Chu Chin Chow

Chu Chin Chow was a well-known stage musical that started during the First World War years and lasted through the twenties and the thirties. Then mention of it suddenly stopped and was heard of no more. Of the songs used in the musical, only the Shoemaker's Song was catchy enough to survive outside the musical, and was covered by all kinds of musicians from trad jazz bands to Paul Robeson.

As others have said, the musical is set in Baghdad and is a variant of Ali Baba and the Forty Thieves. The costumes are exaggerated, with grotesque turbans and fezzes.

What is unusual for a British film is that the background music is almost non-stop. Often the background music has nothing to do with what is happening in the scene, and is thus more like Muzak in a supermarket or an elevator. This was sometimes done in early thirties films by First National/Warner Brothers. This is the first time I have encountered this in a British film.

The orchestration is adventurous and the higher pitches feature unusual instruments. These include domras that tremolo in the string section, and - soloing in the woodwind - are a sopranino recorder, and even an ocarina, to accentuate clownishness. As big jars, each containing a thief, are rolled into a pit, we hear the timpani making a thunderous noise - inappropriate due to the size of the jars, but unbelievably effective.

With one exception, the singers are not very good. The exception is the Australian basso profondo, Malcolm McEacharn, who is billed as "Jetsam," because he was a member of the Flotsam and Jetsam duo. An exceptionally rich and powerful voice that can reach down, down, down to depths that a basso cantate like myself can only dream about.

I have never seen anything quite like this in a British film of the period.

This was a breakthrough film for the talented Anna May Wong. Previous to this film, she was typecast as an oriental vamp, and generally relegated to secondary roles. In this film and "The Goddess", she takes on leading roles with aplomb.

This is a musical version of Ali Baba and the Forty Thieves, which has been done several times before and since by various directors and actors. This one is much better than average, as Wong makes it so. Add a star if you like musicals.

With an enjoyable old-fashioned mix of humor, melodrama, musical, and pageantry, this adaptation of the stage show "Chu Chin Chow" is still well worth seeing. It does a good job for its time of blending everything together with a consistent pace and without any dull stretches. It makes good use of the Arabian Nights' story setting, while not taking itself too seriously.

The plot is based on the well-known story of Ali Baba contending with Abu Hasan and his cave full of thieves and cutthroats. George Robey as Ali Baba and Fritz Kortner as Hasan both seem to be having a good time, and they give pleasantly exaggerated performances, slightly over-emphasizing their expressions and their characters' traits.

But the star of the cast is Anna May Wong, who plays a slave girl who spies on behalf of Hasan. The role offers little challenge for someone of Wong's considerable acting talents, but it gives her a chance to grab numerous scenes. She gives her character a formidable presence and a very attractive appearance that make her the center of attention when she is on the screen.

Overall, it's nothing to take seriously, but it is very good escapist entertainment for those who enjoy the movies of the era. There was also an American release, "Ali Baba Nights", which cut out the musical numbers and some other material, giving it a quicker pace but a less lavish style, without quite as much atmosphere.

This one works in all departments – a 1930's British film of a British stage musical that ran from 1916 to 1920 – the sheer artistry involved in this production disguised the staidly primitive techniques. And the production is breathtaking at times – it shows just what can be achieved with a little money but plenty of intelligence. George Robey, three decades past his Prime Minister Of Mirth heyday was perfect in the main role of Ali Baba. Just in case you ever wonder: even when young he never had a singing voice, it was his down to Earth silliness playing with words that endeared him to British Music Hall audiences.

It's the story of Ali Baba and the Forty Thieves and his sudden rise to wealth and power, from the finding of their cave and robbing the robbers of their treasures. The magnificent Chu Chin Chow of the title and his coterie travelling to Baghdad are reduced to dust in double quick time, leading to the imposture by Abu Hasan and his Thieves at the court of Kasim Baba. The sets are astounding, probably gossamer but believable. Fritz Kortner as Head Thief is suitably savage, and Anna May Wong (again playing the treacherous insider, as in Fairbanks' Thief Of Bagdad) as his … slave is in a difficult position for the entire film. Along the way are some lovely songs: The Cobblers Song, the incredibly romantic Corraline (sung in the sparkling "moonlight" to every camera angle imaginable), I Love Thee So (languid and atmospheric photography) but especially the gorgeous Any Time's Kissing Time. Robey and Thelma Tuson gave it their all and succeeded in creating the most delicious idiotic/romantic 2 minutes in film history – just look at the slaves laughing in the background!

It's one of the best British films from the decade even so I don't expect UK TV to ever show it again, but it's one I trot out on video to watch every few years with no loss of enjoyment. It might have been better in Technicolor because a lot of people who might have liked it today could be put off by the black and white photography. But if you can sink into the first 10 minutes or so you'll find a little gem worth the taking.

This movie is adapted from the incredibly popular British musical stage show that had over two thousand performance on the London stage. It's based on the Ali Baba and Forty Thieves story. The sets are lavish and highly stylized and a large number of extras are used - the production values in this movie are stunning. The uncut 102 minute version is available from VCI Entertainment - it's a very good print. For me, the major reasons for seeing this film are that it is of such historical importance and that it features Anna May Wong. It was nice seeing her in such a prestigious film. That said, some of the acting was overdone and not really suitable for film, although undoubtedly fine for the stage. It's purely a matter of taste but I didn't find the story interesting or the music memorable or enjoyable. I think the movie is too long and slow going. I probably should have watched the 78 minute version - which VCI includes with the uncut version set.