Shanghai Express

In 1931, during the civil war in China, a train leaves Beijing to Shanghai. Among the passengers, the British Captain Donald "Doc" Harvey (Clive Brook) that is traveling to operate the Vice-Governor of Shanghai; the courtesan Hui Fei (Anna May Wong); the Reverend Mr. Carmichael (Lawrence Grant); the boarding house owner Mrs. Haggerty (Louise Closser Hale); the French Major Lenard (Emile Chautard); the dealer Eric Baum (Gustav von Seyffertitz); and the local Mr. Henry Chang (Warner Oland). Out of the blue, Captain Harvey stumbles with the notorious courtesan Shanghai Lily (Marlene Dietrich), who is a "coaster" ("a woman that travels along the China coast with her wealthy clients"), and he recognizes her as her former lover Magdalen. Five years ago, Shanghai Lily tested his faith and love for her and Doc left her, in the beginning of her promiscuous life. Their encounter rekindles the old flame of their love and he shows that he is wearing the watch she gave to him. The train is stopped by Chinese soldiers seeking out a rebel agent and they arrest him. But Chang telegraphs a coded message and the rebels take over the train along the trip. Chang, who is their leader, interviews the passengers to find someone worthwhile to be exchanged by the arrested agent and he chooses Captain Harvey. Chang also tries to force Shanghai Lily to stay with him but Captain Harvey defends her and knocks him down; then he rapes Hui Fei. When the government releases the rebel agent, Chang decides to revenge Harvey blinding him. However, Shanghai Lily offers herself to Chang to release Harvey. What will happen to her?

"Shanghai Express" is a great Pre-Code Film with magnificent performances of the gorgeous Marlene Dietrich and Anna May Wong. The melodramatic romance about the lack of faith in love and the recounter of two former lovers in the environment of the Chinese Civil War in 1931 is engaging with wonderful black and white cinematography. Marlene Dietrich deserved a better romantic pair since the wooden Clive Brook does not have good performance. My vote is seven.

Title (Brazil): "O Expresso de Shanghai" ("The Shanghai Express")

I have a soft spot in my heart for movies about trains and about other modes of transportation as well, but there's something very special about a train when it is properly handled for the cinema. I could go through a very long list of films featuring trains that I love and that were produced over a long span of time, but I won't, and you'll thank me for that. I've added this gem to the top of that list, or at least near the top.

Despite the fact that the entire film is produced in either a Hollywood lot or a train depot in San Bernardino, I feel that I am in China during very turbulent and dangerous times. Thanks to the special skills of director Josef von Sternberg, the prevailing sense of impending peril is very strong. Warner Oland, although not even half Chinese, is very convincing as the menacing rebel leader. The rest of the cast is excellent as well. Both Dietrich and Brook project an outward appearance of stiffness and toughness to the dangerous world around them, but we learn along the hazardous and uncertain journey that their exterior façade is nothing but a thin disguise, and there lies a very vulnerable humanity deep within both of them. Dietrich gives another one of her many fascinating performances, full of psychological complexity. I love her.

I don't understand all of the harsh criticism of Clive Brook among the user reviews here that he is too wooden and mechanical. That is exactly the way he was supposed to play the role of a military doctor living in a world full of danger and of extreme hostility that is specifically aimed at him and his uniform. If we watch him closely, we will observe the decent, compassionate man behind the uniform. I thought that Dietrich and Brook make a smashing couple, especially when their outward and superficial veneer crumbles before our very eyes. This is good stuff!

The beautiful and mysterious Ana May Wong also provides complexity and depth to her deceiving, outward impression as Lily's courtesan companion, Hui Fei. Again, we must not judge Hui Fei based on her exterior demeanor alone because deep within her lies a very brave and determined dedication to her country and to her society. Her exchanges with Mrs. Hegarty (Louise Closser Hale), the prim and proper boarding house owner, are most entertaining. I'm usually not focused on hairdos, but check these out, especially Hegarty's. Holy mackerel.

As you will see, none of the characters are what they seem to be at first glance. That is only part of what intrigues me about this movie. Please don't miss this extraordinary train, which only leaves the station on rare occasions. If you don't appreciate the ride as much as I do, you can always get off when the next cow decides to wander into its path but, considering the danger lurking in every direction, you will probably be safer on it than off it. Be forewarned and sit tight until the end. You won't be disappointed.

SHANGHAI EXPRESS is an excellent film from 1932 that stars Marlene Dietrich but also benefits from a strong ensemble cast. In other words, while Dietrich is an important part of the film, she isn't THE film and supporting actors also help to make this a good film. I like this because too often in her early films all the weight of the movie rested on how sexy and alluring Dietrich's characters were supposed to be--and to me, this got very old after a while. It helped here, though, that Dietrich's usual angular and severe looks are a bit less pronounced (as was the case in her very early Hollywood films). Here, she plays "a woman of ill-repute" (a prostitute) but there are many others that give the film life as well--making this film a bit like GRAND HOTEL on the rails! This film has the distinct honor of being one of the only films in which Warner Oland plays an Asian yet this isn't necessarily insulting to real Asian actors. That's because Oland was Swedish-born and often played Asians (such as Charlie Chan)--while qualified Asians were relegated to supporting roles! However, in this film, his character is supposed to be half-Chinese and half-Western--so the casting wasn't a bad idea at all.

Apart from Oland and Dietrich, Anna May Wong, Clive Brook, Lawrence Grant and Eugene Palette, among others, are on hand to provide some color. Ms. Wong, in particular, had some excellent scenes playing a Chinese prostitute and defender of the Chinese Republic (a strange combination, I know).

As far as Grant goes, his was a truly unusual character. His Reverend Mr. Carmichael was odd because initially he came off as such a prudish and self-righteous jerk--so much so that the studio was forced to re-write his character and soften him up some as to avoid offending religious sensibilities of the audiences. However, by changing a few scenes, they made him one of the most unusual and three-dimensional minsters portrayed in film during the era. How he came to actually like and respect Dietrich (the prostitute) may seem a bit silly to some, but I actually liked the way they re-wrote the film. As a result, of all the passengers, Grant's came off as perhaps the most interesting.

As far as the film goes, in addition to good performances, the writing, direction and cinematography were all exceptional. A top-notch film that sure will keep your interest as you follow this train through rebel territory in China.

About the only negative about the film might be that it promotes the old film cliché of "the prostitute with a heart of gold"--in fact, it has this times two! Just once, I'd like to see a film where the prostitute isn't so glamorous (perhaps with a few herpes scabs) and isn't a nice person after all!! Imagine if PRETTY WOMAN had followed THAT formula!!

Many consider "The Shanghai Express" the best von Sternberg/ Dietrich film. Perhaps. I certainly agree that it is a very good movie. The story is a bit trivial: two lovers meet again after five years. They were separated due to the lack of faith he had in her. This film is a journey. In fact, two kinds of journeys: a physical one, since the set is a moving train, and a psychological one, since during this journey Captain Harvey (Clive Brook) gains fate, essential to a love relationship. The train movements seem to indicate the attraction Captain Harvey and Shanghai Lily (Marlene Dietrich) feel for each other. This movie gives us one of the most beautiful images in movie history: Dietrich in the dark, smoking a cigarette, with the famous light that gave her that famous "butterfly shadow".

Shanghai Express is another von Sternberg masterpiece, probably not appreciated in his day (no academy awards) and lesser known that it should be in this day. Film theory says this film was an attempt to shade degrees of blackness. At one point, Marlene Dietrich's face blooms like a white flower out of the shadows, then closes again.

Beautiful is not a big enough word enough to describe the cinematography in Shanghai Express. The plot is dreamlike and unrealistic (Sternberg hated realism), the costumes are excessive (impossible to contain in Dietrich's supposed luggage), the atmosphere is deliciously layered with decadence, exoticism (good part for Anna Mae Wong) and deterioration (broken walls, slats and fantasies), punctuated by von Sternberg's caprice (chickens wandering in front of the train -- a symbol of Dietrich's husband's profession as a chicken farmer?).

The storyline is basically a broken romance seeking to be healed between Clive Brook and Dietrich or "Shanghai Lily," the naughty lady who has sold her body the past few years to keep herself in glittery costumes and furs.

The real "story" is "Dietrich and von Sternberg visit China" on some movie lot, on their way from or to Russia (The Scarlet Empress), Spain (The Devil is a Woman), North Africa (Morocco), or somewhere in the U.S. (Blonde Venus).

Gorgeous and lots of fun!