[1] He also portrayed Lennie Small in Of Mice and Men (1939) and played supporting parts in dozens of mainstream movies, including High Noon (1952), The Defiant Ones (1958), and numerous Westerns, musicals, comedies and dramas.

Many articles and biographies over the years report that Creighton was led to believe his mother had died while he was a boy, and he only learned that she was still alive after his father's death.

He got bigger film roles in Lucky Devils (1933), Son of the Border (1933), Scarlet River (1933), and The Life of Vergie Winters (1934).

I bulldogged steers, fell off and got knocked off cliffs, rode horses off precipices into rivers, drove prairie schooners up and down hills.

"[4] He had the lead in the independent film Sixteen Fathoms Deep (1934), and a memorable part in which his character sings in Girl o' My Dreams (1934) at Monogram.

Chaney Jr. signed a contract at 20th Century Fox and appeared in Love Is News (1937) with Tyrone Power, Midnight Taxi (1937) with Brian Donlevy, That I May Live (1937), This Is My Affair (1937) with Robert Taylor and Barbara Stanwyck, Angel's Holiday (1937), Born Reckless (1937) with Brian Donlevy, Wild and Woolly (1937) with Walter Brennan, The Lady Escapes (1937) with Gloria Stuart, Thin Ice (1937) with Tyrone Power, One Mile from Heaven (1937) with Claire Trevor, Charlie Chan on Broadway (1938), Life Begins in College (1937) with the Ritz Brothers, Wife, Doctor and Nurse (1937) with Loretta Young, Second Honeymoon (1937) with Tyrone Power and Loretta Young, Checkers (1937), Love and Hisses (1938) with Walter Winchell, City Girl (1938), Happy Landing (1938) with Ethel Merman, Sally, Irene and Mary (1938) with Fred Allen and Jimmy Durante, Mr. Moto's Gamble (1938) with Peter Lorre, Walking Down Broadway (1938) with Claire Trevor, Alexander's Ragtime Band (1938) with Tyrone Power, Josette (1938) with Don Ameche and Robert Young, Speed to Burn (1938) with Lynn Bari, Passport Husband (1938), Straight, Place and Show (1938) with the Ritz Brothers, John Ford's Submarine Patrol (1938) with Nancy Kelly, and Road Demon (1939).

Chaney Jr. later made Charlie Chan in City in Darkness (1939) with Lynn Bari and Frontier Marshal (1939) with Randolph Scott and Nancy Kelly.

He had in fact designed a swarthy, ape-like Neanderthal make-up on himself for the film, but production decisions and union rules prevented his following through on emulating his father in that fashion.

[9] Universal Pictures offered Chaney Jr the lead in Man-Made Monster (1941), a science-fiction horror thriller originally written with Boris Karloff in mind.

Universal kept him in supporting roles for a while: a comedy Too Many Blondes (1941), a musical San Antonio Rose (1941) with Shemp Howard, a serial Riders of Death Valley (1941) featuring Noah Beery Jr., the Western Badlands of Dakota (1941) and the "Northern" North to the Klondike (1942) with Broderick Crawford.

Universal dropped the "Jr." and billed him as "Lon Chaney" going forward within that studio, apparently to foster confusion with his father among audiences.

The film was originally filmed with the Monster being blind and speaking in Lugosi's distinctive "Ygor" voice, but the studio cut out all references to either so that audiences were left wondering why the Monster staggered around with his arms extended in front of him, not to mention why he had lost the ability to speak since Ghost of Frankenstein, grievously damaging Lugosi's reputation.

This made him the only actor to portray all four of Universal's major horror characters: the Wolf Man, Frankenstein's monster, the Mummy, and Count Dracula.

He played an antagonist in the Abbott and Costello comedy Here Come the Co-Eds (1945), then made more Inner Sanctums: The Frozen Ghost (1945) with Evelyn Ankers and Strange Confession (1945) with Brenda Joyce.

He reprised his Wolf Man role to great effect in Abbott and Costello Meet Frankenstein (1948) but it did not cause a notable boost to his career.

[11] Chaney kept busy in support roles: Captain China (1950), Once a Thief (1950), Inside Straight (1951), Bride of the Gorilla (1951), Only the Valiant (1951), Behave Yourself!

(1951), Flame of Araby (1952), The Bushwackers (1952), Thief of Damascus (1952), Battles of Chief Pontiac (1952) (in the title role), High Noon (1952), Springfield Rifle (1952), The Black Castle (1952) (a return to horror), Raiders of the Seven Seas (1953), A Lion Is in the Streets (1953) with James Cagney, The Boy from Oklahoma (1954), Casanova's Big Night (1954), Passion (1954), The Black Pirates (1954), Jivaro (1955), Big House, U.S.A. (1955), I Died a Thousand Times (1955), The Indian Fighter (1955), and The Black Sleep (1956) He had a leading role in Indestructible Man (1956) then was back to supporting parts: Manfish (1956); a Martin and Lewis comedy, Pardners (1956); Daniel Boone, Trail Blazer (1957); The Cyclops (1957) and The Alligator People (1959).

Chaney established himself as a favorite of producer Stanley Kramer; in addition to playing a key supporting role in High Noon (1952) (starring Gary Cooper), he also appeared in Not as a Stranger (1955)—a hospital melodrama featuring Robert Mitchum and Frank Sinatra—and The Defiant Ones (1958, starring Tony Curtis and Sidney Poitier).

In 1957, Chaney went to Ontario, Canada, to costar in the first ever American-Canadian television production, as Chingachgook in Hawkeye and the Last of the Mohicans, suggested by James Fenimore Cooper's stories.

In the 1960s, Chaney specialised in horror films, such as House of Terror (1960), The Devil's Messenger (1961) and The Haunted Palace (1963), replacing Boris Karloff in the last of those for Roger Corman.

Bridges redeems himself at the episode's end by saving Deputy Johnny McKay He was in a Western, Law of the Lawless (1963) with Dale Robertson, Face of the Screaming Werewolf (1964), Witchcraft (1964), and Stage to Thunder Rock (1964).

[12] Then it was back to Westerns – Young Fury (1965), Black Spurs (1965), Town Tamer (1966), Johnny Reno (1967), Apache Uprising (1967), Welcome to Hard Times (1967) and Buckskin (1968).

His bread-and-butter work during this decade was television – where he made guest appearances on everything from Wagon Train to The Monkees – and in a string of supporting roles in low-budget Westerns produced by A. C. Lyles for Paramount.

In 1962, Chaney gained a chance to briefly play Quasimodo in a simulacrum of his father's make-up, as well as return to his roles of the Mummy and the Wolf Man on the television series Route 66 with friends Boris Karloff and Peter Lorre (Karloff wore a quickie version of the Frankenstein monster make-up toward the end of the episode).

[16] Actor Robert Stack claimed in his 1980 autobiography that Chaney and drinking buddy Broderick Crawford were known as "the monsters" around the Universal Pictures lot because of their drunken behavior that frequently resulted in bloodshed.