THE MIRACLE MAN (1919) is a lost film, all except for a small fragment that was shown in a Paramount "best of" reel. This film has long been considered the major vehicle for the principle stars, Thomas Meighan and Lon Chaney and the segment that survives shows why. The story is about a band of con-men who decide to pull a fast one on a town that believes that their blind priest is a faith healer. All of the crooks end up being cured through miracles of their evil ways and end up doing the opposite of what compelled them to be evil. Chaney's performance in the surviving "healing" scene is quite compelling. I can not recommend this film to anyone since I have not seen it all, but if you do get a chance to see the surviving scene, it's worth a look.
6 Reviews
"Yes, my son, and some day when you are a man you will understand how great a miracle it was."
Ziggy544630 April 2007
Undoubtedly one of the silent era's finest achievements. George Loane Tucker's classic dramatic film from 1919 entitled, The Miracle Man, was both a critical and financial success, costing only $120,000 to make, and earning over $3,000,000 in gross sales. Not to mention, The Miracle Man is solely responsible for kick starting Paramount and giving them a leading position in the 1920s and 1930. The film stared Thomas Meighan, Betty Compson, and Lon Chaney. It is most notable for making overnight successes of these three stars, unfortunately, now only remembered, as the film, to establish Chaney as Hollywood's most outstanding character actor and Meighan as a matinée idol for Paramount Studios.
Meighan had seen the George M. Cohan play, and was determined to see the film made. Meighan, a personal friend of Cohan's, convinced him to sell the rights to the play for $25,000, a steep price in those days for a story. The film is actually much closer in story to the Frank L. Packard novel than to Cohan's play. Director George Loane Tucker was assigned the project.
In Dec. 23, 1918, Betty Compson received a call after work one day from Tucker. He wanted to talk to her about a new picture he was going to make. After meeting with her, Tucker offered her the role of Rose in The Miracle Man for $125 a week. Not to mention, after Lon Chaney's success in the William S. Hart picture, Riddle Gawne, Tucker had asked him to play in the film The Miracle Man as well. Tucker described to Chaney the various roles in the film, including that of the cripple (The Frog) who played such an important part in the story. Chaney immediately decided that his whole future rested on getting it. Tucker chose Chaney only after interviewing a number of real contortionists who unfortunately couldn't act. He was reportedly "shaken" by Chaney's performance.
The story is certainly fascinating, one that has surely not dated in any way. Four crooks live in New York's Chinatown, working one scheme after another to bilk money from the gullible public. Tom Burke (Meighan) is a slick con man and the leader of the gang. Rose (Compson) is a pretty girl who begs money from sightseers so that she may give up her life of sin. The Dope (J.M. Dumont) is a drug friend who pretends to be Rose's pimp, and The Frog (Chaney) is a contortionist who can bend his limbs into unimaginable twists and turns. One day, Burke discovers a newspaper clipping about an old Patriarch near Boston who has the power to heal. Seeing an opportunity, the four go to the town where they plan to use the Patriarch (Joseph Dowling) to set up a faith-healing sham. Burke senses trouble when his cohorts begin to change under the influence of the healer. The Dope gives up his needle, The Frog reforms and takes the place of the son of a widow who has no one left to care for her, and Rose spends her time mooning over millionaire Richard King (W. Lawson Butt), who has left town. Burke becomes incensed at Rose's interest in the millionaire, but when Richard returns to propose marriage, Rose realizes that it is Burke who she really loves. The Patriarch dies, and Rose and Burke are ready to start a better life together.
The film gave birth to the phrase: "Don't step on it, it may be Lon Chaney!" and brought him to the attention of Hollywood for his outstanding ability to effectively unfurl his "crippled" body in front of the cameras. He not only showed his acting talents but his skills for make-up, which h e learned in his years in vaudeville. Chaney chose paralysis as his character's handicap as it avoided prolonged make-up sessions between the times he had to appear normally for the cameras. The Miracle Man proved a success and Chaney and Tucker became close friends, they planned many projects together (Chaney had even intended to direct one of Tucker's productions) and Tucker's sudden death was an event that greatly upset Chaney.
Unfortunately, this 8-reel silent classic is now nothing more than a forgotten lost film but for a minor portion. Only two fragments of the film remain in existence, one is of the climactic healing scene, which a millionaire brings his crippled boy down to see the Patriarch, all other treatments for the boy having failed. As the crowd gathers, The Frog appears, horribly contorted, and begins to crawl towards the Patriarch, his limbs gradually unbending as he comes closer to the man. The crippled boy, his faith restored at what he believes to be a true miracle, throws down his crutches and begins to walk. It was praised by critics as one of the most powerful scenes yet put on film. Seeing Chaney crawling in twisted pain toward a faith healer called the Patriarch is still as compelling as when Exhibitors Trade Review marveled at this "ghastly deformed mass of flesh faked for the purpose of exciting pity."
Meighan had seen the George M. Cohan play, and was determined to see the film made. Meighan, a personal friend of Cohan's, convinced him to sell the rights to the play for $25,000, a steep price in those days for a story. The film is actually much closer in story to the Frank L. Packard novel than to Cohan's play. Director George Loane Tucker was assigned the project.
In Dec. 23, 1918, Betty Compson received a call after work one day from Tucker. He wanted to talk to her about a new picture he was going to make. After meeting with her, Tucker offered her the role of Rose in The Miracle Man for $125 a week. Not to mention, after Lon Chaney's success in the William S. Hart picture, Riddle Gawne, Tucker had asked him to play in the film The Miracle Man as well. Tucker described to Chaney the various roles in the film, including that of the cripple (The Frog) who played such an important part in the story. Chaney immediately decided that his whole future rested on getting it. Tucker chose Chaney only after interviewing a number of real contortionists who unfortunately couldn't act. He was reportedly "shaken" by Chaney's performance.
The story is certainly fascinating, one that has surely not dated in any way. Four crooks live in New York's Chinatown, working one scheme after another to bilk money from the gullible public. Tom Burke (Meighan) is a slick con man and the leader of the gang. Rose (Compson) is a pretty girl who begs money from sightseers so that she may give up her life of sin. The Dope (J.M. Dumont) is a drug friend who pretends to be Rose's pimp, and The Frog (Chaney) is a contortionist who can bend his limbs into unimaginable twists and turns. One day, Burke discovers a newspaper clipping about an old Patriarch near Boston who has the power to heal. Seeing an opportunity, the four go to the town where they plan to use the Patriarch (Joseph Dowling) to set up a faith-healing sham. Burke senses trouble when his cohorts begin to change under the influence of the healer. The Dope gives up his needle, The Frog reforms and takes the place of the son of a widow who has no one left to care for her, and Rose spends her time mooning over millionaire Richard King (W. Lawson Butt), who has left town. Burke becomes incensed at Rose's interest in the millionaire, but when Richard returns to propose marriage, Rose realizes that it is Burke who she really loves. The Patriarch dies, and Rose and Burke are ready to start a better life together.
The film gave birth to the phrase: "Don't step on it, it may be Lon Chaney!" and brought him to the attention of Hollywood for his outstanding ability to effectively unfurl his "crippled" body in front of the cameras. He not only showed his acting talents but his skills for make-up, which h e learned in his years in vaudeville. Chaney chose paralysis as his character's handicap as it avoided prolonged make-up sessions between the times he had to appear normally for the cameras. The Miracle Man proved a success and Chaney and Tucker became close friends, they planned many projects together (Chaney had even intended to direct one of Tucker's productions) and Tucker's sudden death was an event that greatly upset Chaney.
Unfortunately, this 8-reel silent classic is now nothing more than a forgotten lost film but for a minor portion. Only two fragments of the film remain in existence, one is of the climactic healing scene, which a millionaire brings his crippled boy down to see the Patriarch, all other treatments for the boy having failed. As the crowd gathers, The Frog appears, horribly contorted, and begins to crawl towards the Patriarch, his limbs gradually unbending as he comes closer to the man. The crippled boy, his faith restored at what he believes to be a true miracle, throws down his crutches and begins to walk. It was praised by critics as one of the most powerful scenes yet put on film. Seeing Chaney crawling in twisted pain toward a faith healer called the Patriarch is still as compelling as when Exhibitors Trade Review marveled at this "ghastly deformed mass of flesh faked for the purpose of exciting pity."
Going Straight
wes-connors13 January 2012
In New York City's sinful Chinatown, gang of four leader Thomas Meighan (as Tom Burke), loose-legged mistress Betty Compson (as Rose), contortionist Lon Chaney (as The Frog), and drug-addicted J.M. Dumont (as The Dope) learn about a village faith-healer. Passing off Ms. Compson as a long-lost niece, they go to live with "The Miracle Man" Joseph J. Dowling (as The Patriarch), planning to bilk his flock. To insure the public knows their healer's powers are genuine, Mr. Chaney's contortion prowess is used to fake a cripple being healed. All are shocked when a real boy follows suit. As it turns out, Mr. Dowling has real powers - and they begin to work on Mr. Meighan and his crooked cohorts...
"The Miracle Man" is one of the most missed of all "lost" silent films. Presently, only a few minutes of footage is available - and, while several missing films can be enjoyed when ten or so crucial minutes are available, what is left of "The Miracle Man" barely scratches the surface. The film's emotional centerpiece, according to nearly all accounts, is among what we do have. First, a portion introduces cast-members Thomas Meighan, Betty Compson and Lon Chaney. Next, the scene where Mr. Chaney "fakes" his cure is followed by a crippled boy (Frankie Lee) walking, then running toward "Miracle Man" Dowling. Chaney is terrific, especially in a frame witnessing the miracle, but so is the kid...
Contemporary critics were ecstatic about the film, and viewers made it a big box office hit. It advanced the careers of the aforementioned trio of co-stars, who received much praise for their acting. For the year, "Quigley Publications" noted "The Miracle Man" and director George Loane Tucker as the year's best picture and director. It also won a "Photoplay" poll, besting "Broken Blossoms" (1919). However, the latter D.W. Griffith film topped "Miracle Man" in rival "Motion Picture" magazine's contest, with Lillian Gish getting the top acting honor. "The New York Times" placed "Blossoms" at #1 and "Miracle Man" at #2 for 1919. More of "The Miracle Man" would be a welcome sight...
********** The Miracle Man (8/26/19) George Loane Tucker ~ Thomas Meighan, Betty Compson, Lon Chaney, Joseph J. Dowling
"The Miracle Man" is one of the most missed of all "lost" silent films. Presently, only a few minutes of footage is available - and, while several missing films can be enjoyed when ten or so crucial minutes are available, what is left of "The Miracle Man" barely scratches the surface. The film's emotional centerpiece, according to nearly all accounts, is among what we do have. First, a portion introduces cast-members Thomas Meighan, Betty Compson and Lon Chaney. Next, the scene where Mr. Chaney "fakes" his cure is followed by a crippled boy (Frankie Lee) walking, then running toward "Miracle Man" Dowling. Chaney is terrific, especially in a frame witnessing the miracle, but so is the kid...
Contemporary critics were ecstatic about the film, and viewers made it a big box office hit. It advanced the careers of the aforementioned trio of co-stars, who received much praise for their acting. For the year, "Quigley Publications" noted "The Miracle Man" and director George Loane Tucker as the year's best picture and director. It also won a "Photoplay" poll, besting "Broken Blossoms" (1919). However, the latter D.W. Griffith film topped "Miracle Man" in rival "Motion Picture" magazine's contest, with Lillian Gish getting the top acting honor. "The New York Times" placed "Blossoms" at #1 and "Miracle Man" at #2 for 1919. More of "The Miracle Man" would be a welcome sight...
********** The Miracle Man (8/26/19) George Loane Tucker ~ Thomas Meighan, Betty Compson, Lon Chaney, Joseph J. Dowling
Gone, but not forgotten
Horst_In_Translation10 August 2017
Warning: Spoilers
"The Miracle Man" an an American black-and-white silent film from 1919, so this one will have its 100th anniversary two years from now and how amazing would it be that the unlikely event happens that they do find more scenes from this lost movie. It runs for 80 minutes roughly, but only around 2.5 minutes still exist as of now, 2 scenes apparently one involving a gang of criminals planning a scheme, the other the miracle of a disabled boy being able to walk again, probably the emotional highlight at the end of the film showing people that even with all the bad and evil existing in the world that miracles are still bound to happen. I read that there was a reconstructed version of this film running for slightly over half an hour and they used photos from the production apparently to make that one. Not sure what to think of that, yes it may be as good as it gets as it's unlikely we will ever get this film back, but then again it probably has not too much to do with the vision and effort by George Loane Tucker and Lon Chaney here. Please let me know and send me an email if anything else from the film ever resurfaces as I will immediately check it out then and adjust my review. Here's hoping it will.
A Miracle Performance
www112526 August 2022
Warning: Spoilers
It may be questionable to rate a lost film. But basing on the little bit we have, I find it amazing. Chaney is phenomenal here, and the actual healing of the young boy that follows is the icing on the cake. It's a powerful scene by itself, and needs to be seen by any Chaney fans. A more in depth review is certainly in order if the full film is found, but for now, I find what we have very satisfying.
-Wes Walll.
-Wes Walll.
Just Fragments Remain - and an odd tribute over twenty years later.
theowinthrop5 July 2008
Warning: Spoilers
I cannot review this film - as I have only seen less than three minutes of it - but it is an interesting example of what we can lose.
Certain stars of the silent film period made so many films that we are still in a good position to analyze their best work: Chaplin, Keaton, Lloyd, Langdon, Swanson, Bow, Valentino, Fairbanks, Gilbert, Hart, Gibson - much of their work survives that shows what they could do on film. Added to these stars was the greatest of all horror stars of the period, Lon Chaney Sr. His best recalled films (THE PHANTOM OF THE OPERA and THE HUNCHBACK OF NOTRE DAME) were saved. But one of his best film London AFTER MIDNIGHT no longer survives, and the version shown two years ago on TURNER CLASSIC FILMS was a documentary of the movie based on the script and careful use of surviving film stills. It helped in that case that Tod Browning, who directed that film, directed a sound remake MARK OF THE VAMPIRE which enables one to see the film's story line quite clearly.
But the reconstruction of London AFTER MIDNIGHT gave only a taste for the film - not a sense of it. For example, Chaney's Vampire was supposed to walk bent over like Groucho Marx would in the Marx Brother Movies. A slight bent position is noted in his stills, but no sense of the sloping walk.
But more serious is the loss of THE MIRACLE MAN (1919), which may have been the first film that brought Chaney's remarkable physical gifts to the attention of Hollywood. Based on a play of George M. Cohan, the film was about four con artists who decide to make a killing using an itinerant preacher as a front. Their plan deals with faking a miracle (Cohan's ideas here are not too far from similar set-ups in actual revivalist camps, and even in later films like ELMER GANTRY). Then the gullible will shower money on the preacher.
The head of these con artists is Thomas Meaghan, at one time a leading star in Hollywood (best recalled for the film CONRAD IN SEARCH OF HIS YOUTH). One of his fellow con-men is Chaney, called "the Frog" who is something of a contortionist. Chaney's big sequence (of which only a fragment exists) was when he is crawling to the preacher, and slowly seems to be able to regain his regular muscular and skeletal structure. But the thing that upsets the plan (after Chaney's "miracle" is performed) is that a small child who is crippled is so able to believe that he starts to walk. In the fragment that survives one sees Chaney dumbfounded by this unexpected twist.
I found the two surviving fragments on You Tube. One shows Meaghan, Chaney and their two cohorts reading a newspaper account of the "miracle man". The other is that portion of Chaney's crawling to the holy man, and then the child going to him on his own. The latter was from an historic short from MGM called THE HOUSE BUILT ON SHADOWS. It's instructive for two reasons: First it shows the original 1919 film was still in existence in 1931. Secondly it shows how fragile the historic record of motion pictures are.
Finally there is one last piece of irony in all this. When James Cagney appeared in the biopic THE MAN OF A THOUSAND FACES, the first scene they show of importance in his movie career is his appearance as the fake in THE MIRACLE MAN. Cagney was pretty good at redoing scenes from Chaney's films (not only PHANTOM and HUNCHBACK but films like WEST OF ZANZIBAR). He usually studied the roles he played as well as he could. Is it possible that Cagney was still able to see the entire film and copy it more closely than we are able to now? I would be very curious to know.
Certain stars of the silent film period made so many films that we are still in a good position to analyze their best work: Chaplin, Keaton, Lloyd, Langdon, Swanson, Bow, Valentino, Fairbanks, Gilbert, Hart, Gibson - much of their work survives that shows what they could do on film. Added to these stars was the greatest of all horror stars of the period, Lon Chaney Sr. His best recalled films (THE PHANTOM OF THE OPERA and THE HUNCHBACK OF NOTRE DAME) were saved. But one of his best film London AFTER MIDNIGHT no longer survives, and the version shown two years ago on TURNER CLASSIC FILMS was a documentary of the movie based on the script and careful use of surviving film stills. It helped in that case that Tod Browning, who directed that film, directed a sound remake MARK OF THE VAMPIRE which enables one to see the film's story line quite clearly.
But the reconstruction of London AFTER MIDNIGHT gave only a taste for the film - not a sense of it. For example, Chaney's Vampire was supposed to walk bent over like Groucho Marx would in the Marx Brother Movies. A slight bent position is noted in his stills, but no sense of the sloping walk.
But more serious is the loss of THE MIRACLE MAN (1919), which may have been the first film that brought Chaney's remarkable physical gifts to the attention of Hollywood. Based on a play of George M. Cohan, the film was about four con artists who decide to make a killing using an itinerant preacher as a front. Their plan deals with faking a miracle (Cohan's ideas here are not too far from similar set-ups in actual revivalist camps, and even in later films like ELMER GANTRY). Then the gullible will shower money on the preacher.
The head of these con artists is Thomas Meaghan, at one time a leading star in Hollywood (best recalled for the film CONRAD IN SEARCH OF HIS YOUTH). One of his fellow con-men is Chaney, called "the Frog" who is something of a contortionist. Chaney's big sequence (of which only a fragment exists) was when he is crawling to the preacher, and slowly seems to be able to regain his regular muscular and skeletal structure. But the thing that upsets the plan (after Chaney's "miracle" is performed) is that a small child who is crippled is so able to believe that he starts to walk. In the fragment that survives one sees Chaney dumbfounded by this unexpected twist.
I found the two surviving fragments on You Tube. One shows Meaghan, Chaney and their two cohorts reading a newspaper account of the "miracle man". The other is that portion of Chaney's crawling to the holy man, and then the child going to him on his own. The latter was from an historic short from MGM called THE HOUSE BUILT ON SHADOWS. It's instructive for two reasons: First it shows the original 1919 film was still in existence in 1931. Secondly it shows how fragile the historic record of motion pictures are.
Finally there is one last piece of irony in all this. When James Cagney appeared in the biopic THE MAN OF A THOUSAND FACES, the first scene they show of importance in his movie career is his appearance as the fake in THE MIRACLE MAN. Cagney was pretty good at redoing scenes from Chaney's films (not only PHANTOM and HUNCHBACK but films like WEST OF ZANZIBAR). He usually studied the roles he played as well as he could. Is it possible that Cagney was still able to see the entire film and copy it more closely than we are able to now? I would be very curious to know.
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