Charlie Chan e il denaro che scotta

Storywise, this is yet another disposable Chan story, industrialized movie-making.

There are two things of interest here.

One is how the needs of the Chan franchise ferret out peculiar corners of the American national story. In this case the US was well into the beginning of administering regions in the Pacific. This gave opportunities for new kinds of crime and the novelty of the crime was one of the attractions of the series at this point. So we have the smuggling of colonial currency, an esoteric illegality — and the use of new weapon, a "knifethrowing" pistol.

Ho hum. I suppose that will be interesting to historians. But for students of film there's a lesson here too. What do you do if your story depends on matters of race and you want to exploit that but also want to bury it? You fold it into other narrative elements of race.

For those who don't know the franchise, it was very long and successful. It stars a white guy pretending to be a Chinese master detective, the acting mostly through a halting English and a few phrases like: "a hasty man can drink tea with a fork." Incidentally, this fits in an odd place in the detective genre because we never really see any detecting, any real wisdom. The only thing we see is him setting traps with the trap revealing the hidden crook. He never figures it out directly.

Back to race. Chan's race is hidden twice. First, we have one of his sons as "assistant," a comic, bumbling idiot. This truly is racist and deliberately so. The contrast between the son (played by a real Asian) and his lack of insight and his father is amplified by the physical appearance and the obvious appearance.

And this is further folded or shadowed (an appropriate term) by the black guy. He is placed as far from the son in all dimensions as the son is from the father. He is that much more comic, and independently clueless, and also independently "ethnic." Its a vile notion to exploit by today's standards, but the method of shadowed folding is clear.

Its a device used in literature, but much more common in film because you can link so many more qualities in parallel, here all aligned to "detection" qualities. That Africanamerican's name is Chattanooga, derived probably from Jack Benny's "man" Rochester.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Definitely, one of the more ambitious Chan mysteries made by Monogram in the 40s, which relied more on deadly devices and chemicals to do in our hero, and just about anybody else. Film historians have long said the difference between Warner Oland and Sidney Toler is the fact Oland was a more methodical, thoughtful actor while Toler came off a tad more serious, slightly mysterious at times, matching the dark characters he was up against. Accordingly, the writers surrounded Toler with more atmosphere and, yes, innovative weapons.

The villain here employs a razor sharp knife gun. You have to admit, it's one insane weapon. For a welcome change of pace, Charlie, assisted by Number Two Son Jimmy (Victor Sen Yung) and Chattanooga (Willie Best) board an ocean liner bound for Somoa, trailing a counterfeting ring, and the MAIN man is a crafty killer. Appropriately, one of Charlie's colleagues is knifed in the back (catch the knife flying through the air!) and the hunt begins. The special effects ain't too bad, either.

Enough suspects to go around, and love all the brooding and guilty faces. Take your pick. The cast features some fine talent; Gloria Warren co-stars, known for her beautiful singing voice, also Rick Vallin (who would turn up many times on tv's SUPERMAN), Dick Elliot (as Burke), always looking guilty, Joseph Crehan as the police captain (a natural in this type of role) and John Harmon (Freddie), often cast in tv westerns, like BONANZA.

Special nod to comedian Willie Best as Chatanooga. Willie actually came to Hollywood and worked as a chauffeur. A staple in many classics, like GHOST BUSTERS opposite Bob Hope, who had nothing but praise for him.

Terry Morse directs this with style, and it shows, boasting some excellent sets to match. Looks like this production had a slightly higher budget. Morse was a well known film editor for years, nicknamed "the doctor," later gaining fame for directing GODZILLA.

Best dvd box is through Warner Brothers, the TCM Spotlight Charlie Chan Collection. 4 dvds, also featuring DARK ALIBI, THE TRAP and THE CHINESE RING. Released 2010. Thanks much to RETRO TV for running Charlie Chan Friday afternoons, and all the memories attached.

Ocean-going steamships and trains make great settings for 1940s mysteries. Charlie didn't have any adventures in a train, but this is the second on a ship--the third if you count the docked sailing ship in one of his outings. Toler is outstanding as always, in one of the greatest ongoing screen characterizations of an ideal film detective: clever, humane, with a sense of humor and of justice. It's his ability to make Chan so very likeable which really elevates these films, putting them, on the whole, on about the same level as the great Universal Sherlock Holmes films with Basil Rathbone and Nigel Bruce. And Toler never had the support of a truly first-rate, all-pro actor, as Rathbone had in Bruce. This movie is pure fun. Lots of action. The humor is sometimes very corny, but that's part of the charm. Highly recommended!

When a murder takes place on board ship, it's a good thing that Charlie Chan is there to solve it!

It's Sidney Toler's next to last appearance as the detective, and it's a pretty good entry in the Monogram series. Victor Sen Yung is present again as #2 son, Jimmy, and his comic timing with assistant Willie Best. The cast is well filled out, with Dick Elliott, Joseph Crehan, and Gloria Warren. Toler is looking tired, and the movie is directed to have him move as little as possible. He was suffering from the cancer that would eventually kill him. Longtime cast member Mantan Moreland told him he should be in the hospital, but Toler worked on; "Manny, if I go, all these people are out of a job."

And so he soldiered on. It's good that this one is a better mystery, and the cast was up to higher standards.

I was always a big Charlie Chan fan. I saw most of them as I was growing up and I liked Sidney Toler over Warner Oland. I had never see this one before, and it must be one of the few clinkers in the Charlie Chan canon. It is a stagebound film with no exterior shots and suffers from a very weak screenplay and spotty direction. And none of the Warner Oland's were this low in quality.

Now, I understand Monogram's predicament as a Poverty Row studio and the financial problems involved, but they should have been able to find a better script writer than the one who wrote this misfire. Cast was good, and they substituted Willie Best for Mantan Moreland in the Pop-Eyed comic relief role. But the film bites off more than can be chewed and the result is a slap-dash product which tries to squeeze in too much, and results in my rating above.