Release calendarTop 250 moviesMost popular moviesBrowse movies by genreTop box officeShowtimes & ticketsMovie newsIndia movie spotlight
    What's on TV & streamingTop 250 TV showsMost popular TV showsBrowse TV shows by genreTV news
    What to watchLatest trailersIMDb OriginalsIMDb PicksIMDb SpotlightFamily entertainment guideIMDb Podcasts
    OscarsEmmysToronto Int'l Film FestivalHispanic Heritage MonthIMDb Stars to WatchSTARmeter AwardsAwards CentralFestival CentralAll events
    Born todayMost popular celebsCelebrity news
    Help centerContributor zonePolls
For industry professionals
  • Language
  • Fully supported
  • English (United States)
    Partially supported
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Watchlist
Sign in
  • Fully supported
  • English (United States)
    Partially supported
  • Français (Canada)
  • Français (France)
  • Deutsch (Deutschland)
  • हिंदी (भारत)
  • Italiano (Italia)
  • Português (Brasil)
  • Español (España)
  • Español (México)
Use app
  • Cast & crew
  • User reviews
  • Trivia
  • FAQ
IMDbPro

Shanghai Express

  • 1932
  • Approved
  • 1h 22m
IMDb RATING
7.3/10
11K
YOUR RATING
Shanghai Express (1932)
Costume DramaFilm NoirTragic RomanceAdventureDramaRomance

A notorious woman rides a train through a dangerous situation with a British captain she loved.A notorious woman rides a train through a dangerous situation with a British captain she loved.A notorious woman rides a train through a dangerous situation with a British captain she loved.

  • Director
    • Josef von Sternberg
  • Writers
    • Jules Furthman
    • Harry Hervey
  • Stars
    • Marlene Dietrich
    • Clive Brook
    • Anna May Wong
  • See production info at IMDbPro
  • IMDb RATING
    7.3/10
    11K
    YOUR RATING
    • Director
      • Josef von Sternberg
    • Writers
      • Jules Furthman
      • Harry Hervey
    • Stars
      • Marlene Dietrich
      • Clive Brook
      • Anna May Wong
    • 94User reviews
    • 62Critic reviews
    • 83Metascore
  • See production info at IMDbPro
  • See production info at IMDbPro
    • Won 1 Oscar
      • 2 wins & 2 nominations total

    Photos125

    View Poster
    View Poster
    View Poster
    View Poster
    View Poster
    View Poster
    View Poster
    + 118
    View Poster

    Top cast26

    Edit
    Marlene Dietrich
    Marlene Dietrich
    • Shanghai Lily
    Clive Brook
    Clive Brook
    • Captain Donald Harvey
    Anna May Wong
    Anna May Wong
    • Hui Fei
    Warner Oland
    Warner Oland
    • Henry Chang
    Eugene Pallette
    Eugene Pallette
    • Sam Salt
    Lawrence Grant
    Lawrence Grant
    • Mr. Carmichael
    Louise Closser Hale
    Louise Closser Hale
    • Mrs. Haggerty
    Gustav von Seyffertitz
    Gustav von Seyffertitz
    • Eric Baum
    Emile Chautard
    Emile Chautard
    • Major Lenard
    Sami Ayanoglu
    Sami Ayanoglu
    • Dr. Professor Jack
    • (uncredited)
    George Blagoi
    George Blagoi
    • Minor Role
    • (uncredited)
    Leonard Carey
    Leonard Carey
    • Carey
    • (uncredited)
    George Chung
    • Chinese Soldier
    • (uncredited)
    Wong Chung
    Wong Chung
    • Chinese Officer Checking Passports
    • (uncredited)
    Jack Deery
    • British Officer at Shanghai
    • (uncredited)
    Herbert Evans
    Herbert Evans
    • British Railway Officer
    • (uncredited)
    Bess Flowers
    Bess Flowers
    • Undetermined Secondary Role
    • (uncredited)
    Willie Fung
    Willie Fung
    • Train Engineer
    • (uncredited)
    • Director
      • Josef von Sternberg
    • Writers
      • Jules Furthman
      • Harry Hervey
    • All cast & crew
    • Production, box office & more at IMDbPro

    User reviews94

    7.311.4K
    1
    2
    3
    4
    5
    6
    7
    8
    9
    10

    Featured reviews

    7dane11

    A Movie of Shadows

    I saw this movie a long time ago and parts of it really stuck with me, but I couldn't even remember the name until I came across it recently. I think, part of the effect of the movie was the sultry Marlene Dietrich, but what I didn't realize is that this movie is so full of atmosphere and rich in texture that it stays with you no matter who is in it. To be honest, most of the acting in this film is pretty wooden. Dietrich rises above all others with her ability to convey her feelings through the camera. More than anything, this film's look and feel are what really make this film work; and to some degree the lighting and directing aid Dietrich's acting. Joseph Von Sternberg directed this film about a group of passengers traveling via train during a Chinese civil war. The passengers all have their own stories, but none is as interesting as the story of Shanghai Lilly (Dietrich) and her romance with the British officer Captain "Doc" Harvey (Clive Brook). Von Sternberg uses light and shadow to highlight different characters and the character's feelings long before anyone else used this technique to such a large degree. There are marvelous images of Dietrich, Anna May Wong and Warner Oland as a rather mysterious and possibly sinister train passenger that really make this movie click. Film students should be required to see this movie for the simplicity of the story and the complexity of the filming. I'd like to say no scene is wasted, but there are a couple scenes that seemed extraneous. Overall though, this is a classic movie that was way ahead of it's time. I wasn't really familiar with Von Sternberg until I went back and watched this movie again. Now I own the DVD and I watch it periodically to remind myself of Dietrich's allure and Von Sternberg's masterful direction.
    9frankwiener

    Hollywood Magic, Way Back in 1932

    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.
    8planktonrules

    Pretty exciting stuff--and among Marlene Dietrich's best

    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!!
    Lin-4

    A dream of a ghostly train and shades of black

    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!
    10bmacv

    Sternberg, Dietrich reach their zenith in opulently photographed romantic intrigue as extraordinary today as it was 70 years ago

    When Josef von Sternberg's Shanghai Express chugs out of Peking, squeezing through a teeming alleyway as it picks up steam, it marks the start of a momentous journey – not only for its motley of passengers but for Hollywood. In this fourth teaming of the Svengali-like director and his Trilby of a star – Marlene Dietrich – they reach the zenith of their legendary collaboration and strike a template for the kind of movies America would do best and like best: voluptuous hybrids of adventure and intrigue, romance and raffish fun.

    Leaving for Shanghai to operate on the stricken British Consul-General, army physician Clive Brook climbs aboard only to find the woman he loved but lost five years ago (Dietrich). Now, however, she goes by another appellation; as she explains, in the script's most emblematic line, `It took more than one man to change my name to Shanghai Lily.' Her presence on the train, and that of one of her sisters-in-sin (Anna May Wong) is cause for scandal and indignation among the other passengers: prim boarding-house proprietress Louise Closser Hale (with her pooch Waffles smuggled on board); sputtering man of the cloth Lawrence Grant; sardonic gambling man Eugene Pallette; a Frenchman; a German; and the inscrutable, pre-Charlie Chan Warner Oland.

    Soon, China being embroiled in a civil war, they have more to worry about than Dietrich's morals. Rebel troops halt the journey lead the passengers, one by one, to be interrogated by their warlord, who turns out to be Oland. The various eccentricities, secrets and agendas of the passengers get brought into the open, affording Oland opportunity to avenge any number of racial and personal slights. But finally he finds what he's been looking for – a valuable hostage to serve as a bargaining chip – in Brook. And from then on Shanghai Express becomes a drama of reckoning, with all the characters scheming to save their own (and occasionally one anothers') skins.

    None of the players can be faulted, except for Brook, who gives a dead-earnest impersonation of the stick that stirs the fire; that Dietrich should have fallen for him is like believing several impossible things before breakfast. (Cary Grant was around in 1932; too bad Sternberg didn't catch up with him until his next movie, Blonde Venus.) But in his handling of Dietrich, Sternberg all but patents what came to be called star treatment. Stunningly lighted, her feline face is caught in a breathtaking range of moods and attitudes. But she's more than a passive vessel for the director's intentions – her blend of worldly savvy and steely spine is hers and hers alone.

    She isn't the only beneficiary of Sternberg's eye. He shoots the movie in a haunting, intense chiaroscuro (few movies from this early in the 1930s were so richly and handsomely photographed). He cuts from scene to scene teasingly, layering new shots on fading images, adding a little rubato to relate incidents of the story to one another. Shanghai Express may be the first masterpiece of the sound era, one that's still no less extraordinary today than it was 70 years ago.

    More like this

    Morocco
    7.0
    Morocco
    Blonde Venus
    7.1
    Blonde Venus
    The Blue Angel
    7.6
    The Blue Angel
    The Scarlet Empress
    7.5
    The Scarlet Empress
    Dishonored
    7.2
    Dishonored
    The Devil Is a Woman
    6.9
    The Devil Is a Woman
    I Am a Fugitive from a Chain Gang
    8.2
    I Am a Fugitive from a Chain Gang
    The Docks of New York
    7.5
    The Docks of New York
    Trouble in Paradise
    7.9
    Trouble in Paradise
    Destry Rides Again
    7.6
    Destry Rides Again
    Scarface
    7.7
    Scarface
    The Public Enemy
    7.6
    The Public Enemy

    Related interests

    Mia Goth and Anya Taylor-Joy in Emma. (2020)
    Costume Drama
    Lauren Bacall and Humphrey Bogart in The Big Sleep (1946)
    Film Noir
    Heath Ledger and Jake Gyllenhaal in Brokeback Mountain (2005)
    Tragic Romance
    Still frame
    Adventure
    Mahershala Ali and Alex R. Hibbert in Moonlight (2016)
    Drama
    Ingrid Bergman and Humphrey Bogart in Casablanca (1942)
    Romance

    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      The extras in the film mostly speak Cantonese - a Chinese dialect used mainly in southern China. If the film were to be more accurate, the extras would speak Mandarin, but most Chinese residents in the Los Angeles area (who worked as film extras) spoke Cantonese, necessitating Josef von Sternberg use Cantonese. Even so, Cantonese was spoken by a lot of Chinese as Mandarin gradually gained ground.
    • Goofs
      The film is set in northern China (Peking to Shanghai). The government and warlord soldiers are speaking Taishanese, which is a southern Chinese dialect not generally spoken in northern China. The northern dialects of Mandarin Chinese (a Beijing dialect) and/or Shanghainese would be spoken instead.
    • Quotes

      Mr. Henry Chang: All the money in the world can't wipe out his insult to me.

      [Shanghai Lily tries to shoot him]

      Mr. Henry Chang: You only had my interest before. Now you have my admiration. I could love a woman like you.

      Shanghai Lily: You made me an offer to leave with you. Does it still hold good?

      Mr. Henry Chang: I wouldn't trust you from here to the door. What assurance have I you won't trick me?

      Shanghai Lily: I give you my word of honor.

      Mr. Henry Chang: A man is a fool to trust any woman, but I believe a word of honor would mean something to you.

    • Alternate versions
      Comments in the AFI Catalogue suggest the credits were changed when re-released in 1935. According to the Catalogue, the original print referred to Harry Herveys work as a novel. In the viewed print on TCM, the onscreen credit was "story." The print was clearly a re-released print because of the PCA certificate number listed onscreen; such numbers were not issued until 1934. It is not known what other changes were made, if any, but the print ran only 82 minutes, suggesting some additional editing had been done.
    • Connections
      Featured in Without Regret (1935)
    • Soundtracks
      Shanghai Express Prelude
      (uncredited)

      Music by Rudolph G. Kopp

      Played during the opening credits

    Top picks

    Sign in to rate and Watchlist for personalized recommendations
    Sign in

    FAQ18

    • How long is Shanghai Express?Powered by Alexa

    Details

    Edit
    • Release date
      • February 12, 1932 (United States)
    • Country of origin
      • United States
    • Languages
      • English
      • French
      • Cantonese
      • German
    • Also known as
      • El expreso de Shanghai
    • Filming locations
      • Santa Fe Railroad Depot - 1170 W. 3rd Street, San Bernardino, California, USA
    • Production company
      • Paramount Pictures
    • See more company credits at IMDbPro

    Box office

    Edit
    • Gross worldwide
      • $71
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      • 1h 22m(82 min)
    • Color
      • Black and White
    • Aspect ratio
      • 1.37 : 1

    Contribute to this page

    Suggest an edit or add missing content
    • Learn more about contributing
    Edit page

    More to explore

    Recently viewed

    Please enable browser cookies to use this feature. Learn more.
    Get the IMDb App
    Sign in for more accessSign in for more access
    Follow IMDb on social
    Get the IMDb App
    For Android and iOS
    Get the IMDb App
    • Help
    • Site Index
    • IMDbPro
    • Box Office Mojo
    • License IMDb Data
    • Press Room
    • Advertising
    • Jobs
    • Conditions of Use
    • Privacy Policy
    • Your Ads Privacy Choices
    IMDb, an Amazon company

    © 1990-2025 by IMDb.com, Inc.