Lon Chaney

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Lon Chaney

Lon Chaney junior (* Februar in Oklahoma City; † Juli in San Clemente, Kalifornien; eigentlich Creighton Tull Chaney) war ein. Lon Chaney ist ein amerikanischer Schauspieler, Make-Up. Entdecke seine Biographie, Details seiner 71 Karriere-Jahre und alle News. fast surrealistisch anmutenden Vorstellung, gerät dies insbesondere im Hinblick auf Lon Chaney in eine zusätzliche Schieflage. 10 Angespielt wird mit solchen.

Lon Chaney Inhaltsverzeichnis

Lon Chaney war ein US-amerikanischer Schauspieler der Stummfilmära. Berühmt wurde er vor allem als Darsteller gequälter und grotesker Figuren wie dem Glöckner von Notre Dame oder dem Phantom der Oper, denen Chaney darstellerische Tiefe und. Lon Chaney (* 1. April in Colorado Springs, Colorado; † August in Los Angeles, Kalifornien; eigentlich Leonidas Frank Chaney) war ein. Lon Chaney junior (* Februar in Oklahoma City; † Juli in San Clemente, Kalifornien; eigentlich Creighton Tull Chaney) war ein. Lon Chaney the greatest. He's more the an actor he's a magician too, savor each movie like a fine wine. Laugh Clown Laugh - with Loretta Young is my. März ; Darsteller: Lon Chaney, Patsy Ruth Miller, Ernest Torrence, Lon Chaney, Patsy Ruth Miller; Studio: dtp entertainment AG; ASIN: BUDZJS6. fast surrealistisch anmutenden Vorstellung, gerät dies insbesondere im Hinblick auf Lon Chaney in eine zusätzliche Schieflage. 10 Angespielt wird mit solchen. Interview, Porträt, Filmografie, Bilder und Videos zum Star Lon Chaney (Jr.) | eueep.eu

Lon Chaney

Abb. –3 Maskierungskünstler Lon Chaney, Sr. in The Hunchback of Notre Dame (; links), London After Midnight (; Mitte) und ganz ohne Maske. Lon Chaney war ein US-amerikanischer Schauspieler der Stummfilmära. Berühmt wurde er vor allem als Darsteller gequälter und grotesker Figuren wie dem Glöckner von Notre Dame oder dem Phantom der Oper, denen Chaney darstellerische Tiefe und. Lon Chaney (* 1. April in Colorado Springs, Colorado; † August in Los Angeles, Kalifornien; eigentlich Leonidas Frank Chaney) war ein. Lon Chaney Ansichten Lesen Bearbeiten Quelltext bearbeiten Versionsgeschichte. Lon Chaney Sr. Christoph Huber, Translation: Lisa Rosenblatt. Yet because of his numerous transformations, his face never became as iconic as that of, say, Boris Karloff. Colorado SpringsColoradoSankt Maik Stream Staaten. Sky Game Of Thrones 7 hat in Wirklichkeit Arme, die er aber versteckt. Seine Mutter, Emma Alice Chaney geb. Mit Vaudeville -Schauspielgruppen zog er durch ganz Das Lumen Düren. The director reveals surprising associations, while highlighting the enduring magic Strohmann works Tatortreiniger 31 are now more or less forgotten. Nachdem er den Zirkusdirektor erwürgt hat, lässt er sich die Arme amputieren, um jeden Verdacht von sich abzulenken. Lon Chaney Moto und der Wettbetrug Mr. Mit Vaudeville -Schauspielgruppen zog er durch ganz Amerika. Für die Rolle des Byron Langley trug Chaney ein Lederkorsett, durch das er seine Arme so eng an den Leib presste, dass er wie ein Armloser aussah. Die Verkleidungen für andere Rollen waren ähnlich aufwändig und führten dazu, dass Chaneys Gesundheit darunter litt. Den verrückten Wissenschaftler verkörperte Lionel Atwill. Für den leidenschaftlichen Schauspieler selbst war die krankheitsbedingte Einschränkung nur schwer zu ertragen, was wiederum zu neuer und schwererer Trinkerei führte. Los AngelesKalifornienPhantastische Tierwesen Und Wo Sie Zu Finden Sind Teil 2 Staaten. Lon Chaney

From his humble beginnings on the stage to his rise to fame as a legend of the silver screen, this is the amazing life and tragic death of Lon Chaney.

Leonidas Frank "Lon" Chaney, born in Colorado Springs, Colorado, on April 1, , faced a unique set of challenges in early life that would be instrumental in his development as an actor.

His parents, Frank H. Chaney, a successful barber, and Emma Alice Kennedy Chaney, daughter of the founder of the Colorado School for the Deaf, were both hearing-impaired.

Overall, Chaney claimed to have had a happy childhood. He had many friends, including brothers Noble, George, and Virgil Johnson, who would make their own mark on the film world as the founders of Hollywood's first all-Black film company.

Nevertheless, Chaney was forced to leave school in the fourth grade when his mother developed inflammatory rheumatism after giving birth to his brother George.

Charged with caring for his bedridden mother and younger siblings while his father and older brother worked, young Lon Chaney developed his skill for pantomime.

Entertaining his mother and relating the day's events to her without words, he became a master of communication through physical expression.

At 14, Lon's knack for entertaining found a paying outlet when he became a tour guide at Pikes Peak. About a year later, according to his biography , Chaney learned the trade of carpet laying and wallpaper hanging at the urging of his father.

By this time, Chaney had worked as a stagehand in a local theater and appeared onstage in a few bit roles.

However, he didn't consider acting a serious career option until some time later. In , Lon Chaney found a way to incorporate his skills as a tradesman into his passion for the theater.

As Chaney biographer Michael F. Soon, Lon Chaney was performing in popular traveling stage productions and vaudeville shows.

While on the road in Oklahoma City, he met Cleva Creighton. Creighton, born Frances Cleveland Creighton , was a year-old singer hoping to land a job as an entertainer with the company with which Chaney was touring.

A whirlwind romance ensued, and the two were married. In , the couple had their only child, a son they named Creighton Tull.

Lon and Cleva returned to touring theater and moved to California, where they appeared in productions in Los Angeles and San Francisco.

Although Lon struggled to find success, Cleva worked steadily as a cabaret singer. In , after an argument with her husband over his decision to return to the road as the manager of the vaudeville team Kolb and Dill, Cleva Chaney attempted suicide by swallowing a vial of bichloride of mercury.

Although she survived the attempt, she could no longer sing. Unable to continue in the marriage, Lon Chaney filed for divorce , citing his wife's infidelity, alcohol abuse, and unfitness as a mother.

The court granted Chaney the divorce and awarded him custody of his son. The dissolution of Lon Chaney's marriage and the scandal that followed nearly ended his career in the theater.

Nevertheless, a new opportunity in the burgeoning medium of film quickly arose for the struggling actor. In , Lon Chaney took a job with Universal Studios.

Although he was never cast as a lead in his early, uncredited work, Chaney often played featured parts that showcased his unique skills. Specializing in villainous, misshapen, or macabre roles, Chaney quickly gained a reputation as a solid character actor with a special talent for makeup.

In a tradition held over from theater, film actors were expected to design and apply their own makeup in the early days of the movie industry.

Dedicated makeup departments were unheard-of until The extent of special makeup effects in film was limited to stage techniques consisting mainly of beards, wigs, and simple aging accomplished through highlighting and shading.

To set himself apart from the competition, Chaney experimented extensively to create complicated, never-before-seen characterizations.

Encouraging Chaney's gifts, husband-and-wife filmmaking team Joseph DeGrasse and Ida May Park employed the actor in 64 films between and According to Chaney biographer Michael F.

Blake , Chaney's reputation as a master of makeup caught the eye of the entertainment press as early as , when his work was featured in both Motion Picture Weekly and Photoplay Journal.

By , Lon Chaney had appeared in over films for Universal and was quickly establishing a reputation among his peers and the public as a singular talent.

Chaney was a star on the rise. Nevertheless, Universal refused to pay Chaney a salary equal to his value. When he approached studio executive William Sistrom for a raise, Chaney received a resounding "no" couched in an insult.

Chaney immediately quit Universal and struck out on his own as a freelance actor. At last free from Universal, Chaney, with a proven body of work and his unequalled makeup skills, was able to negotiate his own rate.

Lon Chaney's first year after leaving Universal was a struggle, but he finally made a breakthrough when legendary Western filmmaker William S. As it was a legitimate house , the Astor theater used an orchestra, not an organ, for its music.

Following the success of The Hunchback of Notre Dame in , Chaney was once again given the freedom to create his own makeup, a practice which became almost as famous as the films he starred in.

Chaney commented "in The Phantom of the Opera , people exclaimed at my weird make-up. I achieved the Death's head of that role without wearing a mask.

It was the use of paints in the right shades and the right places—not the obvious parts of the face—which gave the complete illusion of horror He raised the contours of his cheekbones by stuffing wadding inside his cheeks.

He used a skullcap to raise his forehead height several inches and accentuate the bald dome of the Phantom's skull.

Pencil lines masked the join of the skullcap and exaggerated his brow lines. Chaney then glued his ears to his head and painted his eye sockets black, adding white highlights under his eyes for a skeletal effect.

He created a skeletal smile by attaching prongs to a set of rotted false teeth and coating his lips with greasepaint.

To transform his nose, Chaney applied putty to sharpen its angle and inserted two loops of wire into his nostrils. Guide-wires hidden under the putty pulled his nostrils upward.

According to cinematographer CharlesVan Enger, Chaney suffered from his make-up, especially the wires, which sometimes made him "bleed like hell.

When audiences first saw The Phantom of the Opera , they were said to have screamed or fainted during the scene where Christine pulls the concealing mask away, revealing his skull-like features to the audience.

Chaney's appearance as the Phantom in the film has been the most accurate depiction of the title character based on the description given in the novel, where the Phantom is described as having a skull-like face with a few wisps of black hair on top of his head.

Producer Laemmle commissioned the construction of a set of the Paris Opera House. Because it would have to support hundreds of extras, the set became the first to be created with steel girders set in concrete.

For this reason it was not dismantled until It was used in hundreds of movies and television series.

In preparation for the demolition of Stage 28, the Paris Opera House set went through a preservation effort and was placed into storage.

Stage 28 was completely demolished on September 23, Initial critical response for the film was mixed. Mordaunt Hall of The New York Times gave the film a positive review as a spectacle picture, but felt that the story and acting may have been slightly improved.

Modern critical response for the film has been more positive, with many considering it the best adaption of Leroux's novel to another medium, or at least until the classic Lloyd Webber stage musical version was first performed.

Roger Ebert awarded the film four out of four stars, writing "It creates beneath the opera one of the most grotesque places in the cinema, and Chaney's performance transforms an absurd character into a haunting one.

With such a strong technical and visual grounding it would have been difficult for Chaney to totally muck things up, and his performance is indeed integral, elevating an already solid horror drama into the realms of legendary cinema.

The site's critical consensus reads, "Decades later, it still retains its ability to scare -- and Lon Chaney's performance remains one of the benchmarks of the horror genre.

After the successful introduction of sound pictures during the —29 movie season, Universal announced that they had secured the rights to a sequel to The Phantom of the Opera from the Gaston Leroux estate.

Entitled The Return of the Phantom , the picture would have sound and be in color. Universal later scrapped the sequel, and instead opted to reissue The Phantom of the Opera with a new synchronized score and effects track, as well as new dialog sequences.

Directors Ernst Laemmle and Frank McCormick reshot a little less than half of the picture with sound during August The footage reused from the original film was scored with music arranged by Joseph Cherniavsky, and sound effects.

Williams, Phillips Smalley, Ray Holderness, and Edward Davis were added to the cast to replace actors who were unavailable.

The voice overs are uncredited, but were probably done by Phillips Smalley. Because Chaney's talkie debut was eagerly anticipated by filmgoers, advertisements emphasized, "Lon Chaney's portrayal is a silent one!

The sound version of Phantom opened on February 16, , and grossed another million dollars. Although this particular adaptation is often considered the most faithful, it contains some significant plot differences from the original novel.

In the movie, M. Debienne and M. Poligny transfer ownership of the opera to M. Montcharmin and M. Richard, while in the novel they are simply the old and new managers.

The character of Ledoux is not a mysterious Persian and is no longer a onetime acquaintance of the Phantom. He is now a French detective of the Secret Police.

This character change was not originally scripted; it was made during the title card editing process. The Phantom has no longer studied in Persia in his past.

Rather, he is an escapee from Devil's Island and an expert in " the Black Arts ". As described in the "Production" section of this article, the filmmakers initially intended to preserve the original ending of the novel, and filmed scenes in which the Phantom dies of a broken heart at his organ after Christine leaves his lair.

Because of the preview audience's poor reaction, the studio decided to change the ending to a more exciting one.

Edward Sedgwick was hired to provide a climactic chase scene, with an ending in which the Phantom, after having saved Ledoux and Raoul, kidnaps Christine in Raoul's carriage.

He is hunted down and cornered by an angry mob, who beat him to death and throw him into the Seine. The finest quality print of the film existing was struck from an original camera negative for George Eastman House in the early s by Universal Pictures.

The original version survives only in 16mm "Show-At-Home" prints created by Universal for home movie use in the s. There are several versions of these prints, but none is complete.

All are from the original domestic camera negative. Because of the better quality of the Eastman House print, many home video releases have opted to use it as the basis of their transfers.

This version has singer Mary Fabian in the role of Carlotta. In the reedited version, Virginia Pearson, who played Carlotta in the film, is credited and referred to as "Carlotta's Mother" instead.

Most of the silent footage in the version is actually from a second camera, used to photograph the film for foreign markets and second negatives; careful examination of the two versions shows similar shots are slightly askew in composition in the version.

For the Image Entertainment— Photoplay Productions two-disc DVD set, the soundtrack was reedited in an attempt to fit the Eastman House print as best as possible.

There is no corresponding "man with lantern" sequence on the sound discs. The film was also reedited, combining elements from the version with the sound release.

A 3D anaglyph version is included as an additional special feature. It is uncertain for what purpose the negative used to strike the Eastman House print was produced, as it includes footage from the sound reissue, and shows few signs of wear or damage.

For unknown reasons, an opening prologue showing a man with a lantern has been added—using a single continuous take—but no corresponding title cards or dialogue survive.

While it was common practice to simultaneously shoot footage with multiple cameras for prints intended for domestic and foreign markets, the film is one of few for which footage of both versions survives others include Buster Keaton 's Steamboat Bill, Jr.

These versions were meant to cash in on the talkie craze; by anything with sound did well at the box office, while silent films were largely ignored by the public.

Since the films included synchronized music and sound effect tracks, they could be advertised as sound pictures, and therefore capitalize on the talkie craze in foreign markets without the expense of reshooting scenes with dialogue in foreign languages.

To make an international version, the studio would simply replace any spoken dialogue in the film with music, and splice in some title cards in the appropriate language.

Singing sequences were left intact, as well as any sound sequences without dialogue. The surviving sound discs of The Phantom of the Opera belong to the domestic release, but do not synchronize with the dialogue portions of the film, which have been abbreviated on the Eastman House print.

Furthermore, for international sound versions, one negative was generally made for all of Europe, sent overseas, and not returned.

During the transition to sound in , it was not uncommon for two versions of a picture, one silent and one sound, to play simultaneously particularly for a movie from Universal, which kept a dual-format policy longer than most studios.

One possibility is that the Eastman House print is actually a silent version of the reissued film, made for theaters not yet equipped with sound.

However, according to trade journals of the time, no silent reissue was available. Harrison's Reports , which was always careful to specify whether or not a silent version of a movie was made, specifically stated that "there will be no silent version.

Nevertheless, if the extant print is a silent version, it would explain why Universal still had it and also the lack of wear on the negative from which it was struck.

According to Harrison's Reports , when the film was originally released, it contained 17 minutes of color footage; this footage was retained in the part-talking version.

As with many films of the time, black-and-white footage was tinted various colors to provide mood. These included amber for interiors, blue for night scenes, green for mysterious moods, red for fire, and yellow sunshine for daylight exteriors.

In The Phantom of the Opera was added to the United States National Film Registry , having been deemed "culturally, historically or aesthetically significant".

In the United States, the film is in the public domain because Universal did not renew the copyright in From Wikipedia, the free encyclopedia.

This article may need to be rewritten to comply with Wikipedia's quality standards. The Lion, the Lamb, the Man. The Sin of Olga Brandt.

The Star of the Sea. The Measure of a Man. When the Gods Played a Badger Game. Such Is Life. Where the Forest Ends. Maid of the Mist. The Girl of the Night.

The Stool Pigeon. An Idyll of the Hills. Steady Company. Mountain Justice. The Chimney's Secret. The Pine's Revenge. The Fascination of the Fleur de Lis.

A Mother's Atonement. Lon of Lone Mountain. The Millionaire Paupers. Stronger Than Death. The Grip of Jealousy. Bobbie of the Ballet. The Mark of Cain.

If My Country Should Call. The Place Beyond the Winds. The Price of Silence. Hell Morgan's Girl. The Girl in the Checkered Coat.

A Doll's House. The Kaiser, the Beast of Berlin. Fast Company. The Talk of the Town. Bateese Le Blanc [2]. November 30, [2]. Universal [2]. The Miracle Man.

When Bearcat Went Dry. Treasure Island. Outside the Law. The Ace of Hearts. Flesh and Blood. The Light in the Dark. Oliver Twist. All the Brothers Were Valiant.

The Hunchback of Notre Dame. The Next Corner. The Unholy Three. The Phantom of the Opera. The Road to Mandalay. Tell It to the Marines.

London After Midnight. The Big City. While the City Sleeps. West of Zanzibar. Where East is East.

Lon Chaney Lon Chaney's extraordinary early life Video

\ Working title was Mansion of Despair [81]. Treasure Island. Shot on volatile silver nitrate Lon Chaneymany Spiele Streamen of the silent era, including the bulk of Lon Chaney's outputhave been lost to the ravages Uci Kinowelt Paderborn Paderborn time. Download as PDF Printable version. Only the first two reels of the picture survive at the Library of Congress [71]. Add links. Skal explains in his book The Monster Show: A Cultural History of Horror that a popular myth of the era proposed that Chaney used his natural appearance as a disguise. The end. October Fierce Deutsch, [2]. Films directed by Rupert Julian. Lon Chaney Abb. –3 Maskierungskünstler Lon Chaney, Sr. in The Hunchback of Notre Dame (; links), London After Midnight (; Mitte) und ganz ohne Maske. Der US-amerikanische Schauspieler Lon Chaney senior starbam August in Los Angeles. Der am 1. April in Colorado Springs. Horror-Stummfilmikone Lon Chaney war Sohn taubstummer Eltern: Schon als Kind perfektioniert er also Pantomime, berühmt wurde er für seine Meisterschaft. Lon Chaney ist ein amerikanischer Schauspieler, Make-Up. Entdecke seine Biographie, Details seiner 71 Karriere-Jahre und alle News. lon chaney junior.

Lon Chaney From the hands of the Chaney family, to yours. Video

Lon Chaney Jr Documentary

During the next 10 years Chaney earned a reputation as one of the finest character actors in films. Chaney often endured physical pain in order to achieve the appearance he desired for a role.

For example, he bound his legs into a tight harness—resulting in broken blood vessels—for his portrayal of Blizzard, a legless criminal mastermind, in The Penalty In one of his most famous films, The Hunchback of Notre Dame , Chaney wore a pound hump on his back, a fleshy covering over one eye, and prosthetics that grossly exaggerated his cheekbones, nose, and lips.

Chaney, along with other silent-screen legends such as Charlie Chaplin , believed that sound films would destroy the art of pantomime, and he resisted talking roles until agreeing to reprise his role in The Unholy Three , made as a silent with Browning in , as a talkie in Playing multiple roles and using five distinct character voices in the film, Chaney demonstrated that he was well suited to talkies.

Print Cite. Facebook Twitter. Give Feedback External Websites. Pillow of Death was the last Inner Sanctum. The Daltons Ride Again was a Western.

Despite being typecast as the Wolf Man, the 6-foot 2-inch, pound actor managed to carve out a secondary niche as a supporting actor and villain.

He reprised his Wolf Man role to great effect in Abbott and Costello Meet Frankenstein but it did not cause a notable boost to his career.

In April Chaney went to hospital after taking an overdose of sleeping pills. Kramer told the press at the time that whenever a script came in with a role too difficult for most actors in Hollywood, he called Chaney.

One of his best known roles was a live television version [ unreliable source? He became quite popular with baby boomers after Universal released its back catalog of horror films to television in Shock Theater and Famous Monsters of Filmland magazine regularly focused on his films.

The series ended after 39 episodes. Universal released their film biography of his father, Man of a Thousand Faces , featuring a semi-fictionalized version of Creighton's life story from his birth up until his father's death.

Roger Smith was cast as Creighton as a young adult. He appeared in an episode of the western series Tombstone Territory titled "The Black Marshal from Deadwood " , and appeared in numerous western series such as Rawhide.

He also hosted the episode television anthology series 13 Demon Street in , which was created by Curt Siodmak. He had one of his best later roles in Spider Baby , made in but not released until There was also horror, such as Dr.

His bread-and-butter work during this decade was television — where he made guest appearances on everything from Wagon Train to The Monkees — and in a string of supporting roles in low-budget Westerns produced by A.

Lyles for Paramount. In , Chaney gained a chance to briefly play Quasimodo in a simulacrum of his father's make-up, as well as return to his roles of the Mummy and the Wolf Man on the television series Route 66 with friends Boris Karloff and Peter Lorre.

During this era, he starred in Jack Hill 's Spider Baby filmed , released , for which he also sang the title song.

In later years, he suffered from throat cancer and chronic heart disease among other ailments after decades of heavy drinking and smoking.

In his final horror film, Dracula vs. Frankenstein , directed by Al Adamson , he played Groton, Dr. Frankenstein 's mute henchman. He filmed his part in the spring of , and shortly thereafter performed his final film role, also for Adamson in in The Female Bunch.

Due to illness he retired from acting to concentrate on a book about the Chaney family legacy, A Century of Chaneys , which remains to date unpublished in any form.

His grandson, Ron Chaney Jr, was working on completing this project. Chaney was married twice. His first wife Dorothy divorced him in for drinking too much and being "sullen".

Chaney was well liked by some co-workers — "sweet" is the adjective that most commonly emerges from those who acted with, and liked him — yet he was capable of intense dislikes.

For instance, he and frequent co-star Evelyn Ankers did not get along at all despite their on-camera chemistry. He was also known to befriend younger actors and stand up for older ones who Chaney felt were belittled by the studios.

One example was that of William Farnum , a major silent star who played a bit part in The Mummy's Curse.

According to co-star Peter Coe, Chaney demanded that Farnum be given his own chair on the set and be treated with respect, or else he would walk off the picture.

Chaney had run-ins with actor Frank Reicher whom he nearly strangled on camera in The Mummy's Ghost and director Robert Siodmak over whose head Chaney broke a vase.

Chaney died of heart failure at age 67 on July 12, in San Clemente, California. He was honored by appearing as the Wolf Man on one of a series of United States postage stamps depicting movie monsters.

His grandson Ron Chaney Jr. This is a list of known Lon Chaney Jr. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file.

Download as PDF Printable version. Wikimedia Commons. Forest Lawn Memorial Park Glendale. Poor Jake's Demise. Chaney's first credited film appearance [24] Lost film.

The Sea Urchin. The Blood Red Tape of Charity. A Jewish pawnbroker uncredited [25]. Also known as Shawn the Piper Lost film [26].

The Russian Count wearing a beard uncredited [27]. An Elephant on His Hands. Back to Life. Red Margaret, Moonshiner. Re-release title: Moonshine Blood Lost film [29].

Bloodhounds of the North. The Honor of the Mounted. Remember Mary Magdalen. The Menace to Carlotta. The Embezzler. Roger Dixon, a blackmailer [31].

The Lamb, the Woman, the Wolf. The Tragedy of Whispering Creek. Some sources say Chaney wrote the screenplay as well but this is disputed [32] Print exists in the Deutsche Kinematek film archive [33].

The Forbidden Room. Working title: The Web of Circumstance Lost film [34]. The Hopes of Blind Alley. A 16mm. A nitrate print was discovered in Georgia in The Higher Law.

Some sequences were hand colored Lost film [38]. Virtue Is Its Own Reward. In , a foot fragment of this film was discovered in a Brooklyn attic [39] [40].

Released Nov. Lights and Shadows. The Lion, the Lamb, the Man. A 1-reel cutdown print survives with most of the opening footage removed [43].

Chaney also wrote the screenplay for this film [44] Lost film. The Sin of Olga Brandt. The Star of the Sea. The Measure of a Man. Mountie Lt.

Jim Stuart [47]. The opening and closing scenes were hand colored [48] Lost film. When the Gods Played a Badger Game.

Such Is Life. Where the Forest Ends. Maid of the Mist. The Girl of the Night. Re-release title: Her Chance Lost film [54]. The Stool Pigeon. Chaney directed this film his first but did not star in it [55] Lost film.

Released in U. Chaney directed this film but did not star in it [57] Lost film. An Idyll of the Hills. Chaney wrote and directed this film but did not star in it [58] Lost film.

Steady Company. Chaney directed this film [59] Lost film. Chaney directed this film [60] Alternative title: The Truce Lost film. Mountain Justice.

The Chimney's Secret. Chaney wrote and directed this film [63] Lost film. The Pine's Revenge. The working title was The King's Keeper [64] Lost film.

The Fascination of the Fleur de Lis. A fragment survives in the hands of a private collector in England [65] [66]. Dual role: Jess's husband a fisherman and Hunchback Fate in a fantasy sequence [67] [68].

Print exists in the National Film Archives in London. A Mother's Atonement. Dual role: Ben Morrison as an old man and as his younger self [70].

Only the first two reels of the picture survive at the Library of Congress [71]. Lon of Lone Mountain. The Millionaire Paupers.

The working title was Fate's A Fiddler [72] A brief fragment of the film exists in private collections. Lost film [74]. Stronger Than Death.

The Grip of Jealousy. Working title was Love Thine Enemy [78]. Working title was The Full Cup Lost film [79]. Bobbie of the Ballet. The Mark of Cain.

Working title was By Fate's Decree Lost film [80]. If My Country Should Call. The Place Beyond the Winds. Working title was Mansion of Despair [81].

The Price of Silence. Hell Morgan's Girl.

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