The Penalty

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

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.

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.

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...

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 ****