The Inconsequentials

Somewhere there’s in immense list of all the movies you should see before you die. They are powerful, iconic, historic, influential, quotable. We call these movies “The Essentials.” Most of them you’ve seen or at least heard of; anything from Star Wars to One Flew Over the Cuckoo’s Nest. How many people know The Pink Panther (1963) with Peter Sellers? Now, how many people know Topkapi (1964) with Peter Ustinov? In an effort to preserve all of the iconic, unmitigated masterpieces from film history (which is a very good thing), we can sometimes forget the smaller, old films that might not exactly be considered “essential” viewing.

Personal feelings: I think Topkapi is a far superior heist comedy to The Pink Panther.

I use the term “inconsequentials” as a sort of joke, but I think it’s a shame more people are not clamoring for copies of West of Zanzibar (1928), Shanghai Express (1932), and White Zombie (1932). These are three movies that I personally love and I will tell you what makes them special and why nobody cares today. Join me as we travel from the deepest African jungle to dangerous Chinese railways and then into Haitian voodoo country on our tour of some of the “inconsequentials.”


Lon Chaney, Sr. is a gateway drug into the world of silent cinema. Chaney, Chaplin, Fairbanks, Sr., the whole lot. They pull you in. West of Zanzibar is one of those strange silent jungle melodramas, and if you have ever heard of this one it was because you are a die-hard Lon Chaney fan. It also has the added cult appeal of being directed by the great Tod Browning (Dracula, Freaks, The Unholy Three). Chaney is most famous for his roles in The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). His uncanny ability to utilize makeup and physically painful-looking bodily distortions are what made him a legend of the silver screen. This film is a little different. Chaney wears no disguises. No clown makeup, no monster deformity, no Fu Manchu getup, no drag. Nothing. Chaney plays a stage magician of great prominence named Phroso. He is betrayed when his wife, Anna, cheats on him with his arch rival, Mr. Crane (played by Lionel Barrymore of Key Largo and It’s a Wonderful Life). When Crane announces that he is taking Anna away with him to Africa, Phroso attempts to stop him, but is thrown off the balcony and becomes paralyzed from the waist down. Later Phroso, now a paraplegic, discovers that Anna has died and so he vows revenge. Phroso moves to Africa to get Crane. Eighteen years have passed and Phroso is now the grimy “Dead Legs,” a strange witch doctor type guy to a primitive jungle tribe. He uses his magic tricks to frighten the natives of a nearby tribe…who happen to be under the watch of who else but Crane. “Dead Legs” kidnaps Crane’s daughter and tortures her to make Crane feel the pain he felt. *SPOILER ALERT* Well into the plot, “Dead Legs” learns that the girl he captured is actually his own daughter and that Crane has been taking care of her all these years, but it is too late to fix the damage he has done. He has killed Crane and his real daughter sees him as an evil murderer. To reveal his true identity at this point would destroy the girl, so he sacrifices himself to the natives to buy her time to escape into the night with her main squeeze.

The movie is dark, demented, and perfect for fans of Lon Chaney. He’s great at playing these deranged patriarchs, vengeful creeps, sympathetic deformed characters, and the subject of impossible tragedy and in West of Zanzibar he gets to play them all at once. The story is very pulpy and silly, but it’s a lot of fun and it has a wonderful exotic feel. The reason West of Zanzibar gets overlooked is because of the more popular films like The Phantom of the Opera and Dracula. The average person gets a sense of who Chaney and Browning are and moves on, never discovering their smaller films. Like I said, you’d have to be a real Lon Chaney geek or silent film nerd to seek this one out, but for my money it is well worth it even if you’re not.


Shanghai Express is an exorbitantly pulpy flick about women of sin, how much faith it takes to love someone, and a train on an exotic track with a rendezvous with the Chinese civil war. Marlene Dietrich (Witness for the Prosecution, Destry Rides Again) stars as Shanghai Lily, the most famous and successful prostitute in the orient (don’t worry, she’s not in yellow-face). When she boards the Shanghai Express with her friend and fellow woman-of-ill-repute, Hui Fei (played by the always fascinating Anna May Wong), everyone is perturbed by their presence. Several colorful and leisured characters are on board the train including a very outspoken missionary, an officer, a fickle woman, an opium dealer, an exceedingly gregarious gambler (Eugene Pallette, who always seems to be playing priests, The Adventures of Robin Hood and The Mark of Zorro), the shady half-Chinese Henry Chang (Charlie Chan himself, Warner Oland), and Lily’s old flame, the stoic British Captain Harvey (Clive Brook). Lily still has feelings for Captain Harvey, but Harvey is displeased with the life she now leads (although we sense he still fancies her greatly despite their 5 year separation). Can these two lost souls rekindle their dwindling romance? Moreover, will everyone get out alive after the train is stopped and they are taken hostage by Henry Chang who turns out to be a powerful warlord and rebel in the civil war? What makes this film work is the fun cast of characters, the steamy locations, the feelings of entrapment, the themes of faith and love…and revenge. I was only nominally with this film until the train got stopped. Then I was fully invested. The stakes are raised and the plot thickens. Murder, torture, sex, betrayal, the works. It’s amazing how much they got away with in those pre-code days.

Shanghai Express is pulpy fun. Most of the characters are fairly broad or rigid. I honestly don’t know how Captain Harvey and Shanghai Lily ever got together to begin with. The film also throws in random spiritual elements that don’t exactly seem to mesh, but it’s a good trip on a mysterious train that collides with danger and intrigue. Shanghai Express is filmed well and Eugene Pallette really livens things up and Anna May Wong delivers another dark and subtle performance that steals every scene she’s in. I love this movie for its simple but interesting story and rich atmosphere. The reason why this movie gets overlooked? Because Casablanca was a better movie. Plain and simple. Brooks can’t compete with Bogart, but Shanghai Express is still a great little movie on its own and should be celebrated more these days.


The last two films I talked about had a few things in common. They were pulpy, exotic, and atmospheric “inconsequentials” and my last pick is no exception. White Zombie might be a little more well-known for two very important reasons: a.) it stars Bela Lugosi (Dracula) and b.) it’s the first zombie movie. Many people regard George A. Romero’s Night of the Living Dead (1968) as the first zombie movie, but White Zombie has it beat by a good 36 years. Romero’s film changed the rules for zombie flicks and added social commentary, but White Zombie is all just for fun. Bela Lugosi plays Murder Legendre, an insidious voodoo master and owner of a Haitian sugar plantation. As you might have guessed, his Haitian slaves working the spooky sugar cane mill are actually zombies! Here’s the plot in a nutshell: Charles (a plantation owner) loves Madeleine, but Madeleine is in love with and getting married to Neil, so Charles goes to Murder for help. Simple. But!…the only way for Murder to make Madeleine love Charles is to make her into a zombie. So that’s exactly what they do, but Neil discovers his dead fiancee’s tomb to be empty and recruits the knowledgeable missionary, Bruner, and meanwhile Charles is regretting his decision for a zombie romance and Murder is actually slowly turning Charles into a zombie too! It all builds up to an exciting climax in Murder’s cliff-side castle. Zombies attack and spells are broken and there’s voodoo and people die and stuff and bad guy’s name is Murder! It’s fun.

Despite the relative cheapness of the production, White Zombie boasts some fantastic atmosphere and one of Bela Lugosi’s best performances. The scenes in the zombie sugar mill are spooky and deliciously atmospheric. The castle is great and the shots of the zombies assembling in the hillside cemetery are fun and a lurking Lugosi practicing voodoo in the shadows is  just great. It’s a slight movie (some might call it “inconsequential”), but I really love it. The reason you don’t see this one on a lot of lists is because of legendary movies like Dracula, Frankenstein, The Wolfman, and others that overshadow it. White Zombie has a fairly insignificant villain as far as supernatural antagonists go and it doesn’t seem to have been made with as much care…or money. All that being said, it’s a great bit of cheap horror and much better than The Creature From the Black Lagoon. It also makes for a delightfully inconsequential double-feature with The Vampire Bat (1933) starring Fay Wray (Doctor X, King Kong), Lionel Atwill (Doctor X, Captain Blood), Melvyn Douglas (The Tenant, Being There), and the always wide-eyed Dwight Frye (Frankenstein, Dracula, Bride of Frankenstein). (Incidentally the guy who directed the extremely “inconsequential” Doctor X just so happens to be Michael Curtiz, the guy who directed Casablanca. It all comes full circle).

 

One more film I must mention as I recently revisited it after several years and I am pleased to say it still holds up is Bluebeard (1944). Fans of John Carradine are probably quite familiar with it. Carradine plays Bluebeard, a puppeteer/painter/serial-strangler in 19th century Paris. It’s a delightfully low-budget yarn of the macabre.

As a lover of old movies it takes more than just the undeniable classics to appease me. Sometimes I like the smaller films just as much as the great ones. Don’t let the greats cast too long a shadow that they blot out the smaller film achievements. Use them as a reference point to find more movies from those eras. West of Zanzibar, Shanghai Express, and White Zombie may not be on anybody’s “essentials” list, but I’d say make room for these “inconsequentials.” You might be surprised by what you find.

picture references:

mubi.com

doctormacro.com

Originally published for “The Alternative Chronicle” Feb. 9, 2011.

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My Country White or Wong

Anna May Wong

Anna May Wong

221246375_9e48852774The American film industry has had a long and illustrious span with fantastic films and innovations for more than a century. A great many good things have come from American film, but let us not forget some of the darker aspects. Throughout history non-white actors have had a hard time in American movies (as well as being the victims of prejudice outside the cinema). Things have gotten a lot better, but take a moment and appreciate how far we’ve come.

Chinese American actress, Anna May Wong, was one such talented figure whose road to success was blocked by the color of her skin. Wong was born in 1905 Los Angeles. She pursued acting in the silent era and became the first Asian American international movie star, but she had a tough time keeping her spot in the limelight. In a time when many actors of European descent would put on makeup to play other races and anti-miscegenation laws prevented interracial scenes of sensuality (including kissing) and not many ethnic leading players, the studios generally did not always know what to do with Wong and she was, more often than not, cast as exotic background or as more stereotypical characters.

Thief of Bagdad

Thief of Bagdad (1924)

I first saw Anna May Wong in Raoul Walsh’s silent classic, The Thief of Baghdad (1924), starring Douglas Fairbanks, Sr. For all Baghdad’s special effects, impressive set design, and Fairbanks’ charismatic charm and stunts, it was Anna May Wong who (in my humble opinion) stole the show. She played a shifty Mongol slave and although the role was not particularly big or racially positive, her performance left an impression on me.

wong glam

Recently I went to Hollywood’s Silent Theater for a viewing of The Toll of the Sea (1922), which was Wong’s first starring role and also one of the first films to be shot with a very early Technicolor process (so, yes, in IN LIVING COLOR). Alas, the final reel was lost to history, but the impact of the story and Wong’s wonderful performance made it well worth the price of admission.

Loosely based on Giacomo Puccini’s opera, “Madame Butterfly” (which was turned into a pretty good operatic film in 1995), Anna May Wong plays a young Chinese girl, Lotus Flower, who finds a stranded American on the shore. They fall in love and are married, but the man, pressured by his other American friends and concerned with his public image, returns to his homeland without his bride. Promised he would return to her, Lotus Flower waits everyday for her beloved husband. Her Chinese neighbors chide her for her silly devotion because they believe she was just an exotic fling for the American. Years pass and Lotus Flower raises her son (who her husband doesn’t even know he has) and she writes letters to herself from him in broken English that tell of his love for her and his son.

Toll of the Sea (1922)

Toll of the Sea (1922)

SPOILER ALERT: The heart-breaking final act has the American at last returning to China. Lotus Flower hears of his return and puts on her best clothes and makes her son ready for his father’s arrival, but is emotionally distraught to discover he has married an American girl and forgotten about her and has only returned at the behest of his new wife to explain the situation. Lotus Flower tries to keep her composure, but soon the American woman discovers the truth and Lotus Flower gives her son to the new woman. The scene where Lotus Flower tries to tell her son that it was all fairy stories when she said she was his mother and that she was just a silly Chinese nurse is truly gut wrenching. Lotus Flower’s eyes are filled with tears and her young son does not wish to leave his mother and clings to her, kissing her and trying to dry her tears. Eventually the American wife takes the son and they return to America with Lotus Flower’s husband. Having spent her whole life waiting for her beloved’s return and removing herself from all other alliances and her son now gone she throws herself into the ocean, thus paying the toll of the sea. This film is very sentimental but it’s quite good and Wong gives a wonderful leading performance.

Piccadilly (1929)

Piccadilly (1929)

Anna May Wong was a glamour girl in her time and a very fine actress, but the Hollywood system continued to refuse her roles (Asian leads were never terribly common). The last straw arrived when she was refused the role of O-lan for the film adaptation of Pearl S. Buck’s The Good Earth (1937). This was a role Wong had desired for a long time, but it was cast to the American actress, Luise Rainer (who won the Academy Award for her role). Wong eventually relocated to Europe where ethnic performers were met with somewhat less troubles. She eventually returned to Hollywood but remained chiefly a side character.

Piccadilly (1929)

Piccadilly (1929)

She played a slightly more positive double-agent character in the British musical Chu Chin Chow (1934), but her role isn’t big enough. She starred in the stylish E. A. Dupont film, Piccadilly (1929); did radio; and had a supporting role in the classic Marlene Dietrich film, Shanghai Express (1932). She starred in the wartime dramas Lady From Chungking and Bombs Over Burma (both 1942) and even became the first Asian American with her own detective TV show in 1951, The Gallery of Madame Liu-Tsong (sadly, nothing exists of the show today). Later in life she sold her costumes and donated the money to Chinese aid for refugees. She died of a heart attack at age 56 in 1961. She never married.

Shanghai Express (1932)

Shanghai Express (1932)

Like Hattie McDaniel, who became the first African American to win an Oscar (as well as stealing every scene in Gone With the Wind, 1939), much of Anna May Wong’s success is marred by people who discount her and her work for portraying more racially stereotypical characters. I ask these attackers to consider the times in which these actors lived. It may not have been fair then, why should we keep it unfair now? Few can deny their talent or the obstacles that faced them. Let us celebrate them rather than belittle their legacies. Racial equality may elude us for another century, but let us not forget what steps have already been conquered or the brave, stubborn people who conquered them.

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Originally published for “The Alternative Chronicle” August 27, 2009