Definitely worth a look. There are some advantages/disadvantages to the original. Disadvantages: Well, there are a few. The tension isn't as great. Lila Lee is not as sympathetic a "Rosie" as Mae Busch from the original. I am a HUGE fan of Harry Earles, but he is all but incoherent here unfortunately. Ivan isn't as good as Victor in the role of Hercules, and Hector really bugs me in this version. Advantages: Of course, YOU GET TO HEAR LON CHANEY! His one and only "talkie"! That's worth the price of admission alone! My grandmother used to head a movie theater waaaay back in the late 20's and early 30's and said that people went crazy for their chance to hear Chaney talk! I believe it! Okay, besides that, the scene with the police detective and the toy elephant is great! The scene where Harry Earles tries to get an early bonus with the necklace is very good and the whole relationship between the midget and the strongman is better defined, IMHO, in this version. All in all, check it out if you have a chance!
43 Reviews
Lon Chaney Sr.'s performance in the talkie version of The Unholy Three was a good enough one to end his career on
tavm29 December 2012
The only reason I decided to watch this was because this was Lon Chaney Sr.'s only talkie movie as he'd untimely die after this came out. I had not seen his previous silent one and while I had the option to also check that out from my local library, I just decided to see this version, for now. It's not bad as an early sound film and I appreciated the humor of some scenes but, like others commenting here, I did have trouble hearing some of the little person Harry Earles' words when he spoke them as well as that of the strongman played by Ivan Linow. Lila Lee wasn't bad as the pickpocket-turned-betrayer Rosie and neither was Elliott Nugent as her eventual boyfriend though he had more success when he turned director of various Bob Hope comedies. It was also a nice surprise that part of this film took place on Christmas Eve since the holiday just passed as you can tell by the date of this review. Oh, and yes, Lon was fine voice-wise whether doing his own or that of an old woman when wearing a disguise and also as a dummy's voice when throwing it as well as a parrot. Maybe a haunting music score could have helped in some scenes but overall, this version of The Unholy Three was good enough that I say this is worth a look.
Chaney's first talky performance is superb, but sadly, it also proved to be his last.
Ziggy544620 April 2007
Indeed, Lon Chaney was the man of a thousand faces, a make-up genius so ahead of his time that "three quarters of a century later" well accomplished professionals are still to be awed at the visual effects he compassed. Sadly, for most, he will always be remembered as Erick, the Phantom and Quasimodo. However, Chaney was much than just a horror actor and a pioneer of many stage make-up techniques; he was a gifted actor, as well as, a matchless performer and person. He was an incredibly skilled actor and, thankfully, The Unholy Three (1930) let's us actually see that.
In this film, Chaney did five voices; those of a parrot, an old woman, a girl, a ventriloquist, and the ventriloquist's dummy. His voice work was such that he had to sign a notarized statement largely as a publicity stunt, attesting to his versatile voice work in The Unholy Three. While the film is notable as a vehicle for the actor's vocal gymnastics, the story of this talkie version of the 1925 version is pretty much identical to the silent, but with a few exceptions: As a talkie, The Unholy Three is a bit less gripping by the sounds becoming explicit, as well as, lacking much of the macabre horror the silent version featured. Mae Busch is replaced by the far better Lila Lee, who was not only better as the roll of Rosie but much prettier as well. However, Victor Mclagen who played Hercules in the silent version was much better than his replacement, Ivan Linow. As far as, Harry Earles is concerned, his voice is completely incomprehensible. Not to mention, the man sitting behind the chair is no longer Tod Browning, but in fact, Jack Conway. Also, at the climax (differing much from the silent version), Mrs. O'Grady appears in court to testify on Hector's behalf. Under the strain of the cross-examination, Echo's voice cracks, and the prosecuting attorney pulls off his wig. Echo's subsequent confession clears Hector, but Echo is sent to prison. In the tearfully painful final scene, Hector and Rosie wave goodbye as Echo is sent off to prison by train.
The question that will forever remain, is if Chaney had lived, what else would he have accomplished? My guess is he would've easily conquered the movement in Hollywood toward more complicated make-up techniques, making any such effects icon look rather amateurish. Perhaps several nominations, maybe even an Oscar winner! He certainly would've played Count Dracula, Frankenstein's Monster, The Mummy, and Dr. Jekyll and Mr. Hyde. If that were the case, what would ever come of such actors like Fredric March, Bela Lugosi, and Boris Karloff who became famous from playing their landmark Monster roll? He undoubtedly could've played anything and been anyone he wanted. His abilities were far beyond any actor of his or any other era. Unfortunately, out of 150+ films Chaney appeared in, less than 50 survived, and all we really have left of this brilliant, phenom of a talent are the monster movies that made him famous. Chaney was known for much more, for comedy and drama. In fact, he was also a highly skilled dancer, director, writer, singer, and comedian. And yet it was cancer that took him from film just as he proved he could successfully speak within the new realm of sound.
Lon Chaney could have been, perhaps, the greatest actor of all time, though, with much of his work missing, it's still justifiable that he is and beyond all the thousands of faces, there was one true Chaney: an incredibly gifted artist. Too bad we don't get to see it more often.
In this film, Chaney did five voices; those of a parrot, an old woman, a girl, a ventriloquist, and the ventriloquist's dummy. His voice work was such that he had to sign a notarized statement largely as a publicity stunt, attesting to his versatile voice work in The Unholy Three. While the film is notable as a vehicle for the actor's vocal gymnastics, the story of this talkie version of the 1925 version is pretty much identical to the silent, but with a few exceptions: As a talkie, The Unholy Three is a bit less gripping by the sounds becoming explicit, as well as, lacking much of the macabre horror the silent version featured. Mae Busch is replaced by the far better Lila Lee, who was not only better as the roll of Rosie but much prettier as well. However, Victor Mclagen who played Hercules in the silent version was much better than his replacement, Ivan Linow. As far as, Harry Earles is concerned, his voice is completely incomprehensible. Not to mention, the man sitting behind the chair is no longer Tod Browning, but in fact, Jack Conway. Also, at the climax (differing much from the silent version), Mrs. O'Grady appears in court to testify on Hector's behalf. Under the strain of the cross-examination, Echo's voice cracks, and the prosecuting attorney pulls off his wig. Echo's subsequent confession clears Hector, but Echo is sent to prison. In the tearfully painful final scene, Hector and Rosie wave goodbye as Echo is sent off to prison by train.
The question that will forever remain, is if Chaney had lived, what else would he have accomplished? My guess is he would've easily conquered the movement in Hollywood toward more complicated make-up techniques, making any such effects icon look rather amateurish. Perhaps several nominations, maybe even an Oscar winner! He certainly would've played Count Dracula, Frankenstein's Monster, The Mummy, and Dr. Jekyll and Mr. Hyde. If that were the case, what would ever come of such actors like Fredric March, Bela Lugosi, and Boris Karloff who became famous from playing their landmark Monster roll? He undoubtedly could've played anything and been anyone he wanted. His abilities were far beyond any actor of his or any other era. Unfortunately, out of 150+ films Chaney appeared in, less than 50 survived, and all we really have left of this brilliant, phenom of a talent are the monster movies that made him famous. Chaney was known for much more, for comedy and drama. In fact, he was also a highly skilled dancer, director, writer, singer, and comedian. And yet it was cancer that took him from film just as he proved he could successfully speak within the new realm of sound.
Lon Chaney could have been, perhaps, the greatest actor of all time, though, with much of his work missing, it's still justifiable that he is and beyond all the thousands of faces, there was one true Chaney: an incredibly gifted artist. Too bad we don't get to see it more often.
More's the Pity
BaronBl00d14 June 2004
Though not nearly as polished as its silent counterpart, in large part due to the absence of director Tod Browning, this version is still a well-made film with a lot to offer. If for no other reason than seeing Lon Chaney in his only sound film, this film is a must! Chaney is wonderful again in the role of Echo, a ventriliquist and criminal. Chaney shows that he understood the sound medium and would have done great things in pictures to come had he lived. Alas! he died shortly after this film from throat cancer. He shows that he was a very credible actor and really impressed me with his comic timing. The rest of the cast is good with Elliot Nugent as the patsy Hector contributing a nice turn and Harry Earles again reprising his role as the midget baby. I found some of his words a bit difficult to understand, but he nonetheless added immeasurably with his split persona of a hard, stogie-chomping small man and then becoming a little tyke with relative ease. Lila Lee does a credible at best job as Rosie O' Grady. Some scenes in this film are particularly well-crafted as when the policeman visits the home of Mrs. O'Grady and starts playing with Earles's toy elephant. Also, Earles is a delight to watch playing with a ruby necklace. Chaney does not get the opportunity to show the pathos he exuded in the silent version - more due to Browning's absence I think. Director Jack Conway does a workmanlike job but misses a bit with the atmosphere of the film. At any rate a fine film and a tribute to Chaney as man capable of just about anything!
Chaney Speaks....
mark.waltz9 December 2012
Warning: Spoilers
The unholy three are Lon Chaney (in his only talkie and last film), Harry Earles (the dwarf from "Freaks") and muscular Ivan Linow, as well as pretty Lila Lee. They are the four survivors of a traveling carnival show that was closed by the police, and now operate a bird shop as a front for a robbery ring with Chaney in drag posing as the kindly operator. Earles, already difficult to understand with his helium laced voice and foreign accent, plays a nasty sort that Angelo Rossitto would imitate years later in Monogram programmers with Bela Lugosi. He is the instigator among the group, and points out to his co-conspirator Linow that Chaney and Lee seem to always be in cahoots against them. Elliott Nugent is the naive clerk at the store, in love with Lee, but unaware of the four's previous connection. They set their sights on the ruby necklace of a millionaire client which leads to murder and threatens to expose their racket.
While this is not a horror film, it has a definite horrific moment near the end of the film that some may find very disturbing. It is difficult to like a film where the major characters are obvious crooks and killers, but what makes this better than average is Chaney's performance as the former ventriloquist who can make customers believe his parrots can talk and some really creepy shadowing. The other performers, particularly Lee, are outrageously melodramatic, and at times, it seems like they are speaking in silent cinema dialog rather than as characters in a sound film. But the movie avoids being creaky, so despite some of the bad acting, this is truly a historical film. The scene of Earle's toy elephant with the ruby inside and the detective playing with it is quite amusing, as is a reference to how a ruby Earle swallowed will eventually turn up. The court sequence at the end is truly gripping with a twist of fate that commences with wit and tragedy.
While this is not a horror film, it has a definite horrific moment near the end of the film that some may find very disturbing. It is difficult to like a film where the major characters are obvious crooks and killers, but what makes this better than average is Chaney's performance as the former ventriloquist who can make customers believe his parrots can talk and some really creepy shadowing. The other performers, particularly Lee, are outrageously melodramatic, and at times, it seems like they are speaking in silent cinema dialog rather than as characters in a sound film. But the movie avoids being creaky, so despite some of the bad acting, this is truly a historical film. The scene of Earle's toy elephant with the ruby inside and the detective playing with it is quite amusing, as is a reference to how a ruby Earle swallowed will eventually turn up. The court sequence at the end is truly gripping with a twist of fate that commences with wit and tragedy.
Silent superstar speaks...
poe42618 June 2010
Warning: Spoilers
"The Man of a Thousand Faces" might just as well have been labeled "The Man of a Thousand Voices." In his single talkie, he plays a ventriloquist who can throw his voice or completely disguise it (as he does when he dons his "Grandma O'Grady" getup, or when he provides the voice for a "talking" parrot). THE UNHOLY THREE also happens to be a VERY funny movie- thanks in large part to Lon Chaney: his reactions (especially his expressions) to the back-stabbing done by his grifter cohorts are priceless and, more than once, he even manages to outwit himself. His makeup is flawless, as are his mannerisms, his posture, and even his walk. He leaves no stone unturned. Chaney showed signs of great promise here and may very well have been on the verge of redefining himself as well as rewriting the book on acting. Unfortunately, this was "The Man of a Thousand Faces" taking his final bow.
Partners in Crime
lugonian15 October 2007
THE UNHOLY THREE (MGM, 1930), directed by Jack Conway, offers a moment of truth for 1930 audiences and film enthusiasts today in witnessing what silent film legend Lon Chaney had never done before on screen - to be heard as well as seen. Between 1928 and 1929, movie goers were given the opportunity to hear their favorite silent stars speaking on screen for the first time. Some succeeded, others did not. Chaney and Greta Garbo were MGM's final holdouts, each making the transition to sound by 1930, while the great comic, Charlie Chaplin held out the longest, making his talking debut in THE GREAT DICTATOR (1940). Of all the silent screen performers, Chaney was something of a curiosity. The question is, "How would the man who created such legendary characters as "The Hunchback of Notre Dame" (1923) or "The Phantom of the Opera," (1925) sound on film?" For THE UNHOLY THREE, the wait wasn't very long. Minutes after the opening credits, the voice of Chaney is finally heard, with his first words being "Thank you, doctor. Thank you." For his role as a ventriloquist, Chaney offers his audience the opportunity to get to listen to his many voices as he did during the silent era with his many faces. Even for a talkie, Chaney continues to express himself with facial gestures as he did in the silent era, which comes off to best advantage.
The story opens where Professor Echo (Chaney), a sideshow performer, entertains with his ventriloquist act. He is accompanied by Hercules, the strong man (Ivan Linow), Tweeledee (Harry Earles), the midget, and his girlfriend, Rosie O'Grady (Lila Lee), who roams around the crowd picking the pockets from observant patrons. Following a police raid that puts the Brandon's Old-Fashioned Museum out of business, the next scene reveals Echo planning a new racket with his associates, working as thieves in the night. As "The Unholy Three," Echo disguises himself as a kindly old lady who owns "Mrs. O'Grady's Bird Shop"; Rosie as "her granddaughter"; Tweeledee plays the baby in the cradle; and Hercules as Granny's son-in-law and baby's uncle. For security reasons, Echo takes his pet gorilla from the sideshow, keeping him in the back room in case any of his partners in crime, particularly Hercules, decides to betray them. Also among "The Unholy Three" is Hector MacDonald (Elliott Nugent), a young student studying to become an architect who's obtained a position in the bird shop in order to be near Rosie, unaware that her "relatives" are a gang of thieves. When Echo discovers Rosie's love for the young man, he decides to make Hector the fall guy by making him the prime suspect, causing his arrest for the series of crimes and murder while the gang seeks refuge in a cabin out in the country, with Rosie being held against her will.
First filmed in 1925 that also featured Chaney and Harry Earles, with Mae Busch and Victor McLaglen as Rosie and Hercules, the same roles enacted here by the lesser known names of Lila Lee and Ivan Linow, who make fine, though not entirely great substitutes. While Chaney's voice(s) are articulate and clear, Earles is often hard to comprehend. Aside from this, Earles' character comes off both annoying and unlikable, which is probably the way he's supposed to be in the first place, being an instigator tempting Hercules to do things against his will. Hercules may be a strong man, but comes across as weak, considering his fear towards Echo's gorilla as well as failing to stand for himself against both Echo and Tweeledee.
Twelve minutes shorter than the original, with certain scenes slightly altered or eliminated altogether, everything appears to occur very quickly, with detailed actions described in words than depicted with extended scenes. Director Jack Conway makes several attempts in duplicating Tod Browning's style as presented for the 1925 version. The use of silhouetted images of "The Unholy Three" as they gather together planning their latest caper is revised, along with elements of surprise and suspense where a police inspector (Clarence Burton) plays around with the baby's toy elephant where the stolen necklace is actually hidden, and another at the trial where Echo plants a note for Hector to read, only to watch him toying with it instead. Aside from these revised highlights, only the ending differs from the original, for reasons explained in the TV documentary "Lon Chaney, a Thousand Faces" (2000). Comparing these films, each presented on Turner Classic Movies, it's sometimes hard to determine which is the better of the two, yet, the ending used for the remake is more in a logical sense. See and judge for yourself.
Although Chaney did became a success with his initial talkie, this was to be his one and only. Shortly after its completion, Chaney succumbed to cancer. Aside from Chaney's famous line, "That's all there is to life, folks, just a little laugh, a little tear," used in both movies, he finished his long and successful career with these final words, "I'll send you a postal card." The legend of Chaney ends here. The success and curiosity to THE UNHOLY THREE rests entirely on the man and the legend, even more so with this, his last hurrah. (***)
The story opens where Professor Echo (Chaney), a sideshow performer, entertains with his ventriloquist act. He is accompanied by Hercules, the strong man (Ivan Linow), Tweeledee (Harry Earles), the midget, and his girlfriend, Rosie O'Grady (Lila Lee), who roams around the crowd picking the pockets from observant patrons. Following a police raid that puts the Brandon's Old-Fashioned Museum out of business, the next scene reveals Echo planning a new racket with his associates, working as thieves in the night. As "The Unholy Three," Echo disguises himself as a kindly old lady who owns "Mrs. O'Grady's Bird Shop"; Rosie as "her granddaughter"; Tweeledee plays the baby in the cradle; and Hercules as Granny's son-in-law and baby's uncle. For security reasons, Echo takes his pet gorilla from the sideshow, keeping him in the back room in case any of his partners in crime, particularly Hercules, decides to betray them. Also among "The Unholy Three" is Hector MacDonald (Elliott Nugent), a young student studying to become an architect who's obtained a position in the bird shop in order to be near Rosie, unaware that her "relatives" are a gang of thieves. When Echo discovers Rosie's love for the young man, he decides to make Hector the fall guy by making him the prime suspect, causing his arrest for the series of crimes and murder while the gang seeks refuge in a cabin out in the country, with Rosie being held against her will.
First filmed in 1925 that also featured Chaney and Harry Earles, with Mae Busch and Victor McLaglen as Rosie and Hercules, the same roles enacted here by the lesser known names of Lila Lee and Ivan Linow, who make fine, though not entirely great substitutes. While Chaney's voice(s) are articulate and clear, Earles is often hard to comprehend. Aside from this, Earles' character comes off both annoying and unlikable, which is probably the way he's supposed to be in the first place, being an instigator tempting Hercules to do things against his will. Hercules may be a strong man, but comes across as weak, considering his fear towards Echo's gorilla as well as failing to stand for himself against both Echo and Tweeledee.
Twelve minutes shorter than the original, with certain scenes slightly altered or eliminated altogether, everything appears to occur very quickly, with detailed actions described in words than depicted with extended scenes. Director Jack Conway makes several attempts in duplicating Tod Browning's style as presented for the 1925 version. The use of silhouetted images of "The Unholy Three" as they gather together planning their latest caper is revised, along with elements of surprise and suspense where a police inspector (Clarence Burton) plays around with the baby's toy elephant where the stolen necklace is actually hidden, and another at the trial where Echo plants a note for Hector to read, only to watch him toying with it instead. Aside from these revised highlights, only the ending differs from the original, for reasons explained in the TV documentary "Lon Chaney, a Thousand Faces" (2000). Comparing these films, each presented on Turner Classic Movies, it's sometimes hard to determine which is the better of the two, yet, the ending used for the remake is more in a logical sense. See and judge for yourself.
Although Chaney did became a success with his initial talkie, this was to be his one and only. Shortly after its completion, Chaney succumbed to cancer. Aside from Chaney's famous line, "That's all there is to life, folks, just a little laugh, a little tear," used in both movies, he finished his long and successful career with these final words, "I'll send you a postal card." The legend of Chaney ends here. The success and curiosity to THE UNHOLY THREE rests entirely on the man and the legend, even more so with this, his last hurrah. (***)
A must for Lon Chaney fans
wmorrow5918 July 2005
The 1930 version of The Unholy Three boasts a distinction that guarantees it permanent special status among film buffs: the great silent star Lon Chaney made his only talkie appearance here, shortly before his death from throat cancer at the age of 47. And it's worth noting that this a faithful remake of the 1925 silent version in which Chaney also starred, thus giving us a rare chance to compare two performances by the same actor in the same role but in two very different formats, and to compare the handling of the same material before and after the coming of sound. (When Hollywood remade hits from the silent era the lead roles were almost always recast; parts once played by Doug Fairbanks would go to Errol Flynn, Valentino's would go to Tyrone Power, etc.) This summer I was lucky enough to see restored prints of both versions of The Unholy Three back-to-back at the Museum of Modern Art in NYC, and the experience was fascinating.
The plot has been outlined in detail elsewhere, but briefly it involves the criminal career of a trio from the "carny" world: a ventriloquist called Professor Echo (Chaney) who masquerades as an old lady, a strongman, and a midget who disguises himself as a baby. A pet shop is the front for their activities. The trio is accompanied by a thief named Rosie, and a patsy named Hector they've employed who is unaware of their identities and plans. When a heist goes awry the members of the gang turn against each other, and violence erupts.
Based on my recent viewings I feel the silent version holds up best. This off-the-wall material plays better in the silent medium, though I found it surprising how similar the two films are when viewed consecutively. When Jack Conway took on directing chores for the remake he must have had a print of the 1925 version available for close study, because there are several sequences in which he follows Tod Browning's editing rhythms and scenic compositions almost exactly. (One example of the latter: the shadow images of the title characters' silhouettes, thrown onto a wall while they plot together.) Even the dialog in the talkie frequently quotes the silent version's title cards verbatim. The biggest change comes in the courtroom finale, where sound allowed the filmmakers to utilize Prof. Echo's vocal talents more creatively. The outcome of the trial is also different in the remake, and somewhat more believable; although the audience at MoMA was respectful toward both films the verdict in the silent version was greeted with a burst of laughter.
Why is the silent version the stronger of the two? Certainly Chaney gives a charismatic performance in both films, somehow carrying the viewer past numerous credibility stretchers through sheer force of personality. In the talkie version he demonstrates a fine voice, deep and a little raspy (possibly a result of his medical condition), not unlike Wallace Beery's. Chaney is terrific in both films and is the main reason to see the remake. The 1930 version follows the original so closely we can't blame the writers for going astray, nor are the film's shortcomings entirely the fault of director Conway, at least where visual style is concerned, for he followed Browning's original almost shot-for-shot. No, I believe the difference has to do with the aesthetic gulf between silent and sound film. We're willing to suspend disbelief when watching a silent movie: we'll accept crazy events in silent cinema that would be unacceptable, absurd, or even horrifying (in the wrong sense of the word) in the world of sound. Case in point: one of the most outlandish elements can be found at the pet store, where the proprietors offer birds, hamsters, rabbits -- and a dangerous gorilla, confined in a big cage. No one seems to consider the gorilla's presence unusual. In the silent version, we note this oddity and roll right along. But in the talkie, the gorilla is laugh-provoking; and it doesn't help that instead of the actual simian used in the silent film, the 1930 version features a man in a highly unconvincing ape suit, the sort of tatty-looking costume you'd expect to find in a Bowery Boys comedy.
Talkies aren't just silent movies with sound added, they're a new world with different rules, especially where pace is concerned. Early talkies tend to drag, and this one is no exception. Although the remake follows the original closely it feels slower because director Conway and his colleagues hadn't mastered the new medium; they hadn't yet developed that rat-a-tat editing tempo we find in the gangster movies and musicals produced just a year or two later. And although Chaney handled his dialog deftly some of his co-stars did not: both strongman Ivan Linow and "baby" Harry Earles speak with thick accents that are difficult to understand.
It's fascinating to see (and hear) Chaney in a talkie, but the remake is fairly slow going. The second Unholy Three is a film that requires patience for the average viewer, though it's a must for anyone with an interest in early talkies, the silent era, and, of course, its star performer. I only wish Lon Chaney had recovered and lived to make more films, once Hollywood's directors had grasped the demands of the new technology and learned to make slicker, more stylish movies that would have displayed his talents to better advantage.
The plot has been outlined in detail elsewhere, but briefly it involves the criminal career of a trio from the "carny" world: a ventriloquist called Professor Echo (Chaney) who masquerades as an old lady, a strongman, and a midget who disguises himself as a baby. A pet shop is the front for their activities. The trio is accompanied by a thief named Rosie, and a patsy named Hector they've employed who is unaware of their identities and plans. When a heist goes awry the members of the gang turn against each other, and violence erupts.
Based on my recent viewings I feel the silent version holds up best. This off-the-wall material plays better in the silent medium, though I found it surprising how similar the two films are when viewed consecutively. When Jack Conway took on directing chores for the remake he must have had a print of the 1925 version available for close study, because there are several sequences in which he follows Tod Browning's editing rhythms and scenic compositions almost exactly. (One example of the latter: the shadow images of the title characters' silhouettes, thrown onto a wall while they plot together.) Even the dialog in the talkie frequently quotes the silent version's title cards verbatim. The biggest change comes in the courtroom finale, where sound allowed the filmmakers to utilize Prof. Echo's vocal talents more creatively. The outcome of the trial is also different in the remake, and somewhat more believable; although the audience at MoMA was respectful toward both films the verdict in the silent version was greeted with a burst of laughter.
Why is the silent version the stronger of the two? Certainly Chaney gives a charismatic performance in both films, somehow carrying the viewer past numerous credibility stretchers through sheer force of personality. In the talkie version he demonstrates a fine voice, deep and a little raspy (possibly a result of his medical condition), not unlike Wallace Beery's. Chaney is terrific in both films and is the main reason to see the remake. The 1930 version follows the original so closely we can't blame the writers for going astray, nor are the film's shortcomings entirely the fault of director Conway, at least where visual style is concerned, for he followed Browning's original almost shot-for-shot. No, I believe the difference has to do with the aesthetic gulf between silent and sound film. We're willing to suspend disbelief when watching a silent movie: we'll accept crazy events in silent cinema that would be unacceptable, absurd, or even horrifying (in the wrong sense of the word) in the world of sound. Case in point: one of the most outlandish elements can be found at the pet store, where the proprietors offer birds, hamsters, rabbits -- and a dangerous gorilla, confined in a big cage. No one seems to consider the gorilla's presence unusual. In the silent version, we note this oddity and roll right along. But in the talkie, the gorilla is laugh-provoking; and it doesn't help that instead of the actual simian used in the silent film, the 1930 version features a man in a highly unconvincing ape suit, the sort of tatty-looking costume you'd expect to find in a Bowery Boys comedy.
Talkies aren't just silent movies with sound added, they're a new world with different rules, especially where pace is concerned. Early talkies tend to drag, and this one is no exception. Although the remake follows the original closely it feels slower because director Conway and his colleagues hadn't mastered the new medium; they hadn't yet developed that rat-a-tat editing tempo we find in the gangster movies and musicals produced just a year or two later. And although Chaney handled his dialog deftly some of his co-stars did not: both strongman Ivan Linow and "baby" Harry Earles speak with thick accents that are difficult to understand.
It's fascinating to see (and hear) Chaney in a talkie, but the remake is fairly slow going. The second Unholy Three is a film that requires patience for the average viewer, though it's a must for anyone with an interest in early talkies, the silent era, and, of course, its star performer. I only wish Lon Chaney had recovered and lived to make more films, once Hollywood's directors had grasped the demands of the new technology and learned to make slicker, more stylish movies that would have displayed his talents to better advantage.
The Unholy Three (1930) ****
JoeKarlosi4 February 2007
I had an afternoon free so I decided to watch the two versions of this Lon Chaney classic back to back, the original 1925 version directed by Tod Browning, and this later sound remake, which was directed by Jack Conway. It's the story of a crooked carnival ventriloquist (Lon Chaney) who teams up with the midget (Harry Earles) and strong man (Ivan Linow) for a series of robberies. Chaney dresses as an old woman and Earles plays a baby to perfect their scheme. In many ways this was a precursor to the popular Little Rascals/Our Gang short subject FREE EATS, where a couple of gangsters act as parents to a couple of little people dressed as infants, mistakenly referred to as "fidgets".
I thought this was a wildly entertaining story either way, though it's difficult to fairly judge one film or the other when they're viewed so close together like this. There are pros and cons to both movies for me, though I think I would give this 1930 sound re-do the edge over the previous silent. Of course, this rendition is notable not only for the fact that it's Lon Chaney's last film, but also that it's his one and only SOUND film. I found that I preferred Lila Lee in the role of Rosie O'Grady here as opposed to the silent actress, Mae Busch. I also thought this one had a better courtroom sequence, as well as a more satisfying wrap-up for an ending. The sound film moves more briskly, while the silent felt slightly overlong (though the other was still quite good, and well-directed).
It was an amazing treat to get to hear Chaney in his only talking film, and he actually sounded very much as I'd always imagined he would from his gruff exterior. It's essential to hear him doing the voice of the old woman, which was lacking in the original. On the other hand, it was sometimes difficult to always understand the dialogue spoken by Harry Earles (as Tweedledee the midget) and Ivan Linow (as Hercules the strong man). Jack Conway didn't do a bad job at all with this take, but I wouldn't be a bit surprised if most fans feel partial to the silent original just because it was directed by the legendary Tod Browning. My advice is to see them both! **** out of ****
I thought this was a wildly entertaining story either way, though it's difficult to fairly judge one film or the other when they're viewed so close together like this. There are pros and cons to both movies for me, though I think I would give this 1930 sound re-do the edge over the previous silent. Of course, this rendition is notable not only for the fact that it's Lon Chaney's last film, but also that it's his one and only SOUND film. I found that I preferred Lila Lee in the role of Rosie O'Grady here as opposed to the silent actress, Mae Busch. I also thought this one had a better courtroom sequence, as well as a more satisfying wrap-up for an ending. The sound film moves more briskly, while the silent felt slightly overlong (though the other was still quite good, and well-directed).
It was an amazing treat to get to hear Chaney in his only talking film, and he actually sounded very much as I'd always imagined he would from his gruff exterior. It's essential to hear him doing the voice of the old woman, which was lacking in the original. On the other hand, it was sometimes difficult to always understand the dialogue spoken by Harry Earles (as Tweedledee the midget) and Ivan Linow (as Hercules the strong man). Jack Conway didn't do a bad job at all with this take, but I wouldn't be a bit surprised if most fans feel partial to the silent original just because it was directed by the legendary Tod Browning. My advice is to see them both! **** out of ****
A little creaky but worth catching
preppy-323 January 2009
I never saw the 1925 silent so I won't compare them. A trio of circus performers--a ventriloquist (Lon Chaney), a midget (Harry Earles) and a strongman (Ivan Linow) leave the circus and, along with beautiful Rosie (Lila Lee), turn to crime to get rich. But not everything turns out like they hoped.
Lon Chaney's first talking film and, sadly, his last film. He died of cancer shortly after this was completed. Basically he's the whole show here. He was always a good actor who could change his appearance in incredible ways, but this movie showed he could change his voice too. He plays a old woman quite convincingly in this one. He overacts in all his roles but in a fun manner (like Vincent Price). The rest of the actors are just OK with Earles being completely incomprehensible! It's not his fault--early sound recording was never good. The plot moves quick but it's full of highly unlikely events. Wait till you see the animal Chaney gets! Still it's a good movie and worth seeing just to see Chaney in his only speaking--and last--movie.
Lon Chaney's first talking film and, sadly, his last film. He died of cancer shortly after this was completed. Basically he's the whole show here. He was always a good actor who could change his appearance in incredible ways, but this movie showed he could change his voice too. He plays a old woman quite convincingly in this one. He overacts in all his roles but in a fun manner (like Vincent Price). The rest of the actors are just OK with Earles being completely incomprehensible! It's not his fault--early sound recording was never good. The plot moves quick but it's full of highly unlikely events. Wait till you see the animal Chaney gets! Still it's a good movie and worth seeing just to see Chaney in his only speaking--and last--movie.
A macabre bedroom farce?
JasparLamarCrabb24 October 2009
Warning: Spoilers
The talkie version of Tod Browning's 1925 film is competently, if unimaginatively, directed by Jack Conway. Lon Chaney, brilliant in his final role, reprises his role of Echo, the criminal ventriloquist who, along with cronies Harry Earles and Ivan Linow, opens a pet shop specializing in "talking" parrots. Of course, they have nefarious intentions. Things are complicated when Chaney's pickpocket girlfriend Lila Lee falls in love with unsuspecting clerk Elliott Nugent. It's a twisted story, full of humor and suspense. The movie takes on the feel of a macabre bedroom farce as Chaney, in the guise of kindly old lady, frantically tries to dupe his patrons and the police. Lee is terrific (and fetching) as a hard-edged floozy and Nugent is appropriately naive. He looks a little like Harold Lloyd! Earles is effectively creepy but awfully hard to understand. When he dons a baby's gown and is pushed around in a carriage by Chaney, it difficult not to think he was the inspiration for WHO FRAMED ROGER RABBIT's tough talking Baby Herman. An undeniable classic.
Excellent Swan Song for Chaney
MisterMickey22 August 2005
Every great performer deserves a wonderful finish to their careers, and Lon Chaney got one with this remake of his 1925 classic. As a matter of fact, he topped the original, due to the fact that with sound, he was able to show his vocal versatility in addition to being The Man of a Thousand Faces. For each character he portrayed, he had differing voices, something he was (of course) unable to do in the silent era.
People have wondered what he could have done with Dracula, although it's been proved there was never any such proof Chaney was sought for the part. (Chaney was under contract to MGM, Dracula was made by Universal, and MGM wasn't about to loan out one of their top stars.) Still, MGM had some great films lined up for him, and more's the pity they never got made. No one's replaced him, nor will they.
People have wondered what he could have done with Dracula, although it's been proved there was never any such proof Chaney was sought for the part. (Chaney was under contract to MGM, Dracula was made by Universal, and MGM wasn't about to loan out one of their top stars.) Still, MGM had some great films lined up for him, and more's the pity they never got made. No one's replaced him, nor will they.
The Carnival Alliance
bkoganbing17 January 2009
For Lon Chaney's sound debut, MGM had him filming a remake of one of his silent classics, The Unholy Three. I wish that Victor McLaglen had not been replaced by Ivan Linow as the strong man and Lila Lee is a more hardboiled case than Mae Busch, but the chance to hear Lon Chaney and realize he could have had a great career in sound makes The Unholy Three worth viewing.
The title comes from a crack Chaney makes about him as the show ventriloquist, the strong man Linow, and the midget Harry Earles being an unusual gang. The three decide to pool their respective talents with Chaney being a master of disguise as a criminal gang. As a front they open Mrs. O'Grady's pet shop with Chaney in drag as little old Mrs. O'Grady.
The weakness of the plot is Lila Lee who knows very well what this crowd is up to. She's along for the ride and she falls for a true innocent in this film, Elliott Nugent. He clerks in the pet shop and when murder is committed during one of their heists, he's set up to take the fall for it.
However the film was done to display Chaney's talents in creating new makeup faces and to throw in the dimension of voice. Who would know that after this film was finished that voice was attacked by throat cancer and then stilled.
One thing I found interesting showing the problems of early sound. During Nugent's trial sequence a note is passed to his lawyer Crauford Kent and Nugent reads it and they discuss the contents. They should have been whispering and would have been later on in sound. But instead they talk in normal conversational tone that certainly would have disrupted the trial proceedings. The microphone obviously wasn't sensitive enough to pick up whispers and/or the actors weren't accustomed to sound to fake it.
Speaking of the trial, John Miljan who normally played villains in his career does good work as the District Attorney who unmasks literally, the whole criminal enterprise.
The Unholy Three was not the best film Chaney could have done to make a sound debut, still it's our only record of him on sound and he registers well in the new medium.
The title comes from a crack Chaney makes about him as the show ventriloquist, the strong man Linow, and the midget Harry Earles being an unusual gang. The three decide to pool their respective talents with Chaney being a master of disguise as a criminal gang. As a front they open Mrs. O'Grady's pet shop with Chaney in drag as little old Mrs. O'Grady.
The weakness of the plot is Lila Lee who knows very well what this crowd is up to. She's along for the ride and she falls for a true innocent in this film, Elliott Nugent. He clerks in the pet shop and when murder is committed during one of their heists, he's set up to take the fall for it.
However the film was done to display Chaney's talents in creating new makeup faces and to throw in the dimension of voice. Who would know that after this film was finished that voice was attacked by throat cancer and then stilled.
One thing I found interesting showing the problems of early sound. During Nugent's trial sequence a note is passed to his lawyer Crauford Kent and Nugent reads it and they discuss the contents. They should have been whispering and would have been later on in sound. But instead they talk in normal conversational tone that certainly would have disrupted the trial proceedings. The microphone obviously wasn't sensitive enough to pick up whispers and/or the actors weren't accustomed to sound to fake it.
Speaking of the trial, John Miljan who normally played villains in his career does good work as the District Attorney who unmasks literally, the whole criminal enterprise.
The Unholy Three was not the best film Chaney could have done to make a sound debut, still it's our only record of him on sound and he registers well in the new medium.
The swan song of an artist
BobLib27 February 2000
Make no mistake, Lon Chaney Sr. was one of the most talented and versatile actors in the history of American Film. And in this, his only completed sound film, he is brilliant. As Professor Echo he uses his own pleasant voice (William Holden's voice is a good comparison), while he effectively and believably changes his voice during his old lady disguise. One wonders if he knew he was terminally ill when he made this film. Several sound vehicles were planned for him: "Dracula" (Bela Lugosi became a star inheriting the Chaney part), "The Sea Bat" (Charles Bickford), "The Phantom of Paris" (John Gilbert), and "The Big House" and "The Bugle Sounds" (Wallace Beery, the former establishing him in sound films.). One can only wonder how any of these films would have been if Chaney had lived to complete them.
But Chaney's is not the only good performance here. Lila Lee and future director-screenwriter Elliott Nugent are both good as the young lovers, the former's scenes with Chaney being some of the best in the picture. And, just as much as he did in the silent version, midget Harry Earles conveys pure menace as the depraved dwarf Tweedledee, although a combination of early sound equipment and his thick German accent make many of his lines all but incomprehensible. Reducing that accent by half, he would do impressive work in "Freaks" and, of course, "The Wizard of Oz" later in the decade. The only other roles of any size fall to veteran character men Clarence Burton and John Miljan, and they prove themselves more than up to the task.
Probably the only way anyone will get to see this film, until MGM decides to release it on video, is on Turner Classic Movies, which is where I saw it recently. If you do see it, you're in for a rare treat.
But Chaney's is not the only good performance here. Lila Lee and future director-screenwriter Elliott Nugent are both good as the young lovers, the former's scenes with Chaney being some of the best in the picture. And, just as much as he did in the silent version, midget Harry Earles conveys pure menace as the depraved dwarf Tweedledee, although a combination of early sound equipment and his thick German accent make many of his lines all but incomprehensible. Reducing that accent by half, he would do impressive work in "Freaks" and, of course, "The Wizard of Oz" later in the decade. The only other roles of any size fall to veteran character men Clarence Burton and John Miljan, and they prove themselves more than up to the task.
Probably the only way anyone will get to see this film, until MGM decides to release it on video, is on Turner Classic Movies, which is where I saw it recently. If you do see it, you're in for a rare treat.
The Unholy Alliance....
simeon_flake23 March 2014
Renowned for being Lon Chaney's only talkie, the 1930 "Unholy Three" is a good picture that doesn't seem to be as static as some other early sound pictures I've seen. The only drawbacks to this one as compared to the silent version is that the love interests are not as good & as others have noted, it can be a bit difficult to understand what exactly Harry Earles is saying sometimes.
The big selling point to this feature was obviously getting to hear the great Chaney Sr. speak on camera for the first time & it's interesting to think where his career might have gone had he lived, although despite the popular fable that's been told for many years, Chaney would not have been playing Dracula at Universal Pictures. But that story has been told so many times, that most people seem to have accepted it as the gospel.
In any event, Lon Chaney proves he was more than capable of making the transition to sound pictures.
7.5 out of 10...
The big selling point to this feature was obviously getting to hear the great Chaney Sr. speak on camera for the first time & it's interesting to think where his career might have gone had he lived, although despite the popular fable that's been told for many years, Chaney would not have been playing Dracula at Universal Pictures. But that story has been told so many times, that most people seem to have accepted it as the gospel.
In any event, Lon Chaney proves he was more than capable of making the transition to sound pictures.
7.5 out of 10...
An Enjoyable Oddball Crime Melodrama
dkmce13 January 2005
Lon Chaney's only talkie would be worth seeing just to hear him him speak, (His voice sounds remarkably like the old TV and wrestling announcer, Dick Lane), but this oddball film is a hoot overall. Chaney spends nearly half the film in drag, disguised as an old lady, and his weird burglary scam involves himself (He's a tremendously unfunny ventriloquist) a dopey strongman and a vicious midget, running a pet shop as a cover, and then robbing their patron's homes after delivering their pets. Chaney uses his ventriloquism skills to sell suckers parrots that don't speak, a particularly gratuitous scam since why not just get parrots that do talk? Oh, and Chaney keeps a gorilla (Well, Charles Gemora in a particularly ratty gorilla suit) as a pet. There's the standard Chaney love triangle: Chaney loves his moll/accomplice Rosie, played by the very pretty Lila Lee, who was the mother of James Kirkwood, author of "A Chorus Line", and she loves an overwhelmingly namby-pamby nice young man named Hector, who is about as far from the Trojan hero Hector as you can possibly get. What Rosie sees in this simpering wimp, who is less masculine than she is, I can not imagine. Chaney smacks her about a bit (Okay, more than a bit. She plays one scene with his hand print still visible on her cheek. But come on, he goes to prison just to please her.) but he's at least a man. Elliot Nugent, who plays Hector, went on to direct many second-level comedy films, and to write several successful plays. Judging by his performance here, his career change was well advised. Harry Earles' midget character is the most vicious character, laughing at the memory of a pitiful victim pleading for his life, and mocking Rosie's grief, and even loosing the gorilla. Many have pointed out that Chaney's voice in this film is as supple as his make ups were, but the real revelation is how seamlessly he abandons the overplaying of silent cinema for the more realistic and restrained acting of sound film.
Lon Chaney Says Goodbye
wes-connors26 July 2009
This is most notable as MGM superstar Lon Chaney's last feature film - and only "talkie" - he succumbed to cancer at age 47, as it was being released. "The Unholy Three" (1925) was one of Mr. Chaney's greatest silent triumphs, and this version is an inferior re-make. However, Chaney is revealed to be in fine voice. He was ranked the #1 male "Box Office Star" 1928-29, according to the industry standard "Quigley Poll"; and, would have certainly continued to be successful. Chaney's illness doesn't seem to hurt his performance; and, he enhances his earlier characterization; note, for example, how Chaney's "Grandma" testifies for Elliott Nugent (as Hector McDonald).
While Chaney is fine, the film suffers in other areas. Most obviously, Harry Earles (repeating his role as Tweedledee) has not yet mastered the English language, and is often very difficult to understand (when he should be understood). And, the "Gorilla climax" sequence doesn't play as well in this version. In the original, as directed by Tod Browning, the gorilla was menacing; here, it's more humorous. Also, Chaney's treatment of Lila Lee (as Rosie O'Grady) seems too violent with sound. Watch him slap Ms. Lee so hard you can see the impression (make-up) on her left cheek. "I'll even take that from you, Echo," she replies.
Chaney's last words: "I'll send you a postal card."
******* The Unholy Three (7/3/30) Jack Conway ~ Lon Chaney, Lila Lee, Harry Earles, Elliott Nugent
While Chaney is fine, the film suffers in other areas. Most obviously, Harry Earles (repeating his role as Tweedledee) has not yet mastered the English language, and is often very difficult to understand (when he should be understood). And, the "Gorilla climax" sequence doesn't play as well in this version. In the original, as directed by Tod Browning, the gorilla was menacing; here, it's more humorous. Also, Chaney's treatment of Lila Lee (as Rosie O'Grady) seems too violent with sound. Watch him slap Ms. Lee so hard you can see the impression (make-up) on her left cheek. "I'll even take that from you, Echo," she replies.
Chaney's last words: "I'll send you a postal card."
******* The Unholy Three (7/3/30) Jack Conway ~ Lon Chaney, Lila Lee, Harry Earles, Elliott Nugent
Interesting, if improbable, tale in typical Chaney mode...
Doylenf13 January 2005
LON CHANEY delivers an interesting performance (especially when posing as a kindly old woman), but not even the great Chaney can overcome all the defects in this remake of the 1925 silent.
For starters, the performances around him include two extremely bad examples of early screen acting--from awkward Lila Lee and a young man who would later turn his talent to directing rather than acting--Elliot Nugent. Nugent has the hapless role of an innocent, naive young man and plays it in hopelessly nerd style--a foretaste, perhaps, of his Broadway role as the timid professor in THE MALE ANIMAL. Anyway, his is the weakest performance in the film with Lila not far behind.
The tale itself is interesting enough to hold the attention--and especially chilling is the malice (pure evil) displayed by Harry Earle as the malevolent midget. Unfortunately, most of his dialogue is unintelligible due to his German accent, something director Jack Conway should have noted.
Only real satisfaction is watching Lon Chaney in one of his last roles. He is excellent and makes it painful to realize he was fighting throat cancer while filming was underway. A better script, production values, and tighter direction by Conway would have worked wonders to make this tale more chilling and believable.
Summing up: At best, it is an interesting example of Chaney's considerable talent despite the primitive acting technique displayed by Lila Lee and Elliot Nugent. Nugent's performance makes one grateful he switched to directing later in his career, with more satisfying results.
For starters, the performances around him include two extremely bad examples of early screen acting--from awkward Lila Lee and a young man who would later turn his talent to directing rather than acting--Elliot Nugent. Nugent has the hapless role of an innocent, naive young man and plays it in hopelessly nerd style--a foretaste, perhaps, of his Broadway role as the timid professor in THE MALE ANIMAL. Anyway, his is the weakest performance in the film with Lila not far behind.
The tale itself is interesting enough to hold the attention--and especially chilling is the malice (pure evil) displayed by Harry Earle as the malevolent midget. Unfortunately, most of his dialogue is unintelligible due to his German accent, something director Jack Conway should have noted.
Only real satisfaction is watching Lon Chaney in one of his last roles. He is excellent and makes it painful to realize he was fighting throat cancer while filming was underway. A better script, production values, and tighter direction by Conway would have worked wonders to make this tale more chilling and believable.
Summing up: At best, it is an interesting example of Chaney's considerable talent despite the primitive acting technique displayed by Lila Lee and Elliot Nugent. Nugent's performance makes one grateful he switched to directing later in his career, with more satisfying results.
Nearly the Same as the Original...and Fun
Hitchcoc10 March 2017
Sad to know that as Lon Chaney crossed over into sound film, he was already dying. The Man of a Thousand Faces went out with a really decent remake of a silent film he had starred in five years previously. Chaney again plays Echo, the leader of a group of minor felons, whose petty crimes against clients don't bring the big guns after them. Until, of course, murder of a wealthy man takes place. The fact that there are all these people (one of them clueless) makes it hard to keep them under control. And, then, having a gorilla around could complicate away situation. The thing most memorable for me is the courtroom scene. I found it superior to the silent one (but that may not be fair because sound really gives us more flexibility). Good acting and wonderful characters.
Why doesn't my parrot talk?...
AAdaSC7 December 2018
....I hear you ask. Well, it's because you bought it from the Unholy Three. They comprise of ventriloquist and gang leader Lon Chaney (Echo), midget Harry Earles and strongman Ivan Linow (Hercules) and they have set up a pet store. Also in on the scam is Lila Lee (Rosa) who enjoys a pickpocket or two and is loosely Chaney's partner. This gang have a sideline in robbing their clients and the method they use is suited only to a film where you suspend belief and look at the funny side of life. "Always look on the bright side of life" sang Monty Python, and they also acted out a famous parrot sketch which would have fitted into this film. Things go wrong for the Unholy Three when a love interest for Lila in the annoyingly innocent Elliott Nugent (Hector) gets in the way of the good work planned by Chaney.
The film is entertaining and funny, and has laugh out loud moments, especially from the midget. Check out that first scene when we see him smoking a cigarette. And also when he is in a customer's house in a pram looking around for treasures to steal. He's a baby staking out the joint and it is very funny. However, set this aside the fact that his diction is terrible and you can never understand what he is saying and the film has to lose a mark. In contrast to the humour he provides, he is also sinister, conniving and scarily evil. He is very good in the role. Chaney and Lila Lee are also good in their roles. Chaney effortlessly glides into old lady mode and his voice does not betray him. Well, almost not....
The film is entertaining and funny, and has laugh out loud moments, especially from the midget. Check out that first scene when we see him smoking a cigarette. And also when he is in a customer's house in a pram looking around for treasures to steal. He's a baby staking out the joint and it is very funny. However, set this aside the fact that his diction is terrible and you can never understand what he is saying and the film has to lose a mark. In contrast to the humour he provides, he is also sinister, conniving and scarily evil. He is very good in the role. Chaney and Lila Lee are also good in their roles. Chaney effortlessly glides into old lady mode and his voice does not betray him. Well, almost not....
Lon Chaney: "The Man of a Thousand Voices"?
Namista11 December 1998
"The Unholy Three" was the last film made by the great Lon Chaney -- and the only talking film which he completed before his untimely death at age 47. Chaney is nothing less than marvelous as "Echo", the sideshow ventriloquist who forms a criminal collaboration with a midget (Harry Earles) and a strongman (Ivan Linow).
After fleeing a carnival bust, this threesome sets up a burglary ring with Echo also posing as an old lady pet shop owner. The gang also recruits Rosie (Lila Lee) as the sexy "granddaughter". This front works well enough for the gang until one of Rosie's suitors (Elliott Nugent) naively and innocently undermines the gang's unity.
This is a very enjoyable film, which has nice comic touches and some racy, pre-Code dialougue. The best scenes involve "Grandma" (Chaney in drag is a hoot!) fighting with the gang as the old lady. Other priceless scenes include "Baby" (Earles) casing a wealthy home ("pretty beads...) and where the gang eludes the police inspector watching Baby play around the Christmas tree ("my cow, gimme my cow!...). Very funny stuff.
This film is highly recommended to all film buffs -- and in particular, to fans of Lon Chaney. The real pleasure of course, is Chaney, who adds several vocal textures to his already incredible repertoire. He not only is the voice of Echo, but also "Grandma", a sideshow dummy, and a parrot! It is indeed a shame that we could not have had more from this incredible talent ...
After fleeing a carnival bust, this threesome sets up a burglary ring with Echo also posing as an old lady pet shop owner. The gang also recruits Rosie (Lila Lee) as the sexy "granddaughter". This front works well enough for the gang until one of Rosie's suitors (Elliott Nugent) naively and innocently undermines the gang's unity.
This is a very enjoyable film, which has nice comic touches and some racy, pre-Code dialougue. The best scenes involve "Grandma" (Chaney in drag is a hoot!) fighting with the gang as the old lady. Other priceless scenes include "Baby" (Earles) casing a wealthy home ("pretty beads...) and where the gang eludes the police inspector watching Baby play around the Christmas tree ("my cow, gimme my cow!...). Very funny stuff.
This film is highly recommended to all film buffs -- and in particular, to fans of Lon Chaney. The real pleasure of course, is Chaney, who adds several vocal textures to his already incredible repertoire. He not only is the voice of Echo, but also "Grandma", a sideshow dummy, and a parrot! It is indeed a shame that we could not have had more from this incredible talent ...
Chaney speaks!
Hey_Sweden15 May 2023
Warning: Spoilers
A sound remake of a silent Lon Chaney vehicle, "The Unholy Three" takes full advantage of his talents. His principal role is that of "Echo", a circus ventriloquist who forms an underworld trio with Hercules the strongman (Ivan Linow) and an unnamed little person (Harry Earles from "Freaks"). They go on to run a pet store while still dabbling in criminal schemes behind the scenes; their earnest employee Hector (Elliott Nugent) falls in love with Echos' gal pal Rosie (Lila Lee).
Although no classic, "The Unholy Three" is generally good fun: snappy, witty, often very funny. It's true that Chaney is far and away the most talented individual on screen, as he adopts the guise of a sweet old grandmother figure (Mrs. O'Grady), and performs several voices. That said, Lee provides an enjoyable amount of sass, and Nugent is likeable as the nice guy who becomes the fall guy. Earles is reasonably amusing, but is very hard to understand most of the time.
Mostly a comedy, this does have some good moments of tension, such as when an investigating detective (Clarence Burton) comes very close to discovering some purloined jewels. Director Jack Conway also does some entertaining scenes involving shadows. As for the plot, it does hew pretty close to the silent original, with the resolution reworked to take advantage of the advent of sound.
This is a landmark film in two important ways: it was the only "talkie" of Chaney's career, and unfortunately, it was also his swan song; he died of throat cancer mere weeks after the release. It would have been interesting to see his career continue further into the sound era; as it was, he was slated to play the title role in Universals' production of "Dracula" before his untimely passing. And he is a total hoot in this picture, delivering the laughs as well as some subtle menace and, perhaps, even a conscience. It's fascinating to actually hear his voice.
Seven out of 10.
Although no classic, "The Unholy Three" is generally good fun: snappy, witty, often very funny. It's true that Chaney is far and away the most talented individual on screen, as he adopts the guise of a sweet old grandmother figure (Mrs. O'Grady), and performs several voices. That said, Lee provides an enjoyable amount of sass, and Nugent is likeable as the nice guy who becomes the fall guy. Earles is reasonably amusing, but is very hard to understand most of the time.
Mostly a comedy, this does have some good moments of tension, such as when an investigating detective (Clarence Burton) comes very close to discovering some purloined jewels. Director Jack Conway also does some entertaining scenes involving shadows. As for the plot, it does hew pretty close to the silent original, with the resolution reworked to take advantage of the advent of sound.
This is a landmark film in two important ways: it was the only "talkie" of Chaney's career, and unfortunately, it was also his swan song; he died of throat cancer mere weeks after the release. It would have been interesting to see his career continue further into the sound era; as it was, he was slated to play the title role in Universals' production of "Dracula" before his untimely passing. And he is a total hoot in this picture, delivering the laughs as well as some subtle menace and, perhaps, even a conscience. It's fascinating to actually hear his voice.
Seven out of 10.
I like it... it's unholy....
boris-267 November 2001
Why this wonderfully crazy film from 1930 isn't more readily available is a total sin. Of course, THE UNHOLY THREE (1930) is most famed for the only time we can hear the great silent horror star Lon Chaney speak. When he speaks, this rather gruff, but ordinary voice comes out. I sat there thinking "That's Quasimoto, Eric the Phantom, Dead Legs Flint, and that's what Dracula would of sounded like if Chaney lived to get the part? Wow!")
The film is really out of control. Three out of work circus performers (Chaney, midget Harry Earles and strongman Ivan Linow) decide to become a trio of jewel thieves. Midget Earles has the best dialog, delivered in a squeaky voice- "I like it" (meaning the plan) "It's unholy!" This motley trio decide to disquise themselves very outlandishly (Chaney as an old woman, Earles as a cooing baby) They couldn't just lay low, or take assumed names? They had to resort this sort of lunacy? Lila Lee is also a wonderful treat here. Why didn't she do more talkies?
The film is really out of control. Three out of work circus performers (Chaney, midget Harry Earles and strongman Ivan Linow) decide to become a trio of jewel thieves. Midget Earles has the best dialog, delivered in a squeaky voice- "I like it" (meaning the plan) "It's unholy!" This motley trio decide to disquise themselves very outlandishly (Chaney as an old woman, Earles as a cooing baby) They couldn't just lay low, or take assumed names? They had to resort this sort of lunacy? Lila Lee is also a wonderful treat here. Why didn't she do more talkies?
Lon Chaney carries his 1st and only Talkie
ksf-25 August 2017
This one is interesting for several reason -- the last film of Lon Chaney (he died after this one), the only Talkie for Long Chaney. One really interesting note: of all the films made by Chaney, over 100 of them are lost completely. Sad. "Hector" is played by Elliot Nugent, who would go on to direct Bob Hope in a whole bunch of comedies. Hector's girlfriend "Rosie" (Lila Lee) is hooked up with a gang of thieves, who ostensibly run a pet shop. The midget, and the cross-dressing "Echo" (Cheney) get into peoples' homes and make off with the jewelry, but the cops may be onto them. But Hector has really fallen for Rosie. And the midget pretends to be a baby.... its all a little creepy, and for some reason, they have a gorilla from the circus. The midget is singing some weird song, and everyone is crying. It's all pretty wack. The last ten minutes are the court trial, and it really drags....so S L O W.... until it all hits the fan, right at the end. Directed by Jack Conway, who had been there right at the beginning of film --- was an actor in "Old Soldier's Story 1909, acc to wikipedia. Plot-wise, this one, "Unholy Three" is just okay, but historically, it's even more interesting. Shown now and then on Turner Classics. It IS available on amazon in several different formats... Interesting, if only to see Lon Chaney at the end.
Lon Chaney's one-man (and woman, and parrot) show
gridoon202424 September 2023
Warning: Spoilers
"The Unholy Three" was Lon Chaney's only appearance in a talkie; based on this evidence, he was heading for a long successful career in talkies which his premature death cut off. He is a versatile actor who commands the screen. Cute Clara Bow-ish Lila Lee also gives a multi-faceted performance and is another one of the bright spots of the film. The premise, although done once before in the silent era (with Chaney in the same role) is original, there are some clever moments (particularly one involving a toy elephant and one involving a letter), and a memorable climax with a rampaging gorilla. The problems are a slow-moving script, Jack Conway's generally static direction (although there are some exterior shots), and Harry Earles' almost entirely uninitelligible dialogue delivery - though, to be fair, when he is required to act in silence or make baby noises, his performance is just fine. **1/2 out of 4.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
