A must for Lon Chaney fans, 18 July 2005
Author: wmorrow59 from Westchester County, NY

The 1930 version of The Unholy Three boasts a distinction that guarantees it permanent special status among film buffs: the great silent star Lon Chaney made his only talkie appearance here, shortly before his death from throat cancer at the age of 47. And it's worth noting that this a faithful remake of the 1925 silent version in which Chaney also starred, thus giving us a rare chance to compare two performances by the same actor in the same role but in two very different formats, and to compare the handling of the same material before and after the coming of sound. (When Hollywood remade hits from the silent era the lead roles were almost always recast; parts once played by Doug Fairbanks would go to Errol Flynn, Valentino's would go to Tyrone Power, etc.) This summer I was lucky enough to see restored prints of both versions of The Unholy Three back-to-back at the Museum of Modern Art in NYC, and the experience was fascinating.

The plot has been outlined in detail elsewhere, but briefly it involves the criminal career of a trio from the "carny" world: a ventriloquist called Professor Echo (Chaney) who masquerades as an old lady, a strongman, and a midget who disguises himself as a baby. A pet shop is the front for their activities. The trio is accompanied by a thief named Rosie, and a patsy named Hector they've employed who is unaware of their identities and plans. When a heist goes awry the members of the gang turn against each other, and violence erupts.

Based on my recent viewings I feel the silent version holds up best. This off-the-wall material plays better in the silent medium, though I found it surprising how similar the two films are when viewed consecutively. When Jack Conway took on directing chores for the remake he must have had a print of the 1925 version available for close study, because there are several sequences in which he follows Tod Browning's editing rhythms and scenic compositions almost exactly. (One example of the latter: the shadow images of the title characters' silhouettes, thrown onto a wall while they plot together.) Even the dialog in the talkie frequently quotes the silent version's title cards verbatim. The biggest change comes in the courtroom finale, where sound allowed the filmmakers to utilize Prof. Echo's vocal talents more creatively. The outcome of the trial is also different in the remake, and somewhat more believable; although the audience at MoMA was respectful toward both films the verdict in the silent version was greeted with a burst of laughter.

Why is the silent version the stronger of the two? Certainly Chaney gives a charismatic performance in both films, somehow carrying the viewer past numerous credibility stretchers through sheer force of personality. In the talkie version he demonstrates a fine voice, deep and a little raspy (possibly a result of his medical condition), not unlike Wallace Beery's. Chaney is terrific in both films and is the main reason to see the remake. The 1930 version follows the original so closely we can't blame the writers for going astray, nor are the film's shortcomings entirely the fault of director Conway, at least where visual style is concerned, for he followed Browning's original almost shot-for-shot. No, I believe the difference has to do with the aesthetic gulf between silent and sound film. We're willing to suspend disbelief when watching a silent movie: we'll accept crazy events in silent cinema that would be unacceptable, absurd, or even horrifying (in the wrong sense of the word) in the world of sound. Case in point: one of the most outlandish elements can be found at the pet store, where the proprietors offer birds, hamsters, rabbits -- and a dangerous gorilla, confined in a big cage. No one seems to consider the gorilla's presence unusual. In the silent version, we note this oddity and roll right along. But in the talkie, the gorilla is laugh-provoking; and it doesn't help that instead of the actual simian used in the silent film, the 1930 version features a man in a highly unconvincing ape suit, the sort of tatty-looking costume you'd expect to find in a Bowery Boys comedy.

Talkies aren't just silent movies with sound added, they're a new world with different rules, especially where pace is concerned. Early talkies tend to drag, and this one is no exception. Although the remake follows the original closely it feels slower because director Conway and his colleagues hadn't mastered the new medium; they hadn't yet developed that rat-a-tat editing tempo we find in the gangster movies and musicals produced just a year or two later. And although Chaney handled his dialog deftly some of his co-stars did not: both strongman Ivan Linow and "baby" Harry Earles speak with thick accents that are difficult to understand.

It's fascinating to see (and hear) Chaney in a talkie, but the remake is fairly slow going. The second Unholy Three is a film that requires patience for the average viewer, though it's a must for anyone with an interest in early talkies, the silent era, and, of course, its star performer. I only wish Lon Chaney had recovered and lived to make more films, once Hollywood's directors had grasped the demands of the new technology and learned to make slicker, more stylish movies that would have displayed his talents to better advantage.

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