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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

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    Top cast26

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    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
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    Featured reviews

    7lasttimeisaw

    von Sternberg's expressionistic idiom still demands our colletive gaze today

    Fourth out of seven Dietrich-von Sternberg's collaborations, SHANGHAI EXPRESS confirms with Hollywood's habitually insensitive appropriation of exotic stories, this time, the victim is a civil war-ridden China, the entire film sets during the treacherous journey of the titular express, chugging from Beijing to Shanghai, but apparently, von Sternberg cannot lay his hands on finding enough Mandarin-speaking extras, so all the Chinese bit players are sporting Cantonese with a weird accent that even confounds this reviewer's Chinese ears, and some of them are occasionally being manhandled unceremoniously, notably in an earlier scene by a miffed Charlie Chan, no, actually it is Henry Chang (Oland), an Eurasian warlord of Chinese rebellions with a costly price tag on his head.

    Essentially, the movie is Ms. Dietrich's star vehicle, kit up with astounding sartorial creations from Travis Banton, and looks gorgeously photogenic under von Sternberg's meticulous coordination, she plays a courtesan named Shanghai Lily, of all people, she chances upon her ex-lover, British Captain Donald "Doc" Harvey (a stiff upper-lipped Brook) on the express, while the pair's romance duly begins to rekindle, Chang and his rebellious rabble hijacks the train and detains Doc as a valuable hostage, soon, it falls to two women's hands to take the situation out of jeopardy, one is Shanghai Lily, who acquiesces to Chang's commander for the sake of Doc's safety, another is her companion, a Chinese working girl Hui Fei (a piercing-looking Wong, the first Chinese-American star in Hollywood), who successfully lands on her feet after a vengeful assassination.

    Sardonically, the rest western passengers are more or less one-note laughing-stocks, casual scorn is cast upon an opium merchant and self-professed "invalid" Eric Baum (von Seyffertitz), a priggish Reverend Carmichael (Grant) and a congenital bettor Sam Salt (Pallette), whereas Henry Chang is accountable for all the contempt, conversely it is the gamble of love and faith that transpires after its torpid escape hubbub, and it is Shanghai Lily's clandestine repentance finally softens the film's cynical temperament and veers into the usual trajectory of a cheesy romance, but what an extravaganza is on show, von Sternberg's expressionistic idiom would totally normalize the standards we view movies even today, whether it concerns narrative cohesion, the marshaling of a huge set, or spectacular montage arrangements, no wonder audience at that time could rapturously fall under his spell, SHANGHAI EXPRESS is the highest grossing movie of 1932, even today, it demands our collective gaze.
    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.
    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.
    8hitchcockthelegend

    When I needed your faith, you withheld it; and now, when I don't need it, and don't deserve it, you give it to me.

    Shanghai Express is directed by Josef von Sternberg and written by Jules Furthman (adaptation) & Harry Hervey (story). It stars Marlene Dietrich, Clive Brooks, Anna May Wong, Warner Oland, Eugene Palette and Lawrence Grant. Music is by W. Franke Harling & Rudoplh G. Kopp and cinematography by Lee Garmes.

    Plot finds Shanghai Lily (Dietrich) meeting up with old flame Donald Harvey (Brooks) aboard the Shanghai Express during the Chinese Civil War in 1931. However, this train has many passengers with secrets to hide, so when some rebels ambush the train, such things as loyalties, friendships, hidden motives and the birthing of legends come to the fore.

    Stylishly crafted by Sternberg and brisker than the other collaborations with Dietrich, Shanghai Express thrives on atmospheric visuals, strong scripting and a sultry turn from the leading lady. The cramped confines of the train allow Sternberg to dally with trademark shadows, smoke and shafts of light for maximum effect, garnering Garmes an Oscar in the process, while there is deft deadpannery amongst the myriad of intriguing characters.

    Quality film making on both sides of the camera and also off of the writers desk. 8/10
    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!!

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    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

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    FAQ18

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    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

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

    Tech specs

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

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