Leonidas Frank "Lon" Chaney (April 1, 1883 – August 26, 1930) was an American actor and makeup artist. He is regarded as one of the most versatile and powerful actors of cinema, renowned for his characterizations of tortured, often grotesque and afflicted, characters and for his groundbreaking artistry with makeup. Chaney was known for his starring roles in such silent horror films as The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His ability to transform himself using makeup techniques that he developed earned him the nickname "The Man of a Thousand Faces".
Leonidas Frank Chaney was born in Colorado Springs, Colorado, to Frank H. Chaney (a barber) and Emma Alice Kennedy. His father was of English and French ancestry, and his mother was of Scottish, English, and Irish descent. Chaney's maternal grandfather, Jonathan Ralston Kennedy, founded the Colorado School for the Education of Mutes (now Colorado School for the Deaf and Blind) in 1874, and Chaney's parents met there. His great-grandfather was congressman John Chaney from Ohio.
Both of Chaney's parents were deaf. As a child of deaf adults, Chaney became skilled in American Sign Language. He entered a stage career in 1902, when he was 19, and began traveling with popular vaudeville and theater acts.
In 1905, Chaney, then 22, met and married 16-year-old singer Cleva Creighton (Frances Cleveland Creighton). In 1906, their only child, son Creighton Tull Chaney (later known as Lon Chaney Jr.), was born. The Chaneys continued touring, until settling in California in 1910.
Marital troubles developed. On April 30, 1913, Cleva went to the Majestic Theatre, where Lon was managing the "Kolb and Dill", and tried to commit suicide by swallowing mercuric chloride. She survived, but it ruined her singing career. The ensuing scandal and divorce forced Chaney out of the theater and into film.
The time spent there is not clearly known, but between the years 1912 and 1917, Chaney worked under contract for Universal Studios doing bit or character parts. His skill with makeup gained him many parts in the highly competitive casting atmosphere. During this time, Chaney befriended the husband-wife director team of Joe De Grasse and Ida May Park, who gave him substantial roles in their pictures and further encouraged him to play macabre characters.
In 1915, Chaney married one of his former colleagues in the Kolb and Dill company, a recently divorced chorus girl named Hazel Hastings. (Her ex-husband was a double amputee with no legs.) The new couple gained custody of Chaney's 10-year-old son Creighton, who had resided in various homes and boarding schools since Chaney's divorce from Cleva in 1913.
By 1917, Chaney was a prominent actor in the studio, but his salary did not reflect this status. When Chaney asked for a raise, studio executive William Sistrom replied, "You'll never be worth more than one hundred dollars a week." After leaving the studio, Chaney struggled for the first year as a character actor. It was not until he played a substantial role in William S. Hart's picture Riddle Gawne (1918) that Chaney's talents as a character actor were truly recognized by the industry.
Universal presented Chaney, Dorothy Phillips, and William Stowell as a team in The Piper's Price (1917). In succeeding films, the men alternated playing lover, villain, or other man to the beautiful Phillips. They would occasionally be joined by Claire DuBrey, nearly making the trio a quartet of recurring actors from film to film. So successful were the films starring this group that Universal produced fourteen films from 1917 to 1919 with Chaney, Stowell, and Phillips.
The films were usually directed by Joe De Grasse or his wife Ida May Park - both, friends of Chaney - at Universal. When Chaney was away branching out on films such as Riddle Gawne and The Kaiser, the Beast of Berlin (both 1918), Stowell and Phillips would continue on as a duo until Chaney's return. Stowell and Phillips made The Heart of Humanity (also 1918), bringing in Erich von Stroheim for a part as the villain that could easily have been played by Chaney.
Paid in Advance (1919) was the group's last film together, for Stowell was sent to Africa by Universal to scout locations for a movie. En route from one city to another, Stowell was in the caboose when it was hit by the locomotive from another train; he was killed instantly. The majority of the films made by the trio are lost apart from a few, including Triumph and Paid in Advance, which survive in private collections or in European or Russian archives.
Chaney had a breakthrough performance as "The Frog" in George Loane Tucker's The Miracle Man (1919). The film displayed not only Chaney's acting ability, but also his talent as a master of makeup. Critical praise and a gross of over $2 million put Chaney on the map as America's foremost character actor.
Chaney exhibited great adaptability with makeup in more conventional crime and adventure films, such as The Penalty (1920), in which he played a gangster with both legs amputated. Chaney appeared in ten films directed by Tod Browning, often portraying disguised and/or mutilated characters, including carnival knife-thrower Alonzo the Armless in The Unknown (1927) opposite Joan Crawford. Around the same time, Chaney also co-starred with Conrad Nagel, Marceline Day, Henry B. Walthall, and Polly Moran in the Tod Browning horror film London After Midnight (1927), one of the most sought after lost films. His final film role was The Unholy Three (1930), a sound remake of his 1925 silent film of the same name. The 1930 remake was his only "talkie" and the only film in which Chaney used his powerful and versatile voice. Chaney signed a sworn statement declaring that five of the key voices in the film (the ventriloquist, the old woman, a parrot, the dummy and the girl) were his own.
Makeup in the early days of cinema was almost non-existent, with the exception of beards and mustaches to denote villains. Most of what the Hollywood studios knew about film stemmed from their experience with theater makeup, but this did not always transfer well to the big screen, especially as the film quality improved over time. Makeup departments were not yet in place during Chaney's time. Prior to the mid-20s, actors were expected to do their own makeup.
In the absence of such specialized professions, Chaney's skills gave him a competitive advantage over other actors. He was the complete package. Casting crews knew that they could place him in virtually any part and he would thrive. In some films his skill allowed him to play dual roles. An extreme case of this was the film Outside the Law (1920), where he played a character who shot and killed another character, whom he also was playing.
As Quasimodo, the bell ringer of Notre Dame Cathedral, and Erik, the "phantom" of the Paris Opera House, Chaney created two of the most grotesquely deformed characters in film history. "Phantom … became a legend almost immediately," wrote the Los Angeles Times in 1990. "The newspapers of the day reported that women fainted, children bawled and grown men stepped outside for fresh air after the famous unmasking scene." "The unmasking of the titular Phantom is one of the most well-known moments in silent film," wrote Meg Shields in 2020. "Arguably, it's one of the most horrifying images ever put on screen."
However, Chaney sought through his portrayals to elicit a degree of sympathy and pathos among viewers not overwhelmingly terrified or repulsed by the monstrous disfigurements of these victims of fate.
In a 1925 autobiographical article for Movie magazine, he wrote: "I wanted to remind people that the lowest types of humanity may have within them the capacity for supreme self-sacrifice. The dwarfed, misshapen beggar of the streets may have the noblest ideals. Most of my roles since The Hunchback, such as The Phantom of the Opera, He Who Gets Slapped, The Unholy Three, etc., have carried the theme of self-sacrifice or renunciation. These are the stories which I wish to do." Chaney referred to his expertise in both makeup and contorting his body to portray his subjects as "extraordinary characterization". Chaney's talents extended beyond the horror genre and stage makeup. He was also a highly skilled dancer, singer and comedian.