Surely Gouverneur Morris didn't write the story this film was based on.

Does Lon Chaney wear his usual macabre makeup for this role?

Wow, do I need to see more Lon Chaney films!

The themes of love, honor, unrequited love and self-sacrifice pervade this fine suspense thriller

Lon Chaney's performance is the main reason to see it.

Pinecrest, Tuolumne County, California, USA

Claire Adams and Lon Chaney in The Penalty (1920)

Lon Chaney and Priscilla Dean in Outside the Law (1920)

Wallace Reid and Gloria Swanson in The Affairs of Anatol (1921)

Ricardo Cortez and Barbara Bedford in Mockery (1927)

Lon Chaney and Patsy Ruth Miller in The Hunchback of Notre Dame (1923)

Max Linder in Seven Years Bad Luck (1921)

Priscilla Dean in The Wicked Darling (1919)

Bela Lugosi and Adrienne Ames in The Death Kiss (1932)

Mae Busch, Lon Chaney, and Matt Moore in The Unholy Three (1925)

John Bowers, Lon Chaney, Raymond Hatton, Leatrice Joy, Hardee Kirkland, and Edwin Wallock in The Ace of Hearts (1921)

Love is destruction. Take the woman and go!

John Bowers, Lon Chaney, Raymond Hatton, Leatrice Joy, Hardee Kirkland, Roy Laidlaw, and Edwin Wallock in The Ace of Hearts (1921)

Lon Chaney and Leatrice Joy in The Ace of Hearts (1921)

John Bowers, Lon Chaney, Leatrice Joy, and Hardee Kirkland in The Ace of Hearts (1921)

John Bowers, Lon Chaney, Hardee Kirkland, and Edwin Wallock in The Ace of Hearts (1921)

Leatrice Joy

John Bowers

Lon Chaney

Gouverneur Morris

Ruth Wightman

Members of a secret anarchist group take revenge.

Wallace Worsley

The Ace of Hearts

Although I&apos;ve seen the standard Lon Chaney horror classics in the past--such as The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925)--I haven&apos;t seen them for a while. This is the first of Chaney&apos;s less currently popular films that I&apos;ve seen. I was very impressed. Although it wasn&apos;t just Chaney, but everything about The Ace of Hearts that &quot;clicked&quot; for me on this viewing.

Despite the conventional wisdom, I think The Ace of Hearts works marvelously if you don&apos;t have the background information on the story. I think that was part of my attraction to it--it&apos;s presented as something of a mystery. As shown on screen, the film concerns some kind of very solemn secret society who have decided that a particular individual is a &quot;Man Who Has Lived Too Long&quot;.

We learn that some members of the secret society have been interacting with him--one, Mr. Forrest (John Bowers), has regularly served as his waiter for breakfast for a number of years. &quot;The Man Who Has Lived Too Long&quot; has been going to the same restaurant at 9:00 a.m. every day. Another, Mr. Farallone (Chaney), has been painting &quot;The Man Who Has Lived Too Long&apos;s&quot; portrait. We learn the procedure for the secret society&apos;s carrying out of their death sentences, which involves the executioner being &quot;randomly&quot; chosen by receiving the Ace of Hearts. The executioner is chosen, and he&apos;s given the tools he needs for the job as a plan is settled on. All that&apos;s left is to carry out the sentence. However, there&apos;s a snag when the executioner has second thoughts, and The Ace of Hearts becomes something of a twisted parable about morality.

As presented in the film, we never learn very much about who the main characters are, who their villain is, and so on. The story stays extremely focused on the plot, which is deceptively simple. There are only two aspects--the machinations of the secret society planning and attempting to carry out the death sentence and a love triangle between Mr. Forrest, Mr. Farallone and Lilith (Leatrice Joy), the only female member of the secret society.

Without knowing the background information that fueled the film, The Ace of Hearts is a taut, metaphorical work about &quot;the power of love&quot;. Early in the film, one member of the secret society expresses relief that he wasn&apos;t chosen as the executioner because he has a wife and kids at home--there is a chance that the executioner may come to harm while carrying out the sentence. The eventual kink in the plan arises because of love, through an ironic plot development that was initially to give the executioner strength, or added resolve, but that ended up undermining the operation. And the final resolution of the film arises through love and a realization that the final course of action is the right one ethically.

Chaney is amazing in his ability to convey complex emotions and thought without the aid of sound. Apparently, his abilities developed partially out of the fact that his parents were deaf, and he learned how to communicate with and even entertain his ailing mother through gestures.

Wallace Worsley&apos;s direction is inventive. Goldwyn films were relatively low budget at the time, so costs were cut by keeping sets to a minimum, for instance. Worsley gets maximum mileage out of the few sets in the film. He uses a well-planned mix of economic shots to easily convey the plot. The few shots set &quot;outside&quot; are extremely effective, with the torrential rain and hurricane-force winds (both caused by technical limitations of the effects at the time) lending an appropriately gloomy atmosphere in crucial scenes. It&apos;s just too bad that there aren&apos;t very clean prints of the film floating around, or that spending time and money to clean them up wouldn&apos;t be justified financially.

Another big factor that helped me love this film is the DVD version I watched--Turner Classic Movies&apos; &quot;Archives&quot; Lon Chaney Collection release. This features a new score by Vivek Maddala that is simply fantastic. It&apos;s even more incredible when we consider that this was Maddala&apos;s first score--he obtained the gig by winning a contest that TCM hosted. The score is beautiful and modern, with inventive harmonies. It always meshes exquisitely with the action, and goes far in helping to tell the story.

But what about that background information? Well, even though I don&apos;t think it&apos;s necessary to enjoy the film, it&apos;s interesting in its own right. The story, by Gouverneur Morris, was a response to the first &quot;Red Scare&quot; in the U.S., from 1917 to 1920. Although the roots were complex and associated with World War I, all one needs to know is that the Red Scare involved anti-communist ideology, connected to communist paranoia among the public.

Thus, the &quot;secret society&quot; in the film is supposed to be a Russian communist group (although they&apos;re often said to be intended as anarchists, but that&apos;s complicated, as well, as &quot;anarchist&quot; can mean very different political ideologies). Lon Chaney&apos;s character was originally named Rattavich, but the script was eventually generalized to avoid the more overt politicizations. Under this interpretation of the film, the &quot;Man Who Has Lived Too Long&quot; is a capitalist whom the communist secret society feels the need to assassinate--sometimes this is seen as something of a parallel to the assassination of Franz Ferdinand, the Archduke of Austria, which is said to be one of the causes of the first World War. This interpretation helps explain how a film that is mostly on the &quot;wrong&quot; side of the moral compass, or even nihilistic (until the ending), made it past the censors. Whatever the reasons, though, it&apos;s a refreshing, unusual and well-made film that gains bizarre, eerie universality through its ambiguity.

Although I've seen the standard Lon Chaney horror classics in the past--such as The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925)--I haven't seen them for a while. This is the first of Chaney's less currently popular films that I've seen. I was very impressed. Although it wasn't just Chaney, but everything about The Ace of Hearts that "clicked" for me on this viewing.

Despite the conventional wisdom, I think The Ace of Hearts works marvelously if you don't have the background information on the story. I think that was part of my attraction to it--it's presented as something of a mystery. As shown on screen, the film concerns some kind of very solemn secret society who have decided that a particular individual is a "Man Who Has Lived Too Long".

We learn that some members of the secret society have been interacting with him--one, Mr. Forrest (John Bowers), has regularly served as his waiter for breakfast for a number of years. "The Man Who Has Lived Too Long" has been going to the same restaurant at 9:00 a.m. every day. Another, Mr. Farallone (Chaney), has been painting "The Man Who Has Lived Too Long's" portrait. We learn the procedure for the secret society's carrying out of their death sentences, which involves the executioner being "randomly" chosen by receiving the Ace of Hearts. The executioner is chosen, and he's given the tools he needs for the job as a plan is settled on. All that's left is to carry out the sentence. However, there's a snag when the executioner has second thoughts, and The Ace of Hearts becomes something of a twisted parable about morality.

As presented in the film, we never learn very much about who the main characters are, who their villain is, and so on. The story stays extremely focused on the plot, which is deceptively simple. There are only two aspects--the machinations of the secret society planning and attempting to carry out the death sentence and a love triangle between Mr. Forrest, Mr. Farallone and Lilith (Leatrice Joy), the only female member of the secret society.

Without knowing the background information that fueled the film, The Ace of Hearts is a taut, metaphorical work about "the power of love". Early in the film, one member of the secret society expresses relief that he wasn't chosen as the executioner because he has a wife and kids at home--there is a chance that the executioner may come to harm while carrying out the sentence. The eventual kink in the plan arises because of love, through an ironic plot development that was initially to give the executioner strength, or added resolve, but that ended up undermining the operation. And the final resolution of the film arises through love and a realization that the final course of action is the right one ethically.

Chaney is amazing in his ability to convey complex emotions and thought without the aid of sound. Apparently, his abilities developed partially out of the fact that his parents were deaf, and he learned how to communicate with and even entertain his ailing mother through gestures.

Wallace Worsley's direction is inventive. Goldwyn films were relatively low budget at the time, so costs were cut by keeping sets to a minimum, for instance. Worsley gets maximum mileage out of the few sets in the film. He uses a well-planned mix of economic shots to easily convey the plot. The few shots set "outside" are extremely effective, with the torrential rain and hurricane-force winds (both caused by technical limitations of the effects at the time) lending an appropriately gloomy atmosphere in crucial scenes. It's just too bad that there aren't very clean prints of the film floating around, or that spending time and money to clean them up wouldn't be justified financially.

Another big factor that helped me love this film is the DVD version I watched--Turner Classic Movies' "Archives" Lon Chaney Collection release. This features a new score by Vivek Maddala that is simply fantastic. It's even more incredible when we consider that this was Maddala's first score--he obtained the gig by winning a contest that TCM hosted. The score is beautiful and modern, with inventive harmonies. It always meshes exquisitely with the action, and goes far in helping to tell the story.

But what about that background information? Well, even though I don't think it's necessary to enjoy the film, it's interesting in its own right. The story, by Gouverneur Morris, was a response to the first "Red Scare" in the U.S., from 1917 to 1920. Although the roots were complex and associated with World War I, all one needs to know is that the Red Scare involved anti-communist ideology, connected to communist paranoia among the public.

Thus, the "secret society" in the film is supposed to be a Russian communist group (although they're often said to be intended as anarchists, but that's complicated, as well, as "anarchist" can mean very different political ideologies). Lon Chaney's character was originally named Rattavich, but the script was eventually generalized to avoid the more overt politicizations. Under this interpretation of the film, the "Man Who Has Lived Too Long" is a capitalist whom the communist secret society feels the need to assassinate--sometimes this is seen as something of a parallel to the assassination of Franz Ferdinand, the Archduke of Austria, which is said to be one of the causes of the first World War. This interpretation helps explain how a film that is mostly on the "wrong" side of the moral compass, or even nihilistic (until the ending), made it past the censors. Whatever the reasons, though, it's a refreshing, unusual and well-made film that gains bizarre, eerie universality through its ambiguity.

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