Alonzo is an armless knife thrower and gun shooter for a circus---or so he appears. He is actually a criminal with his arms intact. He and his accomplice, Cojo (a little person), are hiding from the police. 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 criminal the police are searching for. Nanon, the daughter of Zanzi, the circus owner, is the target in his act. Although Alonzo is in love with her, Nanon's father despises him. Malabar, the circus strong man, is attracted to Nanon but she is repulsed by his uninhibited sexual advances and desire to touch and hold her. Her phobia extends to the touch of any man's hand. 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 ...Written by
Patrick Robbins <firstname.lastname@example.org>
A superb mystery thriller, unusual and startling even for a Chaney film. Lon as "The Unknown" eats, drinks, shoots a rifle and dresses with his feet. Don't miss this startling spectacle. (Print Ad- The Cobbleskill Index,((Cobbleskill, NY)) 13 October 1927)
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 Chaney and his intense concentration, and after that experience she said she worked much harder to become a better actress. See more »
When we first 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 »
"The Unknown" returns to a theme common in many of Lon Chaney's films, that of a man hopelessly in love with a woman he can never have.
Alonzo, the armless man is performing in a gypsy circus as a sharpshooter/knife thrower working with the lovely Nanon (Joan Crawford) as his assistant. He is of course in love with her. Rounding out the triangle is circus strong man Malabar (Norman Kerry) who is also in love with Nanon. Nanon it seems cannot bear to have a man's hands touch her (Joan Crawford?).
Alonzo is not what he seems to be. It turns out that he is a fugitive on the run and it is revealed that he actually does have arms and has created the armless man to hide a deformity that would identify him as the criminal the police are seeking. And given that Nanon cannot stand for a man to touch her, she repels Malabar's advances and places her trust in Alonzo.
Nanon's father, Zanzi (Nick DeRuiz) wants his daughter to stay away from Alonzo and confronts him on the issue one night. Zanzi discovers Alonzo's secret so Alonzo murders him. Alonzo then re-confirms his intention to marry Nanon. Alonzo's trusted friend Cojo (John George) points out to Alonzo that should he marry Nanon, she would surely discover that he has arms on their wedding night. So, Alonzo sure that Nanon will marry him, arranges to have his arms amputated.
When Alonzo returns from his ordeal he discovers that Nanon has gotten over her fear of men's hands and now plans to marry Malabar. Alonzo devastated, plots his revenge.
Chaney plays an unsympathetic character in this film, so much so that he doesn't evoke the usual audience pity that he had in other films. His scenes as the armless man are outstanding and the things he does with his feet are truly amazing. And he could express so much emotion with just his facial expressions. Crawford was just getting her career into going and went on to a lengthy career spanning over 40 years. Kerry had also appeared with Chaney in both "The Hunchback of Notre Dame" (1923) and "The Phantom of the Opera" (1925). The running time of the film varies depending on your sources. The version I saw runs about 50 minutes. The Citadel Book, "The Films of Joan Crawford" lists it at 65 minutes. IMDb lists running times of 61 and 49 minutes respectively. Despite the short running time it nevertheless presents a complete and riveting story. I would like to know what was cut out though.
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