Editing Tod Browning (section)

=== ''The Devil-Doll'' (1936) ===

Browning created a work reminiscent of his collaborations with actor [[Lon Chaney]] in the "bizarre melodrama" ''[[The Devil-Doll]]''.<ref>Sobchack, 2006 p. 28: "The Devil Doll, 1936, Browning's last bizarre melodrama and his penultimate film, is reminiscent of his The Unholy Three, 1925." And: p. 36: "...The Devil Doll...heavily influenced, perhaps, by Browning former association with Chaney."<br />Toole, 2003 TCM: "Odd as The Devil Doll may sound (it was co-scripted by [[Erich von Stroheim]], it fits well within the Browning canon of bizarre storylines."</ref>

Based on the novel ''Burn, Witch, Burn'' (1932) by [[Abraham Merritt]], the script was crafted by Browning with contributions from [[Garrett Fort]], [[Guy Endore]] and [[Erich von Stroheim]] (director of ''[[Greed (1924 film)|Greed]]'' (1924) and ''[[Foolish Wives]]'' (1922)), and "although it has its horrific moments, like ''Freaks'' (1932), ''The Devil-Doll'' is not a horror film."<ref>Herzogenrath, 2006 p. 11: "The Devil-Doll, scripted with Erich von Stroheim…"<br />Eaker, 2016: "The Devil Doll (1936) is based on Abraham Merritt's novel "Burn, Witch, Burn" with the screenplay by Guy Endore, Erich von Stroheim, and Browning. "<br />Sobchack, 2006 p. 29: See here for quotation.</ref>

In ''The Devil-Doll'', Browning borrows a number of the plot devices from his 1925 [[The Unholy Three (1925 film)|The Unholy Three]].<ref>Rosenthal, 1975 p. 25: "...''The Devil-Doll'' follows the same pattern as in Browning's The Unholy Three (1925)."</ref>

Paul Lavond ([[Lionel Barrymore]]) has spent 17 years incarcerated at [[Devil's Island]], framed for murder and embezzlement committed by his financial associates. He escapes from the prison with fellow inmate, the ailing Marcel ([[Henry B. Walthall]]). The terminally ill scientist divulges to Lavond his secret formula for transforming humans into miniature, animated puppets. In alliance with Marcel's widow Malita ([[Rafaela Ottiano]]), the vengeful Lavond unleashes an army of tiny living "dolls"  to exact a terrible retribution against the three "unholy" bankers.<ref>Rosenthal, 1975 p. 25: "...Lionel Barrymore breaks out of prison in order to destroy the three bankers who framed him for the embezzlement they committed." And: p. 14: "Barrymore's instruments of revenge in The Devil-Doll are tiny, deadly, living dolls who have no wills of their own and respond to his telepathic commands. By extension through these miniatures he is able to dominate his enemies..."<br />Eaker, 2016: "Malita (Rafaela Ottiano), who also is, conveniently, a mad scientist. Marcel dies, but not before showing Lavond the scientific discovery that he and Malita have been working on for years. They are able to shrink animals and people to a sixth of their normal size."</ref> Biographer Vivian Sobchack acknowledges that "the premises on which the revenge plot rest are incredible, but the visual realization is so fascinating that we are drawn, nonetheless, into a world that seems quite credible and moving" and reminds viewers that "there are some rather comic scenes in the film..."<ref>Sobchack, 2006 p. 28-29<br />Toole, 2003 TCM: "...part of the film's cult appeal is Browning's twisted sense of humor, which is most evident in the scenes with Malita who becomes addicted to miniaturizing humans."</ref>

Barrymore's dual role as Lavond and his cross-dressing persona, the elderly Madame Mandilip, a doll shop proprietor, is strikingly similar to Lon Chaney's Professor Echo and his transvestite counterpart "Granny" O'Grady, a parrot shop owner in ''The Unholy Three'' (1925).
<ref>Rosenthal, 1975 p. 25: "Browning drags out Chaney's old lady make-up from ''The Unholy Three'' (1925) as a disguise for Barrymore as he goes about his work of angry destruction… Echo [Chaney] made up as the grandmother [Granny O'Grady] bears a remarkable resemblance to Barrymore disguised as the elderly woman [Madame Mandilip] who sells dolls in the Devil-Doll."<br />Baxter, 1970 p. 101-102: "The Devil Doll (1936) is still one of the Thirties' most effective examples of atmospheric fantasy. The characteristic Browning elements- long dash greed as a motive, transvestism- long dash reappear in the story of an escaped convict who is given the secret of reducing human beings to miniatures and uses it to revenge himself on the men who put him on [[Devil's Island]]."</ref> Film critic Stuart Rosenthal notes that Browning recycling of this characterization as a plot device "is further evidence for the interchangeability of Browning's heroes, all of whom would act identically if given the same set of circumstances."<ref>Rosenthal, 1975 p. 25</ref>

Thematically, ''The Devil-Doll'' presents a version of Browning "indirect" sexual frustration.<ref>Rosenthal, 1975 p. 25: See here for "indirect frustration" definition, also p. 23.</ref> Here, Lavond's daughter Lorraine ([[Maureen O'Sullivan]]), ignorant of her father's identity, remains so. Stuart Rothenthal explains:

{{blockquote | "Lionel Barrymore in ''The Devil-Doll'' makes an attempt [as did Lon Chaney in ''[[The Road to Mandalay (1926 film)|The Road to Mandalay]]'' (1926) and ''[[West of Zanzibar (1928 film)|West of Zanzibar]]'' (1928)] to protect his daughter from embarrassment and unhappiness by concealing his identity from her even after he has been cleared of embezzlement. In an ironic way, by denying himself his daughter, he is punishing himself for the crimes he committed in the course of his self-exoneration...Clearly, the most deplorable consequence [of his frameup] was not the years he spent in prison, but the alienation of his daughter's love and respect."<ref>Rosenthal, 1975 p. 27-28<br />Eaker, 2016: "Ironically, to prove his innocence Lavond must again go into exile at the film's end and must forever forsake his daughter..."</ref>}}

Rosenthal points out another parallel between ''The Devil-Doll'' and ''The Unholy Three'' (1925): "Lavond's concern for his daughter and refusal to misuse his powers mark him as a good man...when his revenge is complete, like Echo [in ''The Unholy Three''], Lavond demonstrates a highly beneficent nature."<ref>Rosenthal, 1975 p. 25: See here for "indirect frustration" definition, also p. 23. And: p. 39: "In Browning's films, real suffering brings out the dangerous qualities in a man. Whatever good deed he may eventually do is the result of his initial strength of character and in spite of externally imposed suffering that forces men like Paul Lavond into new and deeper guilt. Levond is a snarling, hateful man."<br />Eaker, 2016: "As Lavond, Barrymore delivers a subdued, controlled performance...  Although a sympathetic character, Barrymore conveys genuine creepiness in the revenge scenes..."</ref>

Browning proficient use of the camera and the remarkable special effects depicting the "miniature" people are both disturbing and fascinating, directed with "eerie skill."<ref>Toole, 2003 TCM:  ''The Devil-Doll'' is a "very smooth, visually accomplished piece of cinema...The special effects are impressive for the era, particularly the scenes featuring oversized sets and "miniature" people."<br />Eaker, 2016: "By the time of ''The Devil Doll'', Browning was comfortable with the sound medium and the film benefits from this, fluid camera work, and the charmingly rudimentary flx for the incredibly shrunken people."<br />Sobchack, 2006 p. 28-29: "The scenes that involve the 'dolls' (really miniaturized people) as they attempt to carry out the murderous telepathic commands of a vengeful Lavond are often chilling, but most often also interesting (italics) – observed by a camera objectively recording the fascinating details of their progress."<br />Baxter, 1970 p. 102: The idea of miniaturization is used with more drama in this film than in others of its kind, and the attacks which Lionel Barrymore engineers...are directed with eerie skill…"</ref>

Film historians Stefanie Diekmann and Ekkehard Knörer report that the only direct link between Browning's fascination with "the grotesque, the deformed and the perverse"<ref name="Sobchack, 2006 p. 31">Sobchack, 2006 p. 31</ref> and the traditions of the French [[Grand Guignol]] is actor [[Rafaela Ottiano]] who plays doll-obsessed scientist Matila. Before her supporting role in ''The Devil-Doll'', she enjoyed "a distinguished career as a Grand Guignol performer."<ref>Diekmann and Knörer, 2006 p. 73: "The only direct connection we could find between the worlds of Grand Guignol and Browning is the actress [[Rafaela Ottiano]] who, after a distinguished career as a Grand Guignol performer went on to play went on to play in a number of supporting roles in a number of Hollywood movies, Tod Browning's ''The Devil Doll'', 1936, among them."<br />Eaker, 2016: "What makes The Devil Doll unique is the science fiction angle and a female mad scientist in Ottiano (who has an [[Elsa Lanchester]] like streak in her hair)."</ref>

Shortly after the completion of ''The Devil-Doll'', Irving Thalberg, Browning's mentor at MGM, died at age 37. It would be two years before his final film: ''Miracles for Sale'' (1939).<ref>Eaker, 2015: "...Thalberg's protective umbrella vanished when the producer died prematurely, shortly after the release of Browning's ''The Devil Doll'' (1936)." And: "...The Devil Doll (1936) he did not even receive screen credit…" And "...The Devil Doll. was also the beginning of the end for Browning's unparalleled brand of artistry." And:  "After Devil Dolls, Browning sat dormant for two years until he was able to direct ''Miracles for Sale'' (1939)... "</ref>