Mr. Wu

Ancient Chinese custom gets the best of star Lon Chaney in this re-make of 1919's melodramatic "Mr. Wu". Mr. Chaney portrays both Mr. Wu; and, in an extended prologue, he's Mr. Wu's grandfather. Chaney is, as ever, wildly entertaining. The film is well-produced, with beautiful photography and sets; with, for its time, a starry supporting cast. The main story doesn't get started until Chaney struts his oriental stuff; it involves daughter Renée Adorée (as Nang Ping) having an out-of-her-race affair with Englishman Ralph Forbes (as Basil Gregory).

Mr. Forbes plays the Englishman enchanted by a lovely "China doll" well. Ms. Adorée is not as convincing in her Asian role; certainly, supporting player Anna May Wong would have been better cast as Wu's daughter. Louise Dresser (as Mrs. Gregory) is quite excellent as Forbes' mother; at first, her role seems small - but, keep your eyes on Ms. Dresser, who turns in a great performance without extraordinary make-up! Chinese culture is not presented very flatteringly, to Western filmgoers, in the end. Chaney (as Wu)'s declaration, "My poor little blossom - broken by an ill West Wind," evokes D.W. Griffith's superior "Broken Blossoms" (1919), which more artfully covered some of the same ground.

******* Mr. Wu (3/26/27) William Nigh ~ Lon Chaney, Louise Dresser, Renée Adorée

The terrible trial of MR WU begins with his daughter's first love.

Lon Chaney once again gives scope to his prodigious talent, this time portraying a wealthy Mandarin who is compelled to commit the ultimate crime to avenge his family honor. Chaney inhabits the role, making every glance & gesture perfect for his portrayal of the character. Even while performing despicable acts, Chaney makes the viewer experience his private pain in an almost visceral way. Chaney also portrays ancient Grandfather Wu in the film's opening scenes, exhibiting an astonishing make-up transformation that is practically preternatural.

Much of the screen time is given over to Chaney's younger costars. French actress Renée Adorée provides a beautifully poignant portrayal of Wu's lovely, tragic daughter. Englishman Ralph Forbes, one of the most under-appreciated actors of his generation, gives a stalwart performance as her handsome Western lover. The tender romance of their scenes provides the film with its softer, more sentimental moments.

Louise Dresser plays Forbes' patrician mother, a woman somewhat isolated by her social status who is suddenly, violently, brought into confrontation with Wu's implacable vengeance. Holmes Herbert does well with his short role as her bigoted husband. Delicate Anna May Wong portrays Miss Adorée's faithful servant girl.

The silent film is given excellent production values by MGM, with the beautiful sets being especially noteworthy.

In this weighted telling of the clash of two cultures Lon Chaney gives two magnificent portrayals of a Chinese Patriarch and his son bound to an ancient Cantonese Tradition regarding honor. The problem is the story pitting American mother Courage against ancient, outmoded bloodthirsty and sadistic Chinese tradition. In spite of its blatant bias Chaney brings to both elder and younger. admirable qualities with a certain dignity.

Raised by a strict grandfather Wu is determined to keep the Chinese tradition of choosing his daughter's husband to be sight unseen. She rebels when she meets a Britisher who in a nice touch has to climb over a wall to meet her. They get serious she dishonors the family, she must die. And that's not all.

With the Chinese Exclusion Act in place until 1943 one might see how easy it was to make one culture look so good and one so hostile. It's handsomely designed safely composed in favor of Chaney's beautifully nuanced and restrained performances while Rene Adoree as Wu's daughter Nang Ping seems contrived in comparison to Anna Mae Wong in a supporting role who would have brought so much more to the lead.

Even with it's blatant xenophobic thrust Mr. Wu is a fascinating document for the times of social acceptance. Just as much is to be said for the artistry of Mr. Chaney.

With of course the help from Lon Chaney at his ever best. I have it in an excellent copy from TCM France. It is really an amazing movie, where the great and unique Lon Chaney is as awesome, outstanding as ever, in a role which only him could have. The lead character with of course a doomed fate, that will surprise no one and I don't spoil anything by saying this. I don't even imagine such a story made in the "sound" era. It is totally crazy, incredible in the good way. This is a pure drama, powerful, gripping but, again, with Lon Chaney, how could it be different? I checked William Nigh's filmography and it seems that's his best picture before the talkies period, a period when Nigh will slowly but surely fall down into the B and Z movies depths. He will also use Bela Lugosi in another Chinese character as Mr Wong.

By 1927, Lon Chaney had clearly established that he could play practically any role--ranging from Quasimodo to the Phantom of the Opera to sideshow freaks to maniacs. However, one type of role that Chaney did that just looks pretty shabby today is his Asian characters. In MR. WU, Chaney plays two characters--a very, very old Chinese man and his grandson. As the grandfather, Wu looks really weird--not all that Chinese. As the grandson, with his shaved head and painted eyebrows he looks a little more like Joan Crawford circa 1970 than a Chinese guy! Interesting performances, yes--but not at all believable to anyone but the rather unsophisticated audiences of 1927 (who were used to seeing White guys dressed as Asians).

As for the story, it's odd because from the point of view of the Western characters, they didn't seem racist but were very open towards Asians. In contrast, Wu was a bigoted old guy who, according to some ancient teachings, could NEVER allow a child of his to marry anyone who wasn't 100% Chinese.

In light of this, it certainly isn't surprising that the grandson (I guess that would be Wu III) freaked out when his daughter fell for an American man. This of course leads to a sad and rather crazy conclusion that certainly is interesting--though it also seemed rather silly and tough to believe.

So it it worth seeing? Well for silent film fans (particularly lovers of Chaney), of course. For others NOT familiar with silents or who mistakenly think they are bad, then they should try some other films first. This film is like a strong cigar--it can be appreciated by someone used to them but for novices it's best to just stay away for now.