The Bitter Tea of General Yen

Following in the same path as Paramount classics, Shanghai Express and The General Died at Dawn, The Bitter Tea Of General Yen is a remarkable film about the chaos that was Kuomintang China. And it had a theme about interracial love that was years ahead of its time. Albeit though it was a love unresolved.

Barbara Stanwyck plays a missionary newly arrived from the USA with the hope of marrying missionary doctor Gavin Gordon. While trying to get some missionary orphans out of the way of war, she falls into the hands of Nils Asther playing the title role.

Unlike Warner Oland in Shanghai Express or Akim Tamiroff in The General Died At Dawn, Asther is an intelligent and articulate man who expresses the Chinese view of life better than was seen on film until Curt Jurgens in The Inn Of Sixth Happiness. He also dares to love the white missionary, but she's otherwise taken with Gavin Gordon. Nevertheless Barbara finds a lot that's intriguing about Asther.

There is a less than flattering view of the white people here, but not the usual criminal lowlifes who profit from war in China. It's the missionaries here with a sense of superior culture that comes in for criticism. Highly unusual and way ahead of its time for a movie theme. In fact Walter Connolly who works for Asther in procuring arms for his troops is a far better observer of the Oriental mind than any of the missionary people.

There is a subplot in The Bitter Tea Of General Yen very similar to The King And I. One of Asther's many concubines is Toshia Mori who really loves one of his officers, Richard Loo. Asther reacts the same way Yul Brynner did when Tuptim found him so non-appealing, a question of vanity and pride more than of the heart.

The interracial theme and the ideas way ahead of their time did not augur well for The Bitter Tea Of General Yen. I think it can be better appreciated by today's audience than the audience of 1933.

Unusual, strange, interesting, intriguing, offbeat, surreal, unique film… so atypical of Capra's acknowledged style, that one truly regrets that he never made a film of this sort afterwards in his career.

For sure, a product of the more permissive Pre-Code era (1930-1934), it couldn't have been filmed under the Production Code's strict rules; the only suggestion of miscegenation would have risen too many brows during its enforcement.

I must say, though, that I have the impression that I saw an edited or censored version of the official release, since the DVD I watched is of British origin (it's not yet available on DVD in the USA) and apparently the out-of-print VHS American edition, is 5 or 6 minutes longer. Well, it shouldn't surprise me since this film was banned in England for many years (reportedly for its miscegenation subject, a delicate matter for the British Empire in those years).

This fantastic tale of a Chinese Warlord's (Nils Asther) infatuation with an American Woman (Stanwyck), who's engaged to a missionary, is charged with sensuality, erotic imagery and sexual tension (by early 1930s standards) between the two leading players.

Asther gives an intense, credible portrayal and is simply mesmerizing as the Warlord, in spite of the fact that he was actually Swedish. Stanwyck is aptly helpless, confused and vulnerable as the heroine. It's also a pleasure to see Walter Connolly in a different role, as an amoral "entrepreneur". Toshia Mori is deliciously evil as Asther's double-crossing mistress.

This film demonstrates that the Occidentals, at least up to that time, still did not fully appreciate and understand Oriental Cultures, dismissing its people as cruel and savage.

Beautiful sets and décors.

This picture is on TV pretty often, so often that I usually miss it. The title sounds uninviting, like a dull movie about a tea plantation. Then I saw it on a big screen last month at a film festival and I was astonished. I was especially astonished by Nils Asther's portrayal of the General, and I'm not sure I've seen him in anything else. It was a hypnotic performance, as good a job of acting as has ever been put on the Silver Screen. The film was early Stanwyck but she was as good as ever and, coupled with Asther, they worked magic.

The picture has been reviewed about 50 times now and everyone recaps the plot. It's enough to say it is possibly Capra's best effort. I thought the pace of the film compared to "Lost Horizon", the action and energy of the opening scenes and then the placid unfolding of the main story, which in both cases turns out to be a love story - and then the knockout ending. Also noteworthy are the spectacular sets and the shimmering, immaculate photography. I saw it at Cinevent, Columbus, O., 5/13.

This film was made before Hollywood strengthened the censorship code. The sexual chemistry between Barbara Stanwyck and Nils Asther really amazed me! Director Frank Capra filled his story with strong overtones and suggestive dialogue. Very entertaining.

A year before his major breakthrough film It Happened One Night director Frank Capra made this romantic tragedy that is filled with provocative topic and outstanding set design sensually photographed by master cinematographer Joseph Walker.

Megan Davis (Barbara Stanwyck) arrives in China in the middle of a civil war to marry her missionary husband Dr. Robert Strike and then work alongside him. Before they even marry they are separated during an evacuation and Davis finds herself in the hands of warlord General Yen (Nils Asther) . Yen at first mocks Davis but soon finds himself falling heavily for her.

The Bitter Tea of General Yen is filled with characters making bad decisions. Davis and Strike are nearly killed due to their naive condescension and trusting Megan is betrayed twice by her maid with huge consequence. General Yen cold and cruel as he may be also succumbs in his case to incurable romanticism. Only Jones (Walter Connolly) the arms dealer is grounded in reality to the dire situation that faces them.

Director Capra ably provides scenes of both chaos ( refugee evacuations, night battles ) and tranquility in the idyllic setting of Yen's compound palace where the General sets about seducing Megan with delicate charm while firing squads outside in the courtyard dispatch his enemy. Capra also finds time to get some satiric shots in at Western superiority and hypocrisy but it is the sexual tension between the leads that is at the center of Yen.

Megan's ambiguity is excellently conveyed by Stanwyck's actions and immature responses to the different world she finds herself. She's totally out of her element and her western ways are constantly checkmated by Yen. As Yen, Nils Asther cuts a dashing figure as the highly cultured warlord. He's cruel by occupation but sensitive in nature, especially around women as Jones informs us and it ultimately brings about his ruin. His scenes with Stanwyck resonate with cultural clash and erotic implication and Capra ups the ante even further with a Freudian dream that Megan has.

Capra went on to make more famous and bigger films but he would never approach the eroticism or cynicism that this provocative thirties work offered causing me to wonder if success took some of the edge out of him..