THE MAN WHO LAUGHS, 1928
Movie Review

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. Unlike in the original story by Victor Hugo, the lovers escape to France.

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REVIEW:

If you are looking for comedy, you won’t find much of it in “The Man Who Laughs,” despite its title. Based on the novel by Victor Hugo, this silent film concerns the exploits of a lovesick young man with a permanent smile carved on his face. Victor Hugo isn’t really the go-to guy when you want a laugh, as his most virtuous characters tend to meet bad ends. Sure, he may have a wry way of skewering social injustice, but Hugo’s brand of gallows humour tends to eventually give way to a very literal gallows.

Paul Leni’s 1928 adaptation of Hugo’s novel tones down some of the bleaker stuff and tosses out the tragic ending. Still, there’s plenty of pathos along the way as we watch out decent heroes struggle to overcome the obstacles put before them.

Although it’s more of a historical romance, “The Man Who Laughs” is sometimes falsely considered a horror movie, though you can see why. The makeup designer Jack Pierce, who created our hero’s grotesque smile, is more famous for doing Boris Karloff’s makeup in “Frankenstein” and “The Mummy.” Also, legend has it that Gwynplaine was the inspiration for the original Joker, though in terms of personality, the two characters couldn’t be more different.

Those familiar with German expressionism will see it at work in “The Man Who Laughs,” albeit to a relatively subtle degree. The expressionist style comes across through shadows rather than crazy angles and surreal visuals, although the Iron Maiden in the prologue looks like an image lifted straight from a nightmare. Another early scene shows gallows (see?) silhouetted against a snowy wasteland, the bodies of the executed men twisting limply in the wind. These creepier scenes subside as the film progresses, giving way to romantic drama. This movie is intended to inspire sympathy rather than horror.

Not surprisingly, Lon Chaney was the first choice for the role of Gwynplaine, but he wasn’t able to participate. The part was played instead by German actor Conrad Veidt, and actually, it’s hard to imagine anybody doing a better job. Veidt is most famous for two other performances: he played Major Strasser in “Casablanca” and Cesare the Somnambulist in “The Cabinet of Dr. Caligari.” Here, the actor is far less menacing, playing a gentle soul beaten down by his audience’s mockery. When it comes to his makeup, Veidt overcomes a serious acting hurdle: the prosthetic grin he wears makes it impossible for him to move his mouth. So, Veidt relies on his expressive brow and eyes, as well his body language, to show Gwynplaine’s angst. The effect is remarkable; despite his constant smile, Veidt conveys heartbreaking sadness. In later scenes, when the character’s patience finally runs out, Veidt’s flashing eyes and extreme grin are an unnerving combination. The casting of Veidt adds an extra poignancy to the character: from the look of him, we can imagine that had Gwynplaine not been disfigured, he would have been very handsome.

In the role of Dea, we have Mary Philbin, who played Christine Daae in 1925’s “The Phantom of the Opera.” Philbin is truly angelic, yet her innocence never becomes cloying. She shines in the film’s most moving scene, wherein Gwynplaine finally allows Dea to touch his disfigured mouth. Shocked at first, Dea struggles to put on a brave face, and tells Gwynplaine that God made her blind so she would see only his soul. Veidt and Philbin make an endearing couple, and it’s easy to get invested in their love story.

Olga Baclanova completes the love triangle, playing the vampy duchess Josiana. Baclanova, most famous for her villainous role in Tod Browning’s 1932 film “Freaks,” is a perfect contrast to Dea. Whereas Dea has a doll-like fragility, Josiana looks determined to have her way with Gwynplaine whether he likes it or not. Baclanova really plays up Josiana’s sexuality, making it clear that it’s lust, not love, that motivates her. When Josiana uncovers Gwynplaine’s frozen smile, she shudders visibly, and it definitely isn’t in disgust.

Surprisingly, “The Man Who Laughs” actually has some sound, mostly when it comes to crowd scenes. It even has a love theme called “When Love Comes Stealing,” which sounds very appropriate for the sweet relationship between our two lovers.

If you’re into silent movies, there’s a good chance you’ve already seen “The Man Who Laughs.” And if silent movies aren’t normally your thing, give this one a try. With its strong performances and touching story, it’s very accessible. Although it’s a product of Hollywood’s “monster movie” phase, it’s unique in that it contains a sympathetic portrayal of a disfigured character. This isn’t a completely happy tale, but by the end, you might just be smiling.

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The Man Who Laughs