The title refers to Lon Chaney, whose abilities as a makeup artist and actor saw him transform himself into some of the screens’ most memorable characters. His creations were not mere monsters. Chaney imbued their misshapen figures with a humanity that demanded some sympathy from the audience. It is that same degree of complexity that James Cagney gives the silent film star, for his man of 1000 faces is a man of many facets. 

 

His skill at pantomime was no doubt influenced by his being a child of deaf parents, as was his empathy for those who were ‘different’. Yet this biopic is no hagiography. Chaney’s self-destructive hatred of his first wife and protectiveness of his son make it clear he was not the easiest person to live with, let alone love.

 

In the title role, Cagney gives a tour de force performance.  There is no need for subtitles when he signs at various times throughout the movie. His performance alone conveys the message. Dorothy Malone and Jim Backus lend good support, and though his performance as Irving Thalberg was widely ridiculed, Robert Evans isn’t too distracting. Not so the music score, which is overly dramatic to the point of being intrusive.

 

Though purists may quibble over the depiction of Chaney’s make-up application, the film does illustrate the physical pain he endured in contorting his body for his film roles. Such was his skill that a popular joke at the time, repeated in this biopic, was “Don’t step on that spider. It might be Lon Chaney”.