All Anime Applications Games Movies Music TV shows Other

He Who Gets Slapped (1924) Lon Chaney, Norma Shearer, John Gilbert

    Seeders : 0      Leechers : 0

Note :

Please Update (Trackers Info) Before Start "He Who Gets Slapped (1924) Lon Chaney, Norma Shearer, John Gilbert" Torrent Downloading to See Updated Seeders And Leechers for Batter Torrent Download Speed.

Trackers List

Torrent File Content (2 files)

Description

Movies : Drama : DVD Rip : English




A bitter clown endeavors to rescue the young woman he loves from the lecherous count who
once betrayed him.
Director: Victor Sjöström (as Victor Seastrom)
Writers: Leonid Andreyev (adapted from
the play by), Carey Wilson (adapted for the screen by) | 2 more credits »
Stars: Lon Chaney, Norma Shearer, John
Gilbert | See full cast & crew »

Summaries
Story of an inventor who, suffering
betrayal in life, makes a career of it by becoming a clown whose act consists of getting slapped by all the other
clowns. He falls in love with another circus performer, and those who betrayed him enter his life yet again.

—Robert Tonsing
Paul Beaumont, a brilliant French researcher, is on the verge of a great scientific
discovery on the origins of mankind and presents his work to the prestigious scientific academy. However, Baron Regnard,
a disloyal colleague, takes credit for the work and turns Beaumont into a laughing stock. If that was not enough,
Regnard also seduces Beaumont's faithless wife, totally crushing him. Unable to bear his humiliation, Beaumont
adopts a new identity, that of "He Who Gets Slapped." a circus clown whose successful act consists of being
slapped and debased by fellow clowns in a stylized act that amounts to ritualized humiliation. "He" becomes
enamored with the troupe's ingénue, the big top's bareback horse rider, who shows kindness to
"He" when she sews the cloth heart back onto his costume after each performance. Although Consuelo is in love
with fellow performer Bezano, her corrupt, greedy father, the fallen aristocrat Count Mancini, literally sells her to
the lascivious Baron Regnard, who has arrived back on the scene. "He" takes the opportunity to foil the
villainous baron and count, allow Consuelo to marry her true love, and attain revenge for his earlier humiliation.

—[email protected]
A bitter clown endeavors to rescue the young woman he loves from the
lecherous count who once betrayed him.

—Miss Simonetta

 10/10
Lon
Chaney's best film?
funkyfry9 May 2001
I think one could argue that "He Who Gets Slapped" is
Lon Chaney's best film. Since Lon Chaney is the greatest character actor of all time, this makes it a must-see (a
term I abhor) for everyone. The way to watch this movie is as a sort of twisted fairy tale. The Melodrama exists to
satisfy audience demands but there is much more going on here, and what's beautiful is that it is happening in a
way that affects the viewer even if he or she isn't aware of it. Lon Chaney's performance is heartbreaking,
particularly when he carries the cloth heart that has been torn from his breast, but at other moments he is sadistic and
vengeful, as when he lets the lions out to kill a scheming circus manager and a sotted aristocrat. When I watch this
scene I admit that I am laughing with Lon -- you have to love it! Norma Shearer and John Gilbert..... nobody ever had a
better supporting cast. The circus theme is a parable for the world of human relations, where we are often called upon
to amuse others instead of showing our true feelings. Lon's performance is a classic of self-torture and
humiliation, and this movie should be remembered for all time as establishing MGM on the track that made it
Hollywood's all time greatest studio.
26 out of 30 found this helpful. Was this review helpful? Yes No |
Report this
 9/10
Tears of a Clown
nycritic26 October 2005
Warning: Spoilers

Considered the very first MGM production (which featured the well known lion amidst its emblem), this is not a horror
story despite the presence of Lon Chaney (who starred in a number of successful Grand Guignol-themed films), but
something of a love story, even if Chaney loves from afar and goes to extreme lengths to protect the object of his
affection. He plays Paul Beaumont, a failed scientist who has been slapped -- literally -- by the science community, his
wife Maria (Ruth King), and her sponsor/lover, the Baron Regnard (Mark McDermott). Defeated, he has retreated to the
underbelly of society: the world of the circus freaks. As the clown HE, Beaumont is the man with the main attraction, a
routine in which he gets slapped hundreds of times by other clowns -- a repetition of his humiliation inciting
uproarious laughter from the audience. The only thing which lights him up is the ingénue Consuelo (Norma Shearer in
an early role) whom he loves in silence. She in turn loves Bezano (John Gilberrt), but is about to be forced into
marriage to the Baron. Here is when HE concocts a terrible revenge to protect Consuelo.

A classic romantic
setup with eerie undertones, HE WHO GETS SLAPPED is an excellent film which makes us feel pity for this mistreated man,
portrayed by Lon Chaney like no one could. The quintessential wronged man, he plays the crying clown to the extreme, and
while we know and accept he will not get the girl -- Chaney rarely did -- the element of pathos is there. His
performance in this movie is one of the most moving of all cinema history, and it takes a special type of talent to
embrace the grotesque and delve so deep into human pain. Even the inter-cuts in which HE spins a massive globe have a
frenetic tragic quality about them: he is effectively spinning the law of fate.

As a footnote, this was not
Norma Shearer's first performance (her first recorded appearance dates from 1920 as an extra) but it is the first
she did for MGM, playing an ingénue although she was 24 years old at the time. As the object of the love Consuelo
ignores, she is apt but pales in comparison to her co-star. Chaney is the life, the soul, the very reason of this
story's existence.
27 out of 32 found this helpful. Was this review helpful? Yes No | Report this

9/10
My all time favorite!
AaronPK27 September 1999
Before I saw "He Who Get's Slapped" my
3 favorite movies were The Empire Strikes Back, Evil Dead 2, and Star Trek II.

This movie is 180 degrees from
any of those movies, in fact, it's in a whole other universe. This silent film that opened in 1924 changed my movie
tastes so much that it's amazing. I was just flicken channels one night after studying for a final for 3 hours and
stopped on TCM for a second because Robert Osborne said that it starred Lon Chaney. In my niavete, I thought he was
talking about the guy who played The Wolf Man, but this is in fact Lon Chaney Sr. Junior is the guy who had played
Wolfie.

So I started watching it and was about to change it when I found out it was a silent film. But I
stayed with it for a few minutes, and soon I was enraptured. 2 hours later, I was riveted to the edge of my seat as
HE's struggle came to a climax. Well, the next day, I failed the test. But I learned more watching that movie than
I could ever learn in Calc 320.

Since then, I have watched TCM religiously (when I'm not studying of
course) and now I realize that 99% of movies made in modern times are vastly inferior to the old classic movies.

Black and White RULES

If you haven't seen He Who Gets Slapped. Track it down and WATCH IT. It is
WAY better than The Phantom Menace.
39 out of 50 found this helpful. Was this review helpful? Yes No | Report
this
 10/10
Another Master Class From Mr. Lon Chaney
Ron Oliver6 July 2004
A celebrated circus
clown, HE Who Gets Slapped, plots the punishment of two evil aristocrats.

Lon Chaney, the Silent
Screen's master chameleon, adds another portrait to his gallery of pathetic grotesques. This time he plays a
scientist who becomes a clown after his former life is destroyed by his adulterous wife and a faithless friend. A young
woman provides him with someone to secretly adore, until her wicked father threatens to ruin her happiness.
Chaney's face is an absolute wonder to watch as it registers pain, anguish, distress and unrequited passion,
underlining the modern reassessment of him as one of cinema's greatest actors. Uninhibited in his circus costume
& makeup, he provides no doubt but that he, under different circumstances, could have become a marvelous big top
clown.

This was the first release of the new film company merger Metro-Goldwyn, thus making Chaney their
first star, and was an important rung up the ladder for the two performers playing the young lovers. Norma Shearer &
John Gilbert would soon be major movie celebrities--here they give good account of themselves as the circus'
daredevil & bareback riders, and as Chaney's truest friends (both unaware of his love for Miss Shearer). In a
film full of circus excitement, the director has given the young couple a moment of unexpected beauty: whilst on a
picnic their innocent affections are noticed by a passing peasant, who gives the call of the cuckoo as the perfect grace
note to their bucolic joy.

Marc McDermott as a brutal Baron and Tully Marshall as a dissolute Count make
villains well worthy of the harshest retribution. Comic Ford Sterling plays one of Chaney's fellow clowns.

The Studio gave this silent film fine production values, while director Victor Sjöström added little
embellishments of cinematic flair, dealing with scenes of mysterious clown figures representing fate, which enhance the
film.
16 out of 19 found this helpful. Was this review helpful? Yes No | Report this
Chaney and cast deliver
in the first MGM film
BobLib20 February 2004
Bravo to Turner Classic Movies for making available, once again,
the cinematic art of one of the best actors ever, Lon Chaney. As Andreyev's disappointed scientist turned circus
clown, Paul Beaumont, Chaney makes the most of every scene he's in, and never disappoints. We feel the agony of his
hopeless love for the lovely bareback rider Consuelo, as well as the seething anger toward the man who ruined his life,
the despicable Baron Renard. It's a far better performance, in my opinion, than his similar role four years later
in "Laugh, Clown, Laugh," much more understated and, therefore, much more involving.

But
that's not to take away from the other performances, by any means. Norma Shearer, in her first major role as
Consuelo, is suitably attractive and gives a good performance, but to see her at her best is to see such '30's
classics as "A Free Soul" and especially "Marie Antoinette." There, she was a mature actress; here,
she was a promising newcomer. John Gilbert already shows that he had the goods to become one of the top leading men of
the '20's, managing to convey virility even in multicolored tights. And Marc McDermott and old veteran Tully
Marshall make two of the best silent villains ever as the aforementioned Baron and as Consuelo's father, an
impoverished nobleman ready to force his daughter into marrying the Baron just to improve his fortunes, respectively.
You're genuinely glad, at an almost visceral level, when they wind up getting what they deserve in the end.

I don't know who composed the music score used in the print seen on TCM, but it's excellent and really
compliments the action.

Victor Seastrom's moody direction is perfect, especially his use of a
globe-spinning clown to serve as sort of a Greek chorus at various points in the film. 

In short, this is a
true silent classic, silent film making at its' best, and well worth seeing.
12 out of 15 found this helpful.
Was this review helpful? Yes No | Report this
I can't find the words to say how brilliant this movie is.
Rich Drezen (Drezzilla)12 February 2004
80 years is a loooooong time. I can't believe MGM's really been
around that long. But when it came to making this picture, they were off to a great start. Getting Lon Chaney from
Universal was a very wise choice (it'd be hard to see someone else in the part he played), the supporting cast
which included Norma Shearer (future Best Actress Oscar winner), John Gilbert (future star of "The Big Parade"
(1925) and "Queen Christina" (1933)), as well as notable character actors Tully Marshall and Ford Sterling, it
is nothing short of splendid. Lon Chaney's deep, gripping facial expressions, especially in his scenes with rival
Baron Regnard (played by Marc McDermott) are the most expressive I've ever seen on film. TCM aired a print with a
synchronized music & effects track (which sounds as if it was recorded maybe in the 1960's or 1970's) on
Oct. 30th, 2003, and I was so enthralled with how it looked that I taped it and now have it in my collection. If you
ever happen to come accross this movie, watch it! You will not be dissapointed. Because MGM means great movies,
doesn't it?
12 out of 15 found this helpful. Was this review helpful? Yes No | Report this
 10/10
Slap Unhappy
amosduncan_20003 December 2006
I saw this film first on Public Television (the score that is
still used, I believe, was developed when the film was restored in Chicago) and have always loved it in all it's
raging perversity. It is beyond ironic that one of the major studios was launched on a film who's premise was that
the public is a malevolent, cruel ass. We are never allowed to forget that as horrible as the villain is; the drooling,
jeering, sadistic vermin in the circus crowd are worse. 

The spookiness of the direction, I think, is what
hooked me. All the leads are excellent and perfectly cast. This is the ultimate in melodrama, and it's drawn is
such broad strokes that it's hard to imagine as a talkie.
9 out of 11 found this helpful. Was this review
helpful? Yes No | Report this
Brilliant!
Firewalker22029 November 2003
I saw this film for the first time
on TCM and I have to tell you, no movie has hooked me in like this for the longest time! I furthered my appreciation for
Lon Chaney, the first TRUE film actor their was in my opinion. This was the first film made by MGM and it was the best
choice they could have made.

The film concerns a scientist/inventor played by Chaney whose discoveries are
claimed by someone else, a baron. He is publicly humiliated but sees an oppurtunity and becomes a circus clown as a
result of it. He falls in love with one of the bareback riders at the circus but, as is common with a lot of his films,
the girl loves someone else. One night, the baron who ruined his life comes to the circus and he see's his
opportunity for revenge. The overall theme and/or message of this movie is "he who gets the last laugh, laughs
last!"

The film is marveously done from begining to end. Chaney is brilliant as always but his
performance is subtle at saddening and vicious at times, you actually root for him!

Bravo!
9 out of 12
found this helpful. Was this review helpful? Yes No | Report this
He Who Gets Slapped (1924) - TCM U.K. screening
review
MARIO GAUCI13 June 2004
After my mixed response to THE HUNCHBACK OF NOTRE DAME (1923), I decided to
augment my current Silent-film schedule with a mini-Lon Chaney marathon. Others I intend to watch in the coming days are
THE MONSTER (1925), THE BLACK BIRD (1926), MR. WU (1927) and WHERE EAST IS EAST (1929). All of these I have recorded off
Cable TV, and so far all have received a single viewing.

So, let's start with HE WHO GETS SLAPPED and
THE UNKNOWN which, incidentally, have many things in common. They are both set in a circus and involve love triangles
which end in tragedy. However, the style adopted by the two films' directors, Victor Sjostrom and Tod Browning
respectively, is completely different – and this goes for the characters Chaney plays, too.

I had been
instantly impressed by HE WHO GETS SLAPPED, and a second viewing only consolidates my high opinion of it. The film -
MGM's very first production, incidentally – was considered highbrow material at the time, not only because it
was helmed by a foreigner but also due to the unusually intricate nature of the plot (complete with a healthy dose of
symbolism) and a clear emphasis on composition and lighting throughout (one amazing shot has Chaney alone in the circus
arena when the lights are being turned off for the night, with the screen entirely black except for Chaney's
painted face!).

Chaney is superb as the humiliated scientist-turned-clown (drawing an interesting parallel to
Emil Jannings in two Expressionist masterworks, Murnau's THE LAST LAUGH [1924] and Von Sternberg's THE BLUE
ANGEL [1930]). His whole life's work is stolen from him and he decides to go into self-willed exile (an influence
perhaps on Chaney's future characterization as Erik, the 'Phantom' of the Paris Opera House?) at a
circus. Chaney's reaction shots in this film are nothing short of sensational. The sheer masochism in evidence here
(a distinctly un-American touch) must not have gone down well with the studio, to say nothing of the gruesome ending
when he finally wreaks his revenge. I cannot say for sure, but most of what Chaney was to accomplish in his famed
collaboration with Tod Browning, on films like THE UNHOLY THREE (1925) and THE UNKNOWN, is already evident in this film
- except that the actor here is less given to uncanny make-up design (which might have overshadowed his acting abilities
at times), while the handling is altogether more sophisticated and artful!

Only the middle section drags a
bit, as it stresses the budding relationship between Norma Shearer and John Gilbert (though this is contrasted with her
father's scheming with a lecherous Baron who, incidentally, turns out to be Chaney's deadly enemy!), but the
rest is riveting stuff – this film deserves to be better known, and I long for the day Warners gets to release a Box
Set of Lon Chaney classics on DVD!!
10 out of 14 found this helpful. Was this review helpful? Yes No | Report
this
 10/10
A story of cruelty in the old style where we are asked to identify with the lesser person, not
mock them like on all the superficreality shows.
Spent Bullets27 June 2007
He Who Gets Slapped is based on the
Russian Leonid Andreyev's 1914 play about a circus melodrama. The arty silent film was the first movie made
entirely under MGM's control and the first to feature the MGM lion, but it was not its first release as the studio
chose to delay its opening until the busy holiday season. Young 'genius' executive Irving Thalberg, just under
studio head Louis B. Mayer, produced it; during filming he was seeing Norma Shearer, and three years later they were
married.

It marked the American debut of Swedish director Victor Seastrom, who masterfully helms it. Though
the film itself is an intermittently entertaining and inventive silent melodrama showcasing the very physical acting
skills of Lon Chaney, a screen legend whose premature death in 1930 robbed cinema of a unique talent. Here he plays
obsessed scientist Paul Beaumont, whose work 'on the origins of mankind' is stolen by his devious patron, the
Baron de Regnard (Marc McDermott) – who also makes off with Beaumont's wife for good measure.

Utterly devastated by life's savage cruelties, Beaumont literally runs away to the circus where he starts a new
life as a clown. Known as 'HE who gets slapped' – or simply 'HE' for short – his act
consists of enduring nightly physical abuse at the hands of his impassive fellow clowns, to the explosive delight of the
circus's boorish audiences: a more economic definition of schadenfreude (taking joy at the misfortunes of others)
would be harder to imagine.

But though HE (the character's "name" is capitalized in all inter
titles) becomes a roaring success, it turns out that fate hasn't yet done with him – he secretly dotes on
Consuelo (Norma Shearer), a bare-back rider in love with her fellow performer Bezano (John Gilbert). HE can just about
stand this state of affairs – but when the dastardly Baron returns to the scene and starts moving in on Consuelo, HE
is spurred into a drastic act of revenge.

Chaney gives a heartbreaking naturalistic performance, it's
one his most toned down and believable work, possibly showing the most painful expressions to ever grace the screen.
This is largely due to the director, Sjostrom, who didn't believe in the over the top acting style of the age.
It's certainly a contender for Chaney's best film (and performance), but despite being one of his oldest
that's still available, it's certainly one of his most modern. Of course, his circus act is great, with the
ironic climax finally turning the tables on the viewer. Chaney is incredible!!!
7 out of 9 found this helpful. Was
this review helpful? Yes No | Report this
 10/10
Edgy as Hell
jtinc28 July 2005
Warning:
Spoilers

This movie was probably one of the most welcomely disturbing I've ever seen. Let's
see......... you got a Silent Movie.....with creepy clowns....a revenge plot where you root for the
revenger..........Lon Chaney........massive implied violence & gore.....moral confusion......and again......creepy
"old school" clowns..........wow. This combination led me to a new appreciation of silent films & Lon
Chaney. Best scene (in my opinion) is when Lon is locking the the bad guys in the room - look at his face, then look at
the bad guys absolute expression of confusion/horror.... sorry - 80 years later and actors don't convey emotion
much better today.

First silent I watched all the way through. Movie Hipsters.........this is pretty damn hip
for 1924....thru.....NOW. "He Who Gets Slapped" will haunt you in a great way.
6 out of 8 found this
helpful. Was this review helpful? Yes No | Report this
 9/10
An auspicious beginning for MGM
Servo-1117
May 1999
Warning: Spoilers

It's somewhat strange that MGM's first film contains three
people who each achieved superstardom: Lon Chaney, whose following is immense, both then and now; John Gilbert, an
overlooked and maligned sex symbol who has his own band of followers, of which I am one; and Norma Shearer, an actress
unfairly dismissed as the product of clever packaging and promotion by her fiance and, later, husband, Irving
Thalberg.

I've always liked her, and in this film, she gives a hint of her future charisma on the
screen. The story of HE WHO GETS SLAPPED is quite melodramatic and is handled with European eccentricity (director
Sjostrom), but it is still head a shoulders above most of the movies made today. The circus scene when Ford Sterling
rips Chaney's heart from his costume and buries it in the sand of the center ring is simply bizarre in its
darkness.
5 out of 7 found this helpful. Was this review helpful? Yes No | Report this
One of the best silents
I have seen
nickandrew1 November 2003
MGM's first feature film is this beautifully made, unforgettable
silent starring Lon Chaney. He plays a brilliant scientist who is betrayed by his mentor, so he finds happiness as a
circus clown, only to be hurt again by the same man. Shearer is great in her supporting role as Chaney's love
interest, whom also is loved by Gilbert.
5 out of 8 found this helpful. Was this review helpful? Yes No | Report
this
 10/10
"I don't drink with clowns!"
catherinelavalle24 January 2011
Plenty of
reviews here have provided plot summaries, so I will limit my comments to the things that make this, for me, one of Lon
Chaney's finest performances. The direction by Sjostrom is brilliant. Chaney once said that he needed a strong
director to curb his tendency to overact, and clearly he got what he needed here. For example, see the scene where Paul
is suffering humiliation at the hands of the Baron and his unfaithful wife. After the wife slaps him, an involuntary
laugh escapes his lips, which he quickly stifles in horror. It's just a moment, but it tells you all you need to
know about where the clown act comes from. Especially touching is the scene where Consuelo (Norma Shearer) performs her
daily task of sewing HE's "heart" back into his costume after it has been ripped out during his act. Lon
just stands there holding the heart in place for her, watching her like a smitten puppy dog watches the face of its
master. You have no doubt how much he adores her. Or, when he watches in vicious glee as the lion does his dirty work
for him, only to ask the cat to do him the favor of relieving him of his own pain. It is a subtle and nuanced
performance worth seeing again and again.
3 out of 4 found this helpful. Was this review helpful? Yes No | Report
this
 8/10
While not as creepy and disturbing as many of his other films, this is a dandy movie
MartinHafer4 June 2007
If you are looking for horror and shocks, this really isn't the Lon Chaney movie for
you. The film is more a tragedy about a decent man who is betrayed and subsequently retreats to the circus--where he
plays a clown that is beaten up and mistreated to the delight of the audiences. The film is intended to be critical of
human nature and how the misery of others is oddly entertaining, though the scenes where Chaney ran around as the clown
being slapped about just didn't seem funny or very magical. It was as if in this character, he just wasn't
quite hitting his usual stride. However, in the rest of the film, we have a dandy morality play that still hold up well
over time (as do most of Chaney's films). Not great, but certainly very good and well worth a look.
3 out of 4
found this helpful. Was this review helpful? Yes No | Report this
 8/10
The Clown Who Spins the Globe Turns in
Another Top Performance
romanorum126 August 2010
Warning: Spoilers

In the first film
produced by MGM, Paul Beaumont (Lon Chaney) plays a brilliant French scientist who has recently proved his theories on
the origins of mankind. Unfortunately, he has entrusted his papers with a corrupt colleague, Baron Regnard. At the
anticipated meeting of the French Academy, the Baron thoroughly cheats Beaumont out of his just fame. He states that
Beaumont was merely a lab assistant. Beaumont's outburst and subsequent slap on his face by the Baron only gain him
the scorn and laughter of the spectators (Some of these folks have the oddest looking faces seen in cinema.). Right
after, Beaumont confronts his wife, who he caught kissing the Baron. She ridicules him, calls him a clown, and slaps him
in the face. With this phase of his life over, the crushed Beaumont abandons his past and escapes to the circus as the
clown HE (who gets slapped). It seems that paying customers cannot stop laughing when they see a clown getting
slapped.

Several years pass and HE becomes famous. There is a new circus performer – a bareback horse
rider – the lovely Miss Mancini (Norma Shearer), known as Consuelo. She is the only gem left of an Italian family
that was formerly rich. The only other family member seems to be her father, a Count. Another rider, a fellow-Italian
(Bezano, as played by John Gilbert), is captivated by Consuelo (as is the clown HE, but secretly). Baron Regnard just
happens to attend one of the circus shows and also becomes enthralled with Consuelo. He had previously left
Beaumont's wife. The Baron negotiates with the Count, who agrees to match his daughter with the Baron ("a rich
gentlemen") for a price. Meanwhile, Consuelo has spent the same day at a park with Bezano, and the two, who were in
love all along, decide to marry right away. In the meantime, the Clown HE is outraged when he learns of the plans of the
Count and the Baron (whom he had previously recognized). HE confronts them in a backstage room, but the Count stabs him
with his cane sword, and HE is pushed out of the room. Although wounded, the clown HE is able to position a lion's
cage against one closed door of the meeting room (with the adjoining cage door open). At the right time he then walks to
the other door and enters the room and locks that same door. Unknowingly the Count opens the other door, where the
lion's cage is positioned. The angry lion bursts into the room, and before long both the Count and the Baron are
dead. The lion tamer happens to come upon the scene and secures the lion into its cage before it can attack the clown
HE. The clown, though, has been bleeding from his wound. Instead of obtaining needed medical attention, HE goes on with
his final act, knowing that he has triumphed over the evil machinations of the Baron. In the end the clown HE dies in
the circus ring, content that Consuelo will be with Bezano.
3 out of 5 found this helpful. Was this review helpful?
Yes No | Report this
 8/10
The Sad Life of a Clown
bkoganbing4 June 2007
Stepping into the role
created on Broadway by Richard Bennett, Lon Chaney stars in this film as a once famous scientist who chose the life of a
circus clown out of shame. 

At least now I know where the business with James Stewart in The Greatest Show on
Earth came from. But whereas Stewart was guilty of a mercy killing, Chaney leaves because he's found that his
wife's been two timing him with a titled nobleman.

Years later Chaney is a famous attraction at the
circus in Paris and he's falling big time for young Norma Shearer who is a bareback rider and also a member of the
nobility who has fallen on hard times. She can't see Chaney no way, no how. She's got her eyes on trapeze
artist John Gilbert.

But wouldn't you know it, Marc McDermott that self same cad who took Chaney's
wife from him has designs on Shearer. And her dad Tully Marshall who's a lecherous old reprobate himself wants to
get back in the chips himself so he's quite willing to pawn off Shearer to the old rake. 

Naturally of
course Chaney has his plans for the whole lot of them and it's settled in a gruesome manner for the silent screen.
The film is highly melodramatic and would be considered camp today, but for the subtle performance of Chaney. For the
silent screen, with a minimum of histrionics, Chaney does get you to feel a lot of empathy for the character.

It's one of that fine collection of characters Chaney created when the screen didn't speak and should be
seen.
3 out of 5 found this helpful. Was this review helpful? Yes No | Report this
 10/10
Inventor
triumphs over humiliation by reliving it nightly
thymiane25 December 2001
I'm not sure about this film.
Possibly a work of flawed genius, and possibly one of the first Trash Movies ever. A must-see, either way. If you take
nothing more home than the scenes of the clown laughing at a globe or the size of neon sign at the circus where HE grows
famous, you've already enriched your life beyond description. The titles say that HE
has won by learning to laugh at his misfortune, and by making others laugh at his feigned misfortune, that somehow by
knowing that people are so stupid and vile as to laugh at a man getting slapped he has risen above all his past defeats,
but at the same time, it's so totally clear that he has never put it behind him, and I don't know if it's
pathetic or not when he tries to give his final monologue on the importance of love, and lets himself be slapped to
death in the middle of a circus ring before he can finish, because I can never quite let myself feel that HE is pathetic
enough himself, I can't quite decide how much of a heart HE has left, and I don't know how to weep for it once
it's been buried. It's hard to struggle with that and pay attention to everything beautiful in this movie, and
there's a lot. I would like to have seen it with a better soundtrack, because the copy I saw had generic
silent-movie-sounding music dubbed over the top of it. Music that paid attention to what was happening, and helped try
to speak it would probably have left me with a clearer impression of what the idea was, but c'est la vie. This film
is worth a 10 for its inability to fit in with anything I've ever seen, and especially coming from Sjostrom. See it
just to keep a copy of it circulating. This one would be a pity to lose.
3 out of 5 found this helpful. Was this
review helpful? Yes No | Report this
What Goes Around, Comes Around
GManfred31 August 2011
Let me get
this straight. A scientist labors years on a project, gets it stolen by his best friend, and is cuckolded as well. His
friend slaps him in front of a scientific symposium, and he decides to capitalize on his humiliation by becoming a
circus clown whose act is to get slapped after everything he says. It is not only far-fetched, but the act is not funny
and would not provoke laughter in the real world.

Having said all that, Lon Chaney remains one of
Hollywood's best actors and towers over the cast in this film. Amazing that he is as expressive in makeup as he is
out of makeup. He has able backing in Norma Shearer, John Gilbert and Tully Marshall, among others, but it is Chaney who
makes the picture work. He is so good he almost does not need dialogue cards.

Victor Seastrom, distinguished
Swedish actor-director, handled directing duties (he starred in Bergman's 'Wild Strawberries"in 1957),
but is up against it here with a screenplay that defies belief. He added a nice touch with the clown spinning the globe
at intervals during the film, suggesting my summary.
4 out of 8 found this helpful. Was this review helpful? Yes No
| Report this
A Masterpiece In Need of Some Help
DANEMOD9 December 2007
There are plenty of comments here
about what a masterpiece "He Who Gets Slapped" is, and I won't bore anyone with more. But as the film
currently stands, it's a masterpiece that needs some help, specifically in its music track. The print currently
shown by TCM has a patched-together track that sounds like a mishmash of whatever public-domain music could be found.
Some of it sounds like a Sixties spy movie, and some of it sounds like an Ed Wood flick, though some of it is actually
appropriate, particularly when Tricaud's clowns march into the circus ring. There is obnoxious and jarring use of
canned laughter that spoils the "silent" mood completely, too. What needs to be done here is to commission a
score from someone specialising in silent scores, like Carl Davis or Jon Mirsalis, bringing this classic's standard
of presentation up to other TCM silent movies'. The movie that is considered the first M-G-M film deserves better
than it's getting.
2 out of 3 found this helpful. Was this review helpful? Yes No | Report this
 7/10
This excellent Lon Chaney silent was MGM's first release, Leo the Lion opening
jacobs-greenwood20 December
2016
Warning: Spoilers

Directed by Victor Sjöström, who co-adapted Leonid Andreyev's
play with Carey Wilson, this silent was the first film produced by the newly formed Metro-Goldwyn-Mayer (MGM), and the
first to be released featuring (Leo) the lion. Edward Arnold and Bela Lugosi (as a clown) are reported to appear,
uncredited, as extras in this film.

Paul Beaumont (Lon Chaney) is a brilliant scientist who makes some
(unnamed) earth-shattering discoveries while, unbeknownst to him, his wife Maria (Ruth King) keeps company with
Beaumont's wealthy benefactor Baron Regnard (Marc McDermott). After announcing his success, he locks up his papers
and goes to bed, but his wife takes the key from him while he's sleeping. At the Academy presentation, the Baron
announces the discoveries without giving Beaumont the proper credit. In fact, he claims that Beaumont was merely his
assistant and slaps him to the uproarious laughter of the Academy's members. Afterwards, he learns of his
wife's infidelity and gets slapped by her as well.

So, Beaumont punishes himself for his own stupidity
by becoming a clown in the circus. His act, which involves him getting slapped more than a hundred times in each
performance, becomes a big hit over the course of 5 years. One day, Count Mancini (Tully Marshall) brings his daughter
Consuelo (Norma Shearer) to be a horseback rider in the show. Bezano (John Gilbert), another horse riding performer, is
captivated by her beauty and courts her. Though she is at first standoffish, she eventually falls in love with Bezano.
Unbeknownst to her, Beaumont, now known as HE (who gets slapped), has also fallen in love with her, something he
didn't believe was possible given his unfortunate past.

Baron Regnard happens to take in a performance
and is overcome himself by Consuelo's beauty. He then negotiates with her father the Count to "obtain"
her. Meanwhile, after her father had left that morning, Consuelo was spending the day with Bezano and the two agreed to
be married. But Consuelo returns to find that her father has "sold" her hand in marriage to the Baron, with
the wedding to occur after that evening's show. She had also learned of HE's love for her as well, but she too
left him brokenhearted per her love for and plans with Bezano. However, when HE learns of the Count's arrangement
with the Baron, he will have none of it.

HE is angry, and flies at the Count with his rage. The Count stabs
him with his cane sword and then, with the Baron, they push him out of their backstage meeting room. HE positions the
lion's cage in front of the door, opens it, and then goes around and enters the room through its other door, which
he then locks. HE gets the Count to open the unlocked door so that the lion rushes into the room and kills, in
succession, the Count and then the Baron. Their screams are masked by the audience's applause. But before the lion,
at HE's beckoning, can finish him off too, the lion-tamer discovers his act is missing and ushers it from the room
and back into its cage. So, wounded and nearing death, HE performs his act one last time only this time, instead of
pretending to die (and lose his heart to a woman, e.g. Consuelo), he really does. Naturally, Consuelo and Bezano are
free to live happily ever after for HE's sacrifice.
1 out of 1 found this helpful. Was this review helpful?
Yes No | Report this
 9/10
He Who Laughs Last.........!
bsmith555222 July 2016
Warning:
Spoilers

"He Who Gets Slapped" is another gem from the legendary Lon Chaney. Coming as it does
between his two biggest successes, "The Phantom of the Opera" (1923) and "The Phantom of the Opera"
(1925), it compares favorably with those two great films.

Chaney plays Paul Beaumont a poor but brilliant
scientist who is on the verge of an important discovery on the origins of mankind. Wealthy Baron Regnard (Marc
McDermott) has become his benefactor allowing Beaumont to develop his theory. Beaumont announces that he can now prove
his theory and asks the Baron to arrange a presentation to the Academy of Science.

Unbeknownst to Beaumont,
the Baron has been scheming with Beaumont's wife Marie (Ruth King), to steal his discovery. Beaumont is
flabbergasted when the Baron gets up in front of the Academy and claims the discovery as his own. Beaumont protests but
is humiliated when the Baron slaps him across the face. Beaumont loses his mind and his wife and disappears.

Fast forward a few years and we find that the disgraced scientist is now performing as a clown in a small circus. He
is billed as HE...who gets slapped. In his act HE is slapped around by the other clowns including his friend Tricaud
(Ford Sterling).

HE as he is now known, meets the comely young Consuelo (Norma Shearer) a bare back rider
brought to the circus by her scheming father the broke Count Mancini (Tully Marshall). HE immediately becomes smitten
with her. Also in love wither her is fellow bare back rider Bezano (John Gilbert).

Count Mancini conspires to
have the wealthy Baron Regnard marry his daughter much to the chagrin of HE and Bezano. During a performance HE spots
the Baron in the audience. He loses it. HE decides that he will stop the impending marriage. He traps the Baron and
Count in a room and........................................

Chaney had often portrayed the suitor from afar
in his films. With his expressive face you feel his pain and his anguish. You feel the emotions as he has his discovery
taken from him, his desire for revenge and his self inflicted punishment as he allows himself to be humiliated during
each performance at the circus.

There's an interesting contrasting sequence where the Count is
convincing the Baron (and his money) to marry Consuelo and the young couple frolicking in the countryside during a
picnic.

Norma Shearer and John Gilbert were on the verge of becoming super stars at the newly formed MGM
studios at this time. Gilbert would appear in "The Big Parade" the following year and team up with Greta Garbo
shortly thereafter. Shearer would go on to a lengthy career including he marriage to the legendary producer Irving
Thalberg. Ford Sterling is the same who appeared in several Mack Sennett comedies including The Keystone Cops in the
early silent.

Chaney was never better.
1 out of 1 found this helpful. Was this review helpful? Yes No |
Report this
 9/10
The Lion Roars
wes-connors30 November 2014
Struggling scientist Lon Chaney (as
Paul Beaumont) is dedicated to proving his theories on the "origin of mankind." He is lucky to have found a
wealthy sponsor in Marc McDermott (as Baron Regnard). In a shocking betrayal, the Baron steals Mr. Chaney's notes
and takes credit for his hard work. Chaney can't find comfort with his beloved wife Ruth King (as Maria);
apparently, she was the reason the amorous Baron had the couple move into his Paris villa. The sneaky lovers soon slap
Cheney out of the mansion, calling him a fool and a clown. Impoverished and alone, Chaney joins the circus. He becomes a
clown called "HE (who gets slapped)"...

Audiences love laughing at Chaney, especially when he is
slapped. The popular clown is attracted to beautiful bareback rider Norma Shearer (as Consuelo), but she is more
interested in her athletic partner, John Gilbert (as Bezano). When the duplicitous Mr. McDermott visits the circus, he
decides to pursue Ms. Shearer. Making it easy, greedy father Tully Marshall (as Count Mancini) agrees to sell Shearer to
the Baron. Fortunately for all, Chaney gets the last laugh...

The first film produced by the merged MGM
(Metro-Goldwyn-Mayer) studios, "He Who Gets Slapped" turned out to be a spectacular start. Producer Irving
Thalberg had three important stars at the starting gate, under the artful direction of Victor Sjostrom (as Victor
Seastrom), and with a crew headed by Cedric Gibbons. The relatively subtle (to Chaney) performances of McDermott and Ms.
King highlight the early running. Sjostrom gives it a deranged feel, interjecting ants into a ceremonial love-making
picnic for Shearer and Gilbert. The ugly audience and manic soundtrack laughter contribute to the mood. A terrific
climax appropriately involves the studio's mascot. Chaney is marvelous throughout, as are Mr. Sjostrom and the MGM
crew.

********* He Who Gets Slapped (11/9/24) Victor Sjostrom ~ Lon Chaney, Norma Shearer, John Gilbert, Marc
McDermott
1 out of 1 found this helpful. Was this review helpful? Yes No | Report this
 10/10
The first
of many MGM tear-jerkers
MissSimonetta24 July 2014
He Who Gets Slapped (1924) is an arty film, beautifully
directed with interesting visuals and symbolism, but the aspect which always sticks with me is Lon Chaney's
heartbreaking performance as the lovelorn scientist turned clown who sacrifices himself to save the happiness and virtue
of aristocrat turned bareback rider Norma Shearer.

The first time I saw this film, I sobbed all through the
last fourth. Chaney is just so moving without begging for sympathy or milking the pathos of his character's
situation. Shearer and John Gilbert as the innocent young lovers contrast greatly with the worldliness and cynicism of
the older characters who hold the couple's fate in their greedy hands.

While director Victor
Sjostrom's best Hollywood work was undoubtedly The Wind (1928), I still prefer this film overall. The characters
are all reminiscent fairy tale figures, true, but this simplicity is quite powerful.
1 out of 1 found this helpful.
Was this review helpful? Yes No | Report this
 10/10
Perhaps the Greatest of all Clown films
gulag14
January 2014
This might be the best Lon Chaney film ever made. It strikes such an unusual tone. And the use of
clown imagery is haunting and evocative of a time long gone. Chaney has many moments that can rip your heart out. His
use of the clown smile creates utter tension between humor and pain conveying depths of torn emotion. Norma Shearer is
also quite interesting in this film. And the circus imagery is beyond classic.

The only real quibble I have
with the Warner Archive edition is that the soundtrack while not wholly inappropriate is a sort of mishmash of various
styles. They need to commission a new score and get this a better release. The clarity of the film is great. There are
occasional film glitches and spots that also are begging for a nice restoration. But I'm not complaining. I saw
this with piano accompaniment in New York once and have been desperate to see it again. I'm grateful that it was
finally reissued at all.
1 out of 1 found this helpful. Was this review helpful? Yes No | Report 

More
reviews here: http://www.imdb.com/title/tt0014972/reviews?ref_=tt_ov_rt

this

Related torrents

Torrent Name	Added	Size	Seed	Leech	Health
HE Who Gets Slapped (1924) Lon Chaney, Norma Shearer, John Gilbert (silent)	1 Year+ - in Movies	630.08 MB	0	1
SVENGOOLIE - INDESTRUCTIBLE MAN (1956) Aired 11 13 2021 Lon Chaney Jr	1 Year+ - in TV shows	1.33 GB	1	0
Tell it to the Marines (Drama 1926) Lon Chaney 720p	1 Year+ - in Other	963.66 MB	0	1
Flesh and Blood (1922) Lon Chaney, Edith Roberts, Noah Beery	1 Year+ - in Movies	1 GB	0	0
Lon Chaney Jr Documentary	1 Year+ - in Movies	203.9 MB	0	0

Note :

Feel free to post any comments about this torrent, including links to Subtitle, samples, screenshots, or any other relevant information. Watch He Who Gets Slapped (1924) Lon Chaney, Norma Shearer, John Gilbert Full Movie Online Free, Like 123Movies, FMovies, Putlocker, Netflix or Direct Download Torrent He Who Gets Slapped (1924) Lon Chaney, Norma Shearer, John Gilbert via Magnet Download Link.

Comments (0 Comments)

Please login or create a FREE account to post comments