London After Midnight (film)

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Template:Short description Template:Use American English Template:Use mdy dates Template:Infobox film

London After Midnight (original working title: The Hypnotist) is a lost 1927 American silent mystery horror film directed and co-produced by Tod Browning and starring Lon Chaney, with Marceline Day, Conrad Nagel, Henry B. Walthall, and Polly Moran. The film was distributed by Metro-Goldwyn-Mayer, and was written by Waldemar Young, based on the story "The Hypnotist" which was written by Browning. Merritt B. Gerstad was the cinematographer, and the sets were designed by Cedric Gibbons and Arnold Gillespie.<ref name=Mirsalis/> Harry Sharrock was the assistant director. The film cost $152,000 to produceTemplate:Citation needed and grossed $1Template:Nbspmillion (Template:Inflation). Chaney's real-life make-up case can be seen in the last scene of the film sitting on a table, the only time it ever appeared in a film.

Browning remade the film as a talkie in 1935, as Mark of the Vampire, starring Bela Lugosi.Template:Sfn

The last known copy of the film was destroyed in the 1965 MGM vault fire, making it one of the most sought-after lost silent films.<ref name=Sorrento>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2002, Turner Classic Movies aired a reconstructed version,<ref>Template:Cite news</ref> produced by Rick Schmidlin, using the original script and numerous film stills to recreate the original plot.Template:Sfn

Plot

Roger Balfour is found dead in his London home one night. Burke, a representative of Scotland Yard, after questioning everyone present, declares the death a suicide despite objection from Balfour's neighbour and close friend, Sir James Hamlin.

Five years later, strange lights are seen within the now-forsaken Balfour mansion. The new tenants are two vampiric figures of a man in a beaver-felt top hat with long hair and sharp teeth, and a silent pale woman wearing long robes. This prompts the baronet, Sir James, to call Burke in once again. Burke discovers that Hamlin and the others there (Balfour's daughter, Lucille; his butler, Williams; and Hamlin's nephew, Arthur Hibbs) had been the only other persons in the Balfour home when he died. After noticing the new lease to the Balfour mansion bears the exact same signature as the deceased Roger Balfour's, Burke remains skeptical about the existence of the undead, and, along with Sir James, exhumes Roger Balfour's tomb to find it empty. After a series of grisly events—including the maid Miss Smithson's eccentric recollection of encountering the Man in the Beaver Hat manifesting in a bedroom, the vampire girl flying down like a bat from the ceiling of the Balfour mansion, and witnessing the living corpse of Roger Balfour—Burke reveals to Lucille that he now believes her father to have been murdered.

After precautions are taken to protect Lucille's bedroom from vampires, the girl is taken to the Balfour mansion. Sir James is instructed to venture to the mansion, where he encounters the Man in the Beaver Hat (revealed to be Burke) and is hypnotized into thinking it is five years earlier. Within the mansion, the events leading up to Balfour's death are recreated and re-enacted and all secretly watch as Sir James kills Roger Balfour and fakes his suicide so as to ultimately marry Balfour's daughter Lucille, against the deceased's wishes. Once apprehended, Burke lifts the trance and identifies Sir James as the killer.

Cast

  • Lon Chaney as Professor / Inspector Edward C. Burke / The Man In The Beaver Hat
  • Marceline Day as Lucille Balfour<ref name="Capitol">Template:Cite news</ref>
  • Claude King as Roger Balfour / The Stranger<ref name="Capitol" />
  • Polly Moran as Miss Smithson, The New Maid<ref name="Capitol" />
  • Conrad Nagel as Arthur Hibbs<ref name="Capitol" />
  • Edna Tichenor as The Bat Girl<ref name="Capitol" />
  • Henry B. Walthall as Sir James Hamlin<ref name="Capitol" />
  • Percy Williams as Williams, Balfour's Butler<ref name="Capitol" />
  • Andy MacLennan as Bat Girl's Assistant
  • Jules Cowles as The Gardener<ref name="Capitol" />
  • Allan Cavan as The Estate Agent<ref name="Capitol" />

Production

File:London After Midnight lobby card.jpg
Original lobby card

Lon Chaney's makeup for the film included sharpened teeth and the hypnotic eye effect, achieved with special wire fittings which he wore like monocles. Based on surviving accounts, he purposefully gave the "vampire" character an absurd quality, because it was the film's Scotland Yard detective character, also played by Chaney, in a disguise. Surviving stills show this was the only time Chaney used his famous makeup case as an on-screen prop.Template:Citation needed

The story was an original work by Tod Browning, with Waldemar Young, who had previously worked with Browning on The Unholy Three and The Unknown, as the scenario writer. Young was previously employed as a journalist in San Francisco, during which time he covered several famous murder investigations, a distinction which saw him lauded as knowing "mystery from actual experience."<ref name="Sun2">Template:Cite news</ref>

In adding an authenticity to both Chaney's character and the atmosphere within the haunted house scenes, bats, armadillos, and owls were used.<ref>Template:Cite news</ref>

File:Lon Chaney London After Midnight Vampire Bat Cape.jpg
Lon Chaney, bat pose, in London After Midnight

When London After Midnight premiered at the Miller Theater in Missouri, set musicians Sam Feinburg and Jack Feinburg had to prepare melodies to go with the film's supernatural elements. The musicians used Ase's Todd and Eritoken by Greig, Dramatic Andante by Rappe, the Fire Music from Wagner's The Valkyrie along with other unlisted aspectsTemplate:What? of Savino, Zimonek and Puccini.<ref name="miller">Template:Cite news</ref>

Release

Metro-Goldwyn-Mayer released London After Midnight theatrically in the United States on December 3, 1927.<ref name=AFI>Template:AFI film. American Film Institute. Retrieved March 20, 2025.</ref>

Reception

Box office

According to MGM records London After Midnight earned $721,000 in theater rentals from the United States and Canada and an additional $283,000 from foreign rentals, giving the studio a profit of $540,000.<ref name="mannix"/><ref name="mannixa"/>

Critical response

It became the most successful collaborative film between Chaney and Browning, but it received mixed reviews from critics. The storyline, called "somewhat incoherent" by The New York Times<ref name="Mirsalis" /> and "nonsensical" by Harrison's Reports,Template:Sfn was a common point of criticism. "Mr. Chaney's makeup is at times hideous enough to make one sick in the stomach. It should please the morbid. Just like the last three or four pictures with this star – gruesome!" Nonetheless, the commercial success of London After Midnight saw Metro-Goldwyn-Mayer renew Tod Browning's directorial contract.<ref>Template:Cite news</ref>

File:Lon Chaney London After Midnight Portrait.jpg
Lon Chaney as the "Man in the Beaver Hat" in London After Midnight

A positive review ran in The Film Daily, calling it "a story certain to disturb the nervous system of the more sensitive picture patrons. Thrills and weird doings in profusion. Probably a trifle too spooky for the timid soul. If they don't get the creeps from flashes of grimy bats swooping around, cobweb-bedecked mystery chambers and the grotesque inhabitants of the haunted house, then they've passed the third degree."Template:Sfn Marc Bowman of The Oregonian praised the film as "as nerve-wringing a piece of screen fiction as has been seen in these parts for many moons," noting Chaney's makeup as "bizarre" and "striking."<ref>Template:Cite news</ref>

The Warren Tribune noted that Lon Chaney is "present in nearly every scene, in a dual role that tests his skill to no small degree." The review highlighted that this subdues Chaney's prominence and allows the plot to be better communicated, but it also causes the film to "not rank among his best productions."<ref name="warren">Template:Cite news</ref>

A review by The Brooklyn Daily Eagle noted: "It is pleasant to report also that there is none of the usual stupid comedy relief in London After Midnight to mar its sinister and creepy scheme. That ought to make it the outstanding mystery film of the year."<ref name="Capitol" /> It however found fault in Tod Browning's direction because the film's atmosphere did not recapture "the intensely weird effect" found in The Cat and the Canary.<ref name="Capitol" />

File:London After Midnight.jpg
Cinema lobby card

Variety wrote that "Young, Browning and Chaney have made a good combination in the past but the story on which this production is based is not of the quality that results in broken house records," adding that, since Burke was "a detached character, mechanical and wooden", he failed to meaningfully connect with the audience... "It will add nothing to Chaney's prestige as a trouper, nor increase the star's box office value. With Chaney's name in lights, however, this picture, any picture with Chaney, means a strong box office draw."

The New York Times wrote, "It is a somewhat incoherent narrative, which, however, gives Lon Chaney an opportunity to turn up in an uncanny disguise and also to manifest his powers as Scotland Yard's expert hypnotist. You are therefore treated to close-ups of Mr. Chaney's rolling orbs, which, fortunately, do not exert their influence on the audience."

Moving Picture World added, "There are moments during the onward sweep of this Metro-Goldwyn-Mayer offering when one feels that the essentials that make for mystery and creepiness have been carried a bit further than we have hitherto noted... Mr. Chaney's excellent work is materially aided by that grand master of screen acting, Mr. Walthall."

File:Lon Chaney With Makeup Kit.jpg
Lon Chaney showing a makeup case used in London After Midnight

The New Yorker also wrote that the "directing, acting and settings are all well up to the idea," but "it strives too hard to create effect. Mr. Browning can create pictorial terrors and Lon Chaney can get himself up in a completely repulsive manner, but both their efforts are wasted when the story makes no sense."<ref>Template:Cite magazine</ref>

Motion Picture Magazine wrote, "Lon Chaney is back in a get-up which would make any sensitive girl quiver and quake on a dark night, but which doesn't require any contortions or self-torture. This is a dark, foul mystery play, which has certain elements as horrid as anyone could ask... you sit through it in a sort of daze."<ref name=Blake1998p172>Quoted in Template:Harvnb</ref>

Photoplay enthused, "The disguise that [Chaney] uses while ferreting out the murderer is as gruesome as any he has ever worn... The suspense is marvelously sustained. Chaney plays a dual role, and when conventionally clad, is a little less convincing than usual. In the other role, perfect!"<ref name=Blake1998p172/>

Preservation

Loss of materials

The last known copy of the film was destroyed in the 1965 MGM vault fire, along with hundreds of other rare early films, making it one of the most sought-after lost silent films. Film historians William K. Everson and David Bradley claim they saw the film in the early 1950s, and an MGM vault inventory from 1955 shows the print being stored in Vault #7.Template:Sfn

Historian Jon C. Mirsalis opined, Template:Quote

It is reported by some that small fragments or the entire film itself exists in private collections.Template:Cn

Theatrical poster

In 2014, the only contemporary poster known to exist for the film was sold in Dallas, Texas to Metallica guitarist Kirk Hammett for $478,000, making it the second most valuable movie poster sold at public auction behind a Metropolis Poster sold for 1.2 Mio.<ref>Template:Cite news</ref> The poster is in his displayed collection at the Royal Ontario Museum in Toronto.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> (The 1932 film The Mummy held the previous record for a poster's sale at public auction, selling for more than $453,000 in 1997.)<ref>Template:Cite news</ref>

Remake

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}} Tod Browning remade the film as a sound film in 1935. This film, called Mark of the Vampire, starred Lionel Barrymore and Bela Lugosi in the roles Lon Chaney had performed in London After Midnight.Template:Sfn

Reconstructions and novelizations

A novelization of the film was written and published in 1928 by Marie Coolidge-Rask.<ref name="sheep" />

In 1985, Philip J. Riley published the first photo reconstruction of the film's plot compiled of all the surviving production stills at MGM.<ref name="GoodReads">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 2002, Turner Classic Movies commissioned restoration producer Rick Schmidlin to produce a 45-minute reconstruction of the film, using the same still photographsTemplate:Sfn with added camera motion. This was released as a part of The Lon Chaney Collection DVD set released by the TCM Archives.Template:Sfn

In 2016, Thomas Mann published the book, London After Midnight: A New Reconstruction Based on Contemporary Sources, upon the discovery of a previously-unknown 11,000-word Boy's Cinema magazine published in 1928. A second edition was published in 2018 upon the discovery of an alternative French novelization for the film.Template:Citation needed

In 2022, a new study by historian Daniel Titley, titled London After Midnight: The Lost Film, was released by Keyreads in conjunction with the film’s 95th anniversary. Nitrate elements from the lost film were presented for the first time, along with new insights, resulting in the most complete overview of the film available.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Audio dramatization

In September 2023, it was announced that a full-cast audio drama would be released, adapted from the original film script.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The cast includes Art Malik as Detective Burke, and Dan Starkey as Sir James Hamlin. The production was released the following month through Bandcamp and as part of the fiction podcast Midnight Matinees. The audio drama received overwhelmingly positive reviews.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

|CitationClass=web }}</ref>

  • Episodes 5 and 6 of series 3 of Whitechapel featured a killer obsessed with London After Midnight who owned a surviving copy.<ref>Template:Citation</ref>
  • The theatrical poster for the 2021 horror film The Black Phone has been compared to Chaney’s image from the Browning film.<ref>{{#invoke:citation/CS1|citation

|CitationClass=web }}</ref>

See also

References

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Sources

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Further reading
  • Everson, William K. (1974). Classics of the Horror Film. Citadel Press. Template:ISBN
  • Jacobs, Louis B. "Plastic Dentistry: New Hollywood Art," Photoplay, October 1928. Features London After Midnight.
  • Melton, J. Gordon (2011). The Vampire Book: The Encyclopedia of the Undead. Visible Ink Press. Template:ISBN
  • Riley, Philip J. (2011). London After Midnight – a Reconstruction. Bear Manor Media. Template:ISBN
  • Soister, John; Nicolella, Henry (2012). American Silent Horror, Science Fiction and Fantasy Feature Films, 1913–1929. British Library. Template:ISBN
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