User reviews

This was the first starring role for Lon Chaney, and he's terrific playing a double amputee whose legs were both needlessly cut off as a boy by a young doctor who felt it was required to save the child's life after a serious accident. The boy eventually grows up to be an embittered underworld leader, looking to settle the score. Chaney gives a great performance and he is still amazing to watch today, even 86 years later, while painfully contorting his body to produce the needed effect, utilizing only his talent and ingenuity in place of today's CGI effects. Sure, Hollywood would have used CG back then if they had the luxury, but I still find it more mesmerizing this way. Lon had to pull his legs up behind his back and have them strapped tightly underneath a long overcoat, hobbling about on his knees. The direction is solid and the story is consistently interesting and multi-layered. It's very easy to sympathize with Chaney's character through his strong performance, but I felt that the way his criminal behavior was explained for the conclusion was a tad of a letdown. Still, quite a worthwhile film. *** out of ****

Combining a creative, atmospheric story with a fine performance by Lon Chaney makes "The Penalty" an effective and memorable suspense classic. In one of his earliest leading roles, Chaney is a complete success, both in defining an unusual character and in bringing out everything inside the mind of the sinister "Blizzard". You can already see his determination to make his character visually convincing and flawless, even at the cost of great discomfort. Chaney also shows, as he would so many times, his rare skill in using facial expressions and gestures to show just the right amount of emotion and intensity.

The story is quite interesting in itself, and though it slightly stretches plausibility at times, it is by no means predictable. The brief opening scene of the childhood accident efficiently sets up the background for the strange world dominated by Chaney's vengeful character when he becomes an adult. From there, the well-crafted story keeps you interested and keeps you guessing. The settings are well-chosen, creating an interesting and appropriate atmosphere, with Blizzard's strange hideout and the sculptress's cluttered studio both standing in contrast with the respectable-looking Dr. Ferris and the other characters.

A mere account of the events in the story would not convey the success of the movie in creating a distinctive world in which the characters come to life. This is also a case in which a silent film is probably more effective than a sound film would have been. One of the main flaws in many movies of this type is the vapid dialogue that dissipates the tension through unintentional humor. Here, the title cards need only convey some basic ideas - the rest of it is handled without sound by Chaney, by the rest of the cast, and by the production crew who put everything together so well.

Lon Chaney (as Blizzard) is the underworld lord and master of San Francisco, despite a striking disability - he has no legs. Mr. Chaney's "Blizzard" was, as a boy, a "victim of San Francisco traffic", and had his legs amputated above the knees, after an accident. Moreover, the amputations were unnecessary; they were needlessly preformed by young, inexperienced Charles Clary (as Dr. Ferris); Mr. Clary also leaves a brain contusion untreated. As a boy, Chaney hears an older, experienced doctor scold Mr. Clary on the unnecessary procedure; but, they cover up the crime, and dismiss the young amputee's protests as delusions, caused by ether.

Twenty-seven years later, the powerful crime lord decides to enact his terrifying revenge on the doctor who cut off his legs. Cheney answers a newspaper ad posted by Clary's daughter Claire Adams (as Barbara Ferris); she is a sculptress, looking for someone to model Satan, for her bust:

"WANTED -- Model to pose for statue of 'Satan After the Fall.' If you think you look like Satan, apply at studio of Barbara Ferris, 32 Institute Place. 8284"

The Satanic-looking Chaney is the perfect candidate to sit for the young woman; and, Ms. Adams welcomes him into her art studio, unaware (yet) of his unfortunate association with her father. Meanwhile, Cheney's underworld operation is being infiltrated by a spy; lawman Milton Ross (as Lichtenstein) has sent his best undercover agent, Ethel Grey Terry (as Rose), to gets the goods on Chaney. He is especially interested in why Chaney has his "show girls" making thousands of hats…

"The Penalty" has a noticeable degree of implausibility, as do many films; and, it does become make the film more than a little distracting, at times. Yet, Chaney's performance is so commanding, and so thoroughly enjoyable, it's really pointless to list faults. The film works on the strength of Lon Chaney's performance. Director Wallace Worsley, photographer Donovan D. Short, and art director Gilbert White contribute to the master, by giving the film a great, atmospheric look.

Among the supporting players, James Mason (as Frisco Pete) is easily the standout. Young Edouard Trebaol (as Bubbles) is also well-employed, and natural, alongside the high degree of emoting present amongst the adults. Trebaol memorably re-teamed with Chaney in "Oliver Twist" (they were "Fagin" and "The Artful Dodger"). Interestingly, in the original Gouveneur Morris novel, "Bubbles" had an expanded role, which eventually revealed him to be the son of "Blizzard". That subplot would have added greatly to this film, further contrasting cruelty and humanity; and, of course, recalling the boy "Blizzard", and his earlier loss. It would have also confirmed the adult Chaney's obvious sexual prowess (note how women kneel down to play Chaney's pedals has he tickles the ivories).

Whatever its faults, "The Penalty" set the standard for the expertly performed and extremely successful Lon Chaney role - grotesque, anguished, sympathetic, and/or deformed. It started here. Give yourself a penalty if you pass up this Chaney classic.

********** The Penalty (11/15/20) Wallace Worsley ~ Lon Chaney, Ethel Grey Terry, Claire Adams, Jim Mason

If not the very first to reach a wide audience, Wallace Worsley's The Penalty survives to this day certainly at least as one of the more memorable and enjoyable proto-noir gangster thrillers from the mid-to- late silent era. Featuring engrossingly dark imagery throughout, a wonderfully gritty plot line filled with characters blooming from a pre-code era and a sense of pace in editing and direction so brisk you might have to look twice at its production date; The Penalty has plenty going for it but by far its best feature lies in the magnetic and grotesquely alluring performance of its lead star Lon "the man of one-thousand faces" Chaney.

Committing fully to his role as a man wrongly crippled at a young age by inept Dr. Ferris in the late 1890s, Chaney is so convincing in his role that viewers unfamiliar with his more famous works could be forgiven for Googling his name to find out if he really did have legs or not. Apparently the apparatus he wore to achieve the effect (which he had to insist on wearing against the studio's reported resistance) left him with lasting back problems for the remainder of his life. Whether true or not, the result is nevertheless a marvel to watch as his character of Blizzard—a brilliantly creative, megalomaniac-kingpin of sorts—hobbles his way in and out of people's lives, playing their strings all the while grinning sardonically with facial contortions likely to strip paint off walls.

When Blizzard begins to enact on a long-dreamt-of plan of retribution against the now-successful Ferris however, it's the inclusion of the doctor's daughter Barbara that allows the audience to see briefly the sadness and morose qualities underneath the surface of the crime- lord's chagrined demeanour. Chaney nails both sides of the coin equally well, despite the film's best and most enjoyable moments resulting from Blizzard's more-often-than-not irritable and ill- tempered outbursts. Then there are the moments where the character switches back and forth like a light switch. During an early scene, Blizzard, while playing a wonderfully sombre and melancholic classical piano piece, begins: "I shall be the master of a city! And for my mangled years the city shall pay me—with the pleasures of a Nero and the power of a Caesar!" The contrast here is palpable, and were it in the hands of a lesser talent, may have come off stilted or jarring for the wrong reasons.

On the other hand, the picture is by no means without its flaws. It's sometimes a little too melodramatic for its own good, specifically during the last 10 or so minutes. Furthermore, some plot lines go nowhere interesting, and the overall wrap-up is misguided and rushed to the point where it leaves a bitter taste in the mouth, even though it does boast the best line in the film. As a package however, I would recommend at least one viewing. Much like Dr. Jekyll and Mr. Hyde released a few months prior, the performance of its lead star is worth the time invested alone. Unlike said film however, The Penalty still has plenty else going for it outside of Chaney whether it's from the performances of the supporting cast or the brisk direction by Worsley cut with incisive, well-written and paced intertitles.

If you do seek out the film, again I would recommend the newly restored blu-ray which has been respectfully scanned and cleaned up by the George Eastman House Motion Picture Department and released by Kino. The disc also features a score composed by Rodney Sauer performed by the Mont Alto Orchestra which bounces off and compliments the film beautifully to the point where they actually bring piano melodies played by Blizzard alive as he muses over his plans to conquer San Francisco by force. It's a nice touch and much like Chaney strapping his legs behind his thighs, brings a level of commitment and dedication that gives an extra spark to already bright and highly enjoyable film.

A master criminal pays THE PENALTY for a life full of evil.

Lon Chaney became a major movie star with his role in this shocker. Already regarded as a fine actor for his performances in lesser films, he now proved he was quite willing to go far beyond mere makeup for the enhancement of his screen persona. His dedication to his craft, coupled with an outsized talent, were to make Chaney one of the foremost film actors of the 1920's.

Here Chaney plays a legless mobster who plots terrible revenge upon the doctor who maimed him (his plan to sack San Francisco of its wealth is almost incidental.) In order to create the illusion of being a paraplegic, Chaney bound his legs back and encased them in stumps. He is able to hop about with great alacrity using crutches, but he suffered intense pain during the filming and could only abide the prosthetics for short periods of time.

As remarkable as what he's able to achieve on his knees might be, it is the face of Chaney which is equally memorable here. The fact that he's able to model for a bust of Satan as part of the plot is no accident. His features take on the visage of pure unadulterated evil. The blood chills to look at him. Chaney the Actor has wordlessly spoken.

The film itself is a pleasantly florid potboiler, with plenty of menace, mayhem and damsels in distress. But it is Chaney who lingers longest in memory's darkest recess...

Seven years before Von Sternberg made what seems to be the most acclaimed silent crime film, and sometimes referred to as the first gangster picture - 'Underworld' - Wallace Worsley made 'The Penalty', a much better film about the secret service attempting to halt the mysterious evil workings of an underworld head figure in San Francisco.

Lon Chaney plays the head figure - who is one of the most superbly acted, and utterly despicable characters put to screen. Having both legs amputated above the knee at a young age, Chaney, who gets around on crutches, seeks to slyfully use evil to obtain as much power as possible. He does so by controlling an organized safety net around him, so that despite his physical liabilities, he has a commanding, all powerful presence, which he is not afraid to use for theft, murder and the abuse of women, amongst other things. Considering I first saw Chaney as the sad, compassionate neglected clown of 'He Who Gets Slapped' the transformation here is incredible. For modern audiences, he is perhaps most comparable to Jack Nicholson's more manic roles.

Religious themes run throughout the film as Chaney takes pride in considering himself Satan personified. When a female sculptor posts an advertisement for a Satan model, Chaney ensures he is the only applicant, and we get the apt title card comparing his character to the mangled Satan who once thrown from Heaven, seeks to gain all the power of Hell. After a start that is a little slow, the hate filled tension slowly builds nicely as various players get caught up in his web. You never know what his intention is, but you know it won't end well.

The final plot twists were a clever way to bring about forgiveness and karma - but for a man whose evil resided primarily in his crafty intelligence, an awful lot seemed to be left to chance - unbelievably so.

I first saw this as a kid. I had vague memories of this film. Revisited it recently on a dvd. The plot - A surgeon mistakenly amputates both the legs of a young lad. The young lad overhears the conversation between the surgeon n his mentor about the negligence n the cover up. Fast forward n this boy has turned into a monster known as Blizzard, the criminal mastermind who wants revenge but has a penchant for music. The highlight - Lon Chaney gave a terrifying performance. The astonishing physical get up of a man who had lost both of his legs just above the knee, the transformation by walking with the aid of two crutches, using his arms alone, his menacing grin n sorrowful face, all these were top notch. Another good aspect is the direction by Wallace Worsley. He managed to create a true villain outta Chaney, gave the film a gritty look and above all, the villain's lair - so innovative n secretive, much before all the bond n comic book villains.

Lon Chaney gives an outstanding performance as the evil genius controlling San Francisco's crime syndicate. How he moves around with his legs strapped back is amazing. Ethel Grey Terry as a Federal undercover agent infiltrating the syndicate is also notable.

The ending seems dumb by modern standards, but the picture is worth seeing anyway.

If anyone has any doubts as to who is the greatest actor of all times, CHECK OUT THIS FLICK!!! No CG here to make legs disappear. Just One mans creativity and iron will. There is nobody in Hollywood (or anywhere else for that matter) who has the kind of mettle this guy had. Those who believe Lon only did Phantom and Hunchback type fare really need to see this. I have been a fan of Lon's work since seeing The Phantom at an early age. His makeup job nearly scarred me for life. My father had to explain to me that it was only makeup, show me a picture of what he really looked like (a picture of a middle aged, jowly, smiling man,) and tell me the tale of "the Man of a Thousand Faces." This hooked me. Lon delivers in this role. His animated face goes through all gears with liquid rapidity. The new "industrial" flavored soundtrack definitely adds something, too. Kudos to Kino for that. If you like Lon Chaney, you will love this movie. If you have never seen any of his work, this is a great place to start.

LON CHANEY hobbles around on crutches, his legs mere stumps through a young doctor's mistake in amputating both legs above the knee after an accident as a young boy.

Chaney, the actor, must have endured a lot of pain from having to bind both legs in order to convincingly play the double amputee--and, of course, he does it with so many flourishes using his crutches and nimbly mounting chairs and climbing using just the strength in his arms. There's strength in his face too, and it's used to advantage here when he poses for a bust of Satan, the Evil One. He can convey evil with just a slight change of expression and a look in his eyes, so much so that he's quite chilling in several scenes with very little make-up needed.

The plot seems like a contrivance--an old-fashioned one about a man seeking revenge for the man that wronged him, but the plot throws in a couple of twists along the way so that in the end, "the penalty" is not the one you expected.

I watched this on TCM and the only unfortunate thing was the irritatingly busy background score which became repetitive and inappropriate for the on screen action. Let's hope that someone else will compose a better score for this film, for it truly deserves better than the one provided so far.

I saw this film on the big screen. From the beginning, one may get the impression that this could be one of the "been there...seen this" plots. Not true. The storyline is full of twists and turns throughout. Even the title has a twist at the end of the movie. While watching the plot unfold, I thought that it referred to the penalty the doctor and his family had to pay for the operation performed on Blizzard as a boy (Lon Chaney's character), making him handicaped...not so! Another twist is the female detective's turning from her investigation to admiration of Blizzard; the twist in the operation procedure performed on Blizzard to restore his legs; and then, the final twist at the end of the movie. Not what you would have expected...however, the final "penalty" is paid.

To sum it up...great actor and great story. Worth a repeat viewing. Rating: 9/10

Lon Chaney was probably one of the greatest actors of the Silver Screen and I have never been disappointed in any of his movies. The Man of a 1000 Faces truly was more deserving of a musical score better than the one given to "The Penalty". It was so irritating, I had to turn off the sound in order to enjoy yet another of his great performances. His supporting cast was also very good and the story/plot is fantastic. It is because of Lon Chaney that I (and others!) have taken such an interest in the silents. Over the years I have enjoyed Valentino ("The Eagle" is VERY impressive), Gloria Swanson, Greta Garbo, Joan Crawford and others, but Chaney leads the pack. A big BOO-HISS to whomever was responsible for the score, but again, a giant "10" to Chaney's performance!

Though the premise rather clearly indicates as much, from the outset it's worth observing some indelicacies. With chief character Blizzard defined primarily by the loss of both his legs, there's language employed herein to describe him that is at best no longer considered acceptable one hundred years later, and some instances of words or attitudes are much worse than others. Even more to the point, the narrative plays with the tired, ableist trope of disability being the driving backstory for a character's descent into villainy. Moreover, as the plot goes on we find that it also toys with the alarmist notion of the "Red Scare," and some plain old xenophobia; though less prominent, there's a distinct element of sexism with the suggestion that women should seek fulfillment in marriage to a man and nowhere else. None of these are insurmountable barriers to enjoying a surviving silent film, but in one measure or another they place upper limits on our enjoyment, and they must be acknowledged and recognized as the archaic relics that they are.

Such are the indelicacies that trouble 'The penalty,' and there is some definite inelegance, too. Without any need for sound or verbal dialogue, and sometimes even through image integrity that deteriorated over time, some pictures of the silent era illustrate a mastery of subtlety in conveying characters' thoughts and feelings, in establishing a broad mood, or simply in storytelling. This is not an example of such a picture, as scenes and beats (e.g., a character changing their mind about something) quite tend to progress with a delineation more closely resembling an outline than fluid prose. For the most part this is not an outright flaw, only a notable trait - until the last several minutes, when there comes a twist in the plot, precipitating the finale, that makes reasonable sense for this narrative fiction but which under the circumstances comes off as unfortunate deus ex machina. Further emphasizing the point: for lack of a nuanced, tactful hand, the impact of the last scene and intertitle is considerably diminished, and it also feels like there are facets of the plot that remain unresolved. None of this makes the viewing experience "bad," but it is certainly dampened.

Be all that as it may, for all those issues that hound this 1920 movie in one capacity or another, by and large it's still generally well made and entertaining. The narrative at large is decidedly unrefined and marked by indiscretions, but it has good bones. Whether it was Gouverneur Morris' novel, Charles Kenyon and Philip Lonergan's adaptation, or director Wallace Worsley's treatment of it that was in need of more polish I don't know, but the story has good ideas as its foundation, even carrying slight tinges of horror akin to other features in the first few decades of the medium. Somewhat constrained by the nature of the material and its realization, nonetheless the cast give appreciable performances, with Claire Adams and Ethel Grey Terry somewhat standing out - and of course Lon Chaney, with his gift for expression, unquestionably and rightfully belongs in the spotlight as Blizzard. That holds true even more given his immense skills in changing his appearance with makeup, and his commitment to the role in terms of his lower appendages is rather admirable; this might well be worth watching for him alone, if we're being honest. And that brings us to what may be the other primary highlight of 'The penalty,' which is all the work of those behind the scenes. Chaney may have done much of the heavy lifting, but Worsley and cinematographer Donovan Short are both to be commended as well for shooting the title in such a way that the effect (hiding Chaney's legs) is absolutely complete. Other effects or stunts here are less noteworthy, but look fantastic all the same; the costume design, hair, and makeup are swell. And the sets are altogether terrific, reflecting some minor ingenuity that again lends genre flavors. Most facets of 'The penalty' look great and come off well.

I should say that I did have a good time watching. There is a lot to like here, and a lot of hard work went into the picture with fine results. Those who are already enamored with the silent era will get the most out of it, but there is value here on its own merits, let alone as one of Chaney's earliest surviving credits. I just wish that the writing had been developed more, because even setting aside aspects that just don't look good as a matter of how society and social consciousness have changed and grown over the intervening decades, there are rough spots throughout that have a negative effect on the overall quality. One way or another I think it's worth watching, with the caveat that it bears noteworthy faults and some bits that will particularly and reasonably rankle some viewers. Don't go out of your way for 'The penalty,' but if you have the opportunity to check it out it's a decent watch for a quiet day.

An underworld kingpin named "Blizzard," whose legs were needlessly amputated as a youth, plans to plunder San Francisco. He also plans to take revenge on the doctor who cut off his legs. In the climax, Blizzard attempts to force the doctor to cut off the legs off Barbara's fiancé, and graft them onto his body.

Solid drama, with Chaney in top form and does some incredible work with his legs strapped behind him. In one scene, he grabs onto pegs and pulls himself up a wall in his home, using sheer arm strength.

Contemporaneous advertisements claimed that Chaney could only perform for about seven minutes at a time with his legs strapped up, since the pain was brutal.

Despite the plot, this movie is not as bizarre as it sounds. It is definitely worth a look.

Lon Chaney gives yet another outstanding performance as a man living with his legs amputated at a young age by mistake. He overhears the doctors first saying it was a mistake and then forging a pact to lie and say the surgery was essential. Chaney grows up to be a bitter, malevolent leader of underground activities in San Francisco. The role gives Chaney several opportunities to show his undeniable skill as an actor and human contortionist. Doubling his legs up and walking on his knees, Chaney mesmerized me with his ability to change reality into fantasy. He looks like a crippled man. Chaney also again showed me his range as an actor that could create pathos through his facial expressions. Never playing a one-dimensional part, Chaney is often brutal and cruel throughout much of the film, yet he enjoys music and art and always possesses a certain charm and affability. A wonderful performance all around! The other actors are very good and the direction is nice and tight. The story is very strong with some melodramatic overtones to be sure. There are some great scenes in this film like Chaney carrying on like a madman demanding the legs of a young doctor and, in particular, the scenes where he poses as Satan after the fall. The film has a nice pace for a silent picture, and the title cards are extremely powerful and literate.