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Paul Leni's The Man Who Laughs by Paul Leni
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DVD Cover InformationActor: Brandon Hurst, Conrad Veidt, Julius Molnar Jr., Mary Philbin, Olga Baclanova Director: Paul Leni Producer: Paul Kohner Writer: Charles E. Whittaker Writer: J. Grubb Alexander Writer: Marion Ward Writer: May McLean Writer: Victor Hugo Writer: Walter Anthony DVD: Region Code 1 Audio: English (Original Language); Japanese (Dubbed) Format: Black & White, DVD-Video, NTSC, Silent Picture Format: 1.33:1 Running Time: 110 minutes DVD Release Date: 2003-09-30 Audience Rating: NR (Not Rated) Studio: Kino Video
Movie Reviews of Paul Leni's The Man Who LaughsMovie Review: Silent German Expressionism meets (and is trampled by) Hollywood Summary: 3 StarsIn concept, the whole thing must have sounded very exciting. Bring together one of Germany's greatest expressionist actors, an up and coming expressionist director, an astonishing grotesque premise from a renowned author, and bring them all under the control of a big budget Hollywood studio, complete with a hot Hollywood star sharing the lead. Unfortunately, "The Man Who Laughs" fails to merge these influences successfully.
The film begins to suffer from an identity crisis in the first two scenes. In the first, a very Hollywood scene depicts the introduction of the over-the-top villain and a transparent back-story, all set to an annoyingly direct score, intended to shock the heart rather than stir the soul (it fails in both accounts, anyway). However, the second scene, in which we meet young Gwynplaine, is perhaps the most gorgeous piece of German expressionism that has ever been committed to film. The lighting, framing of shots, scenery, acting, ambient sounds, and stunningly sensitive score all dazzle the soul and senses, leaving one to crave more.
Unfortunately, no other scenes matching the quality and tone of this one are to be found in the film. As it progresses, things seem to deteriorate further and further, beginning with Mary Philbin depicting the adult Dea. Philbin is quite beautiful but, in typical Hollywood style, doesn't seem expected to actually do any acting. This is not to say that all or most early Hollywood actors couldn't act, but rather that acting ability was rarely as important as a memorable name and pleasing face. The only acting Philbin attempts to do in this film comes when her default look of mildly amused complicity turns to a frown from time to time. This is severely disappointing when the film arrives at moments that are clearly intended to be touching (the false Gwynplaine performance immediately comes to mind). As a central focus of the film, Philbin expends little effort, therefore undoing so much of the magic that Veidt, Leni, and even Cesare Gravina (Ursa) work so hard to create.
The film just continues to disintegrate from there. In a strange mixing of Germany and Hollywood, it's often unclear when the film is trying to be dark and when it's looking for cheap, light laughs. At best, the story that unravels could be considered a romantic tragi-comedy, but it's sometimes hard to tell what mood Leni is going for -- the bright cheer of Hollywood or the dark recesses of German expressionism. One thing is for sure, though. There are no elements of horror in this film at all, and apart from Gwynplaine's face, there are no grotesque elements either. The fact that "The Man Who Laughs" manages to get grouped into these categories undoubtedly owes more to the sinister movie poster than the film, itself.
As the film reaches its climax, it becomes clear that American influence has ruined any chance for this film's redemption. Gwynplaine suddenly becomes a Hollywood swash-buckler, fencing with nobles and leaping across roofs. He is aided by his loyal canine companion, who always seems to show up in the knick of time, doing the most amazing tricks to assist the good guys in their plight. This all seems gratuitous and disingenuous to a film that was already wavering under the weight of too many American-sensible impositions. In typical Hollywood style, even Hugo's powerful ending is changed to provide a light-hearted romantic conclusion.
I don't mean to imply that Hollywood of the 1920s was only good for turning out feel-good tripe. Who could forget classics like John Barrymore's Dr. Jekyll & Mr. Hyde, or Lon Chaney's The Hunchback Of Notre Dame? Still, a very populist and non-artistic American sensibility clearly raped the production of this film, whether it came from the Hollywood producers, themselves, or from a misguided attempt on the part of a young German filmmaker to please his new audience.
Finally, this mess of a film is the product of another meeting of two worlds that is worth discussing. "The Man Who Laughs" was produced right at the tail end of the silent film era, when films with audio were already beginning to appear on the scene. Though it seemed impossible to exploit this new frontier when Veidt was clearly incapable of speaking while his mouth was harnessed into an exaggerated smile, a bold decision was made. "The Man Who Laughs" was released with an audio track containing synchronized scoring and ambient sounds, even while containing none of the actor's lines nor voices. This experiment is fascinating to watch eighty years later and, while I feel that it fails to work throughout most of the film, it certainly does have its moments.
All in all, this is a film worth seeing for Conrad Veidt's performance, the film's experimental audio track, and that unforgettable second scene. However, there's little else in terms of visuals, story, acting, or composition to make this film worth watching. Enjoy it once; then leave it for the dust bunnies.
Summary of Paul Leni's The Man Who LaughsStudio: Kino International Release Date: 09/30/2003 Run time: 110 minutes
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