London After Midnight (original working title: The Hypnotist) is a lost 1927 American silent mystery horror film directed and co-produced by Tod Browning and starring Lon Chaney, with Marceline Day, Conrad Nagel, Henry B. Walthall and Polly Moran.

Burke, a representative of Scotland Yard, after questioning everyone present, declares the death a suicide despite objection from Balfour's neighbour and close friend, Sir James Hamlin.

As Sir James is instructed to venture to the mansion, he encounters the Man in the Beaver Hat (revealed to be Burke) and is hypnotized into thinking it is five years earlier.

Lon Chaney's makeup for the film included sharpened teeth and the hypnotic eye effect, achieved with special wire fittings which he wore like monocles.

Young was previously employed as a journalist in San Francisco, during which time he covered several famous murder investigations, a distinction which saw him lauded as knowing "mystery from actual experience.

The musicians used Ase's Todd and Eritoken by Greig, Dramatic Andante by Rappe, the Fire Music from Wagner's The Valkyrie along with other unlisted aspects of Savino, Zimonek and Puccini.

[16] A positive review ran in The Film Daily, calling it "a story certain to disturb the nervous system of the more sensitive picture patrons.

If they don't get the creeps from flashes of grimy bats swooping around, cobweb-bedecked mystery chambers and the grotesque inhabitants of the haunted house, then they've passed the third degree.

"[15] The Warren Tribune noted that Lon Chaney is "present in nearly every scene, in a dual role that tests his skill to no small degree."

"[17] A review by The Brooklyn Daily Eagle noted: "It is pleasant to report also that there is none of the usual stupid comedy relief in London After Midnight to mar its sinister and creepy scheme.

[11] Variety wrote that "Young, Browning and Chaney have made a good combination in the past but the story on which this production is based is not of the quality that results in broken house records," adding that, since Burke was "a detached character, mechanical and wooden", he failed to meaningfully connect with the audience... "It will add nothing to Chaney's prestige as a trouper, nor increase the star's box office value.

The New York Times wrote, "It is a somewhat incoherent narrative, which, however, gives Lon Chaney an opportunity to turn up in an uncanny disguise and also to manifest his powers as Scotland Yard's expert hypnotist.

Moving Picture World added, "There are moments during the onward sweep of this Metro-Goldwyn-Mayer offering when one feels that the essentials that make for mystery and creepiness have been carried a bit further than we have hitherto noted... Mr. Chaney's excellent work is materially aided by that grand master of screen acting, Mr.

Mr. Browning can create pictorial terrors and Lon Chaney can get himself up in a completely repulsive manner, but both their efforts are wasted when the story makes no sense.

"[18] Motion Picture Magazine wrote, "Lon Chaney is back in a get-up which would make any sensitive girl quiver and quake on a dark night, but which doesn't require any contortions or self-torture.

This film, called Mark of the Vampire, starred Lionel Barrymore and Bela Lugosi in the roles Lon Chaney had performed in London After Midnight.