The Man Who Laughs (1928)

When a proud noble refuses to kiss the hand of the despotic King James in 1690, he is cruelly executed and his son surgically disfigured.

Director:

Paul Leni

Writers:

Victor Hugo (novel), J. Grubb Alexander (adaptation)

Stars:

Mary Philbin, Conrad Veidt, Julius Molnar

Cast

Credited cast:
Mary Philbin	...	Dea
Conrad Veidt	...	Gwynplaine / Lord Clancharlie
Julius Molnar	...	Gwynplaine as a child (as Julius Molnar Jr.)
Olga Baclanova	...	Duchess Josiana
Brandon Hurst	...	Barkilphedro
Cesare Gravina	...	Ursus
Stuart Holmes	...	Lord Dirry-Moir
Sam De Grasse	...	King James II (as Sam DeGrasse)
George Siegmann	...	Dr. Hardquanonne
Josephine Crowell	...	Queen Anne
Károly Huszár	...	Innkeeper (as Charles Puffy)
Zimbo the Dog	...	Homo the Wolf (as Zimbo)
Rest of cast listed alphabetically:
Delmo Fritz	...	Sword Swallower
Deno Fritz	...	Sword Swallower

Storyline

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.

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Plot Keywords:

melodrama | 1690s | jester | nobleman | revenge | 

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Genres:

Drama | Horror | Mystery | Romance | Thriller

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Certificate:

Not Rated

Details

Country:

USA

Language:

English

Release Date:

4 November 1928 (USA)

Also Known As:

A nevető ember

Filming Locations:

Universal Studios - 100 Universal City Plaza, Universal City, California, USA

Company Credits

Production Co:

Universal Pictures

Technical Specs

Runtime:

110 min

Sound Mix:

Mono (Western Electric Sound System) (musical score and sound effects) Silent

Color:

Black and White

Aspect Ratio:

1.20 : 1

Did You Know?

Trivia

Included on Roger Ebert's "Great Movies" list.

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Goofs

When Barkilphedro first reads the blackmail note from Doctor Hardquanonne, we are shown a shot of the full text of the note. Toward the bottom, it says, "You are rich...". Seconds later, we see close-ups of the note. Words have been rearranged on the page to make the close-ups more readable and the lower portion now says, "You will be penniless," - a phrase that didn't appear anywhere in the original text.

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Quotes

Dea: God closed my eyes so I could see only the real Gwynplaine.

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Connections

Referenced in Criminal Minds: The Job (2015)

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Soundtracks

When Love Comes Stealing
(uncredited)
Written by Walter Hirsch, Lew Pollack and Erno Rapee

User Reviews

Veidt and Leni and Victor Hugo

A lord refuses to kiss the hand of King James II, so is doubly punished: he perishes in the "Iron Lady" [onscreen in a memorably handled sequence] while his son is sent to a surgeon who [offscreen] carves a grin on his face "so he can forever laugh at his father". Sheltered by a kindly playwright ["like Shakespeare, only much better!"], the boy grows up to join his troupe of itinerant players as the star attraction: "The Man Who Laughs". His fortunes lead him to a blind girl, an ambitious duchess, and Queen Anne, who reinstates him to the nobility, but with further complications.

Conrad Veidt, in a career stretching from CALIGARI to CASABLANCA, always found the emotional authenticity in bizarre roles. Here, in the familiar 19th century figure of the suffering clown, his performance is transfixing: whether tremulous as the girl's hand explores his face, or mortified by the laughter of the House of Lords, Veidt's face makes the role more than a simple martyr: he is man struggling with unjust destiny ["A king made me a clown, a queen made me a lord, but first God made me a man!"].

Big-hearted and unashamedly dramatic, this is clearly the work of Victor Hugo, rags to riches in scope, offering consolation in love. The spirit of the French Revolution is very much in the air in this world of cruel privilege and class antagonism, full of secret doors, dungeons, and volatile mobs. While not as richly populated as Les Miserables and Hunchback, this adaptation still has spectacular set-pieces and elaborate settings.

Considerably less revolutionary is the conventional portrayal of women: virgin and vamp are the only alternatives. The former is the blind girl played by Mary Philbin [who had earlier unmasked Lon Chaney's Phantom]. With blond ringlets arranged to make her face heart-shaped, she edges close to simpering yet rises to genuinely moving moments. The vamp is Olga Baclanova [who became the blonde tormentor in Tod Browning's FREAKS], here writhing around in a black negligee and looking startlingly like Madonna.

Today, the films of Paul Leni are hard to track down, but worth the effort. Starting as an art director, Leni developed his visual command in Berlin; this Germanic style stands out in some beautifully designed compositions, such as a dynamic night sequence: a ship, full of gypsies being deported, heaves through a furious snowstorm. Yet Leni always works at the heart of the human values in the story, sustaining intense moments for all his actors. While some scenes are staged in darkness to rival a film noir, Leni also floods Veidt and Philbin with light, often focusing on one nuance per shot, an old-fashioned but effective strategy.

Filmed on the cusp of the sound revolution, this semi-silent has added sound effects and rather vague non-stop music but no spoken dialogue.