Released 3 December 1927 and directed by Tod Browning, London After Midnight is among the Holy Grail of lost films. It was last known to have been screened sometime in the 1950s. Like hundreds of other silents (and some early sound films), its last known surviving print was destroyed in the horrific fire in MGM’s Vault #7 on 13 May 1967.
LAM was filmed in a record 24 days, with a budget of $151,666.14, making it the cheapest and quickest of Lon’s MGM films. While the U.S. gross was $721,000, its international earnings were below par. Overall, it turned a profit of $540,000, and ranked as MGM’s #4 film of the 1927–28 season. It was also the tenth-highest earner of 1927 overall. This was one of Lon’s highest-earning films ever.
But was it really that good?
Contemporary audiences, critics and laypeople alike, weren’t particularly impressed. Even those who were among the very last to see it in the 1950s were underwhelmed. Lon’s incredible acting talents were highly praised, as usual, but the actual story was widely panned.
A frequent point of criticism was that the story was nonsensical and incoherent. Other reviewers called it boring, trying too hard, lacking characters the audience could connect with, lacking the weird atmosphere of The Cat and the Canary, and a wasted effort.
A rare, consistently positive review came from The Film Daily, which found the film marvellously creepy and unsettling.
Roger Balfour (Claude King) is found dead from a suspected shooting suicide. Though his friend and neighbor Sir James Hamlin (Henry B. Walthall) insists Roger couldn’t possibly have killed himself, Inspector Edward C. Burke of London Yard (Lon) officially rules the death a suicide.
Five years later, a creepy man with pointed teeth and black clothes (Lon in a dual role) arrives at the Balfour home, accompanied by a woman who looks like a corpse and also dresses all in black (Edna Tichenor). These two strangers’ arrival inspires Hamlin to call Scotland Yard.
Inspector Burke discovers three of the people in the house were the only three present when Roger died. These are Roger’s daughter Lucille (Marceline Day), his butler Williams (Percy Williams), and Arthur Hibbs (Conrad Nagel). Hibbs is the nephew of the man who made the call to Scotland Yard.
At first, Burke doesn’t believe any of them were involved, but then Roger’s body disappears from his tomb. Even weirder, his dead ringer appears in the house. Other creepy happenings include gunshots heard in Roger’s old bedroom when Burke is there, bats flying around, and the creepy visitor terrifying everyone.
Burke finds the killer by recreating the crime scene and hypnotizing the guilty party into re-enacting the murder.
In 1928, Marie Coolidge-Rask published a novelization of the film. In 1935, Tod Browning remade LAM as The Mark of the Vampire, with Lionel Barrymore and Bela Lugosi.
A man who murdered a woman in London’s Hyde Park in 1928 claimed LAM made him do it, by driving him temporarily insane. He supposedly didn’t remember taking out the razor or using it on his victim. His plea was rejected, and he was convicted.
LAM has been referenced in popular culture a number of times over the years. These references include the name of a card game with the theme of classic horror movies, the name of an industrial-goth-rock band, and the lyrics of the song “Bodom After Midnight.”
In 2002, film preservationist and scholar Rick Schmidlin produced a 45-minute stills recreation. I’ve counted this on my list of silents seen, making note of the fact that it’s a recreation and not the actual film. I always note if something is a home movie, stills recreation, trailer, advertisement, newsreel, or surviving reel of a lost film.
In spite of LAM’s lackluster reviews, I’d still love to see it as an actual moving picture. Given Lon’s incredible acting talents, I can’t imagine it’s worse than some of the awful doozies on my list. I keep hoping all these famous lost films are found someday.