Included in this profile's music playlist are versions of some of my old, personal favorites. For songs relating (at times, loosely) to me as a performer, please visit Lon Chaney's Profile at Project Playlist and the music profile of Twisted Victrola.
Movies
The Unholy Three, Thunder, Where East Is East, West of Zanzibar, While The City Sleeps, Laugh Clown Laugh, London After Midnight, The Unknown, Mr. Wu, Tell It To The Marines, The Road To Mandalay, The Phantom of The Opera, He Who Gets Slapped, The Hunchback of Notre Dame, Shadows, Oliver Twist, Flesh and Blood, The Ace of Hearts, The Penalty, The Trap, The Miracle Man, to name quite a few.
Television
...didn't exist during my lifetime, but I do have my own YouTube Channel! (Click the colored text to go there.)
Books
Makeup (entry for the 1929 edition of Encyclopedia Britannica), The Art of Make-Up For Stage and Screen (preface to 1927 book by Cecil Holland), The Trap (1922 story), The Chimney's Secret (1915 script), The Oyster Dredger (1915 script), Her Escape (1914 script), The Tragedy of Whispering Creek (1914 script), The Menace to Carlotta (1914 script), The Little Tycoon (1902 play by Jonathan and Lon Chaney). Also, I am fond of the writings of Ralph Waldo Emerson, Alexandre Dumas and H. G. Wells.
Heroes
My parents, Hazel Hastings, Noble Johnson, William S. Hart, Frank McCloskey, William J. Burns, Alfred A. Grasso, Joseph De Grasse, Charley Alphin, Walter F. Whipple, Gen. Smedley D. Butler, U.S.M.C.; Honest and Dedicated Artists, Workers, Servicemen and Laborers Everywhere
VARIOUS STUDIOS The Los Angeles Area & Other Cities, CA US Actor-Director-Writer-Makeup Artist-Choreographer Motion Picture Division
1912 to 1930
THE KOLB & DILL COMPANY Touring Los Angeles, San Francisco & Other Cities, CA & Western US Manager-Choreographer-Performer
1912 to 1913
FISCHER'S FOLLIES / FISCHER'S LYCEUM THEATRE 227 S. Spring Street, Los Angeles, CA US Actor-Choreographer-Singer-Dancer-Stage Manager
1912
THE MAX DILL COMPANY Touring San Francisco & Other Cities, CA US Performer-Choreographer-Costumer-Manager
1911 to 1912
THE FERRIS HARTMAN MUSICAL COMEDY & OPERA COMPANY Touring Los Angeles, San Francisco & Other Cities, CA US Performer-Choreographer
1910 to 1911
THE GRAND OPERA HOUSE COMPANY 203 E. 4th Street, Santa Ana, CA US Actor-Comedian
1910
THE CHARLES ALPHIN AMUSEMENT COMPANY / THE OLYMPIC THEATRE 523 S. Main Street, Los Angeles, CA US Tabloid Musical Comedy Performer
1910
THE COMPANY OF "THE GIRL IN THE KIMONO" Chicago & Other Cities, Midwestern US Stage Manager
1909
THE TOURING COMPANY OF "THE ROYAL CHEF" & "A KNIGHT FOR A DAY" Various Cities Throughout Canada, CA Actor-Choreographer-Singer-Dancer-Stage Manager
1909
THE TOURING COMPANY OF "THE BEGGAR PRINCE" Chicago & Other Cities, Midwest US; Mining Camps from Halifax to Vancouver CA Actor-Choreographer-Singer-Dancer-Stage Manager
1909
THE TOURING COMPANY OF "THE COWPUNCHER" Chicago & Other Cities, Midwestern US Barnstorming Actor-Singer-Dancer
1909
A. BROWN PAINTS, OILS & WALLPAPER 114 N. Tejon Street, Colorado Springs, CO US Salesman-Carpet Layer-Painter
1908
THE COLUMBIA MUSICAL COMEDY REPERTORY COMPANY Touring Various Cities, Midwestern US Performer-Choreographer-Costumer-Transport Manager
1906 to 1907
STREET & HARPER FURNITURE & CARPET COMPANY / TULL'S GRAND RAPIDS FURNITURE COMPANY 123 W. Grand Avenue, Oklahoma City, OK US Rug Department Manager-Carpet Layer-Decorator
1905 to 1906
THE COLUMBIA MUSICAL COMEDY REPERTORY COMPANY Touring Various Cities, Midwestern US Performer-Choreographer-Costumer-Manager
1904 to 1905
SELF-EMPLOYED Los Angeles, San Francisco & Other Cities, Western US Street Performer-Eccentric Dancer
1904
THE CASINO OPERA COMPANY / THE COLUMBIA MUSICAL COMEDY REPERTORY COMPANY Colorado Springs & Other Cities, Midwestern US Actor-Singer-Dancer
1903 to 1904
THE COLORADO SPRINGS OPERA HOUSE 18 N. Tejon Street, Colorado Springs, CO US Stagehand (Full-time)-Actor
1902 to 1903
A. BROWN PAINTS, OILS & WALLPAPER 114 N. Tejon Street, Colorado Springs, CO US Carpet Layer-Wallpaper Hanger-Painter
1900 to 1902
CORDES & FELDHAUSER CARPET COMPANY 1537-1543 Lawrence Street, Denver, CO US Shade Man
1898 to 1900
THE COLORADO SPRINGS OPERA HOUSE 18 N. Tejon Street, Colorado Springs, CO US Prop Boy-Stagehand (Off & On Part-time)
1896 to 1902
THE MANITOU & PIKE'S PEAK COG RAILWAY Colorado Springs, CO US Tour Guide (Off & On During Summers)
1896 to 1902
Lon Chaney wishes everyone a joyous Christmas. Posted 22 hours ago view more
I was born Leonard Frank Chaney, the second of five children, to Frank Hugh and Emma Alice Kennedy-Chaney (both deaf mutes) on April 1, 1883. (Yes, April Fools' Day!) Leonidas (an uncle on my father's side), Alonso and Lon (pronounced Loan) are stage names. I am the proud father of Creighton Tull Chaney (a.k.a., Lon Chaney, Jr.) who, like his pop, caught the acting bug; and the very proud great-great-grandfather of Nick Kalionzes, Editor-in-chief of Bl!sss Magazine, who inherited my fondness of writing, sports and the great outdoors.
I am of English, French and Irish descent. I stand 5' 10" tall, weigh 165 lbs. (give or take), and my hair and eyes are brown. I sing baritone, tell a mean joke, cut an even meaner rug, read lips (and some say "minds"), eat fire and I am fluent in American Sign Language. Although I am best known for my horror roles, they comprise less than 4% of my body of work.
In my early stage career, I understudied for versatile performer and musical comedy star Fred Stone, from whom I learned quite a bit. A decade my senior, we had some things in common and both our fathers were barbers. I am also an admirer of the work of actor William H. Crane.
I began in movies by working as an "extra," an uncredited background, minor and bit player. Between 1912 and 1930, I acted in more than 160 motion pictures. Only a small fraction of them remain in existence today.
Known on stage and screen as "The Man of a Thousand Faces," I call my specialty "extreme characterization." Despite how wretched and anguished some of my roles may appear, the reports of me enduring excruciating pain for my art are wildly exaggerated. A former dancer and avid outdoorsman, I maintained a strong, lean physique and was very flexible. Of course, I got injured occasionally; and some makeup and wardrobe effects were more uncomfortable than others. However, at no time did I ever resort to self-torture.
If it can be said that I had any vices at all, the greatest of them was smoking (and you know how that turned out) -- and I had an occasional drink during prohibition.
For my role as Quasimodo in "The Hunchback of Notre Dame," I fashioned my character's hump out of plaster and cotton. It strapped on much like a backpack and weighed less than 10 lbs. The sensational reports of it being made of rubber and weighing in excess of 50 lbs. are completely false. Now, as for the bodysuit....
In 1924, my movie, "He Who Gets Slapped," was the first picture to go into production at newly-formed Metro-Goldwyn-Mayer Studios. During that time, made up as Jesus Christ, I posed for MGM Still Photographer Clarence Sinclair Bull. Unfortunately, all but one print from the session have been lost.
The all-talking, all-singing, all-dancing "Hollywood Revue of 1929" featured every contract player on the MGM lot, except Greta Garbo, Ramon Novarro and me. While I cannot speak for my colleagues, I refused to do it! Nevertheless, I did not escape appearing in the picture entirely. In Act II, Vaudevillian and Composer Gus Edwards sings the song, "Lon Chaney's Gonna Get You, If You Don't Watch Out."
Incidentally, I am mentioned also in the songs: "Werewolves of London," "(Go To) California," "Lon Chaney" (by Chickasaw Mudd Puppies, The Ackleys, Paul Roland, Vetiver), "Blind Date," "Taking Up Serpents Again," "Me Am Your Lon Chaney," "Legends," "Foxy Foxy," "We Love Our Monsters," "Waltz For Lon Chaney," "Lon Chaney Moon," "Crazy 'Bout Lon Chaney," "Letter From Belgium" and a version of "The Animaniacs Theme." I appear (as Quasimodo) in Cyndi Lauper's 1983 music video, "Girls Just Wanna Have Fun"; and Vox Lumiere has staged original musical productions to my films, "The Hunchback of Notre Dame" and "The Phantom of the Opera."
By the way, it is actually my handwriting seen on the threatening notes penned by Erik The Opera Ghost, in the aforementioned movie.
My first and only talking picture is the 1930 remake of one of my earlier films, "The Unholy Three." In it, not only do I play Professor Echo and Mrs. O'Grady, I supply the voices for three other characters. At a time when many actors' careers were crumbling due to their inability to transition into sound, my versatility was considered so remarkable that the studio made me attest by signed declaration:
"I, LON CHANEY, being first duly sworn, depose and say: In the photoplay entitled 'The Unholy Three' produced by Metro-Goldwyn-Mayer Corporation, all voice reproductions which purport to be reproductions of my voice, to wit, the ventriloquist's, the old woman's, the dummy's, the parrot's and the girl's, are actual reproductions of my own voice, and in no place in said photoplay or in any of the various characters portrayed by me in said photoplay was a 'double' or substitute used for my voice. Subscribed and sworn to before me, this 19th day of May, 1930, J. L. Hendrickson, Notary Public in and for the county of Los Angeles, State of California."
Because the characters are played with such intense conviction, few people realize that "The Unholy Three" is actually somewhat of a dark comedy, rather than a serious crime drama. My performance in the film's latter version affords me the distinction of being the next-to-the-last silent movie actor to speak on-screen, with Charles Chaplin being the sole hold-out.
My personal favorite of my roles is that of Tito Beppi/Flik, the clown who loves the girl who loves someone else, in "Laugh, Clown, Laugh." Also, the picture's theme is one of my favorite songs.
Extremely publicity-shy and protective of my privacy, it is I who first began the now standard practice among actors of wearing sunglasses to conceal one's identity.
My usual (and favorite) attire is a dark blue suit and red tie topped off with a cap or hat (size 7¼, 7⅜ with wig). Extremely nearsighted, I wear prescription spectacles off-camera.
Now and then, I experience back trouble.
I refer to any trashcan in or near my dressing room as my "high-priced secretary." My favorite sandwich is bacon, tomato and cheese.
A boxing fan, I could be found almost every Friday night attending matches at the Hollywood Legion Stadium. And speaking of Southern California landmarks, the famous City Hall building in downtown Los Angeles made its screen debut in my picture, "While The City Sleeps"; and I am a founding member of the Hollywood Athletic Club.
Were it not for my untimely passing, Bela Lugosi and Boris Karloff might have had very different acting careers. There was word of me playing Dracula and I was first choice for Frankenstein's monster. But my next talking picture scheduled for MGM was the drama/mystery "Chéri-Bibi." (It was released later as "The Phantom of Paris," with John Gilbert -- my favorite actor in the whole, wide world [sarcasm] -- in the lead.)
I have never liked the use of the word "extra" to define a minor, bit or uncredited player. In the business of making motion pictures, these hard-working performers are not additional, they're essential. Many a skilled actor has risen from their ranks.
Footage of me appears in "Kongo," MGM's 1932 talkie remake of "West of Zanzibar," starring Walter Huston. I'm the crawling paraplegic in the witch doctor mask. In 1981, as Erik The Phantom, I frighten theater patrons from their seats again in the "Slow Boat to Madness: Part 2" episode of television's "Quincy M.E."
Although attributed to actor James Cagney, the expression "you dirty rat" was originally a line from my picture, "Outside The Law."
My star on the Walk of Fame, bestowed sometime after 1960, is at 7046 Hollywood Boulevard. While I've never won an Oscar, I am the first actor to receive a special award from The United States Marine Corps, granted for my work as hard-nosed Sergeant O'Hara in "Tell It To The Marines." Throughout the film, I wore absolutely no makeup whatsoever, primarily for the sake of realism.
I am charter member #75 of the Academy of Motion Picture Arts and Sciences; a proud, dues-paying lifetime member of the Stagehands Union (now the International Alliance of Theatrical Stage Employees) and a life member of the Motion Picture Relief Fund of America (now the Motion Picture and Television Fund). In addition, I received an honorary membership in the Brotherhood of Locomotive Engineers for my work in "Thunder."
When the mood strikes me, I like to sing and dance on set between takes. I had no intention of ever retiring.
In 1986, the Little Theatre in the historic Colorado Springs City Auditorium was renamed The Lon Chaney Theatre. Until 2008, it served as venue for the town's oldest theatrical company, The Star Bar Players; and is now home to AlleyCat Theatrics, a children's performing workshop.
In the 2002 comedy, "Jackass: The Movie," actor/idiotic stuntman Johnny Knoxville claims to have been my lover. It should be noted that he was knocked unconscious several times, during the making of this picture, as well as punched in the head by a professional boxer.
The great grandson of United States Congressman John Chaney (1790-1881) from Ohio (and who served with Davy Crockett), I am an extremely distant relative of President Barack Obama and former Vice President Dick Cheney, the latter of which is a man of only two faces.
My famous makeup case, along with several other of my possessions, can be seen periodically on display as part of the permanent collection at the Natural History Museum of Los Angeles County. These items were donated to the museum by my wife.
If you are an avid fan of my work, you may wish to read this profile's current blog entries and peruse its archives. It contains an ever-growing wealth of articles by and about me and related subjects. Also, you might like to visit: www.LonChaney.com, The Internet Movie Database and Wikipedia.
I'll work more on this profile, when I have time -- and I have all eternity. Finally, I'd like to offer a suggestion to those searching diligently for my film presumed lost, "London After Midnight." Try looking for it under the titles: "The Hypnotist," "Um Mitternacht," "London Nach Mitternacht," "Der Vampyr," "Londres Après Minuit," "Londres Depois Da Meia-Noite," "Laukaus Yössä," "Il Fantasma Del Castello" and "La Casa De Horror."
And while you're at it, please look for "The Miracle Man" (a.k.a. "El Milagro"). While not nearly as widely known as "London After Midnight," it is a far better picture.
Who I'd like to meet: Fans and lovers of my work and the art and craft of filmmaking, especially those with personal and artistic integrity.
Don't be afraid. I won't hurt you. Contrary to the popular expression of the 1910s through 1920s, "Lon Chaney" isn't "going to get you." Although, you should always remember, "Don't step on it. It might be Lon Chaney!"
Be my friend.
NOTE: The images displayed on this profile and in its albums have been created expressly for this profile from the owner's private collection, donated to this profile by other collectors and/or are used with permission. Please do not copy or download these images. Thank you.
PLEASE, CHECK YOUR NEWSPAPER'S CALENDAR LISTINGS FOR SCREENINGS OF MY MOVIES. (I hope you can attend.)
"In the vein of Solaris, K-PAX
and The Man Who Fell to Earth,
PROXIMA is a refreshing film full of wonder."
(LONDON SCI-FI FESTIVAL)
"If you’re looking for something different
in science fiction from your traditional lasers
and alien monsters, check out
Carlos Atanes’s PROXIMA.
Remember Proxima is not just a place,
it’s a state of mind… literally."
(NIC BROWN, B MOVIE MAN)
