Daughter of Shanghai

One of the most frustrating things about being a classic film fan is keenly knowing how many talented people's careers were inhibited by the racism of the period. Anna May Wong was a gifted actress with a unique, beautiful face, and yet her roles were often limited due to her Chinese heritage. DAUGHTER OF SHANGHAI was allegedly her favorite of her films because for once the Chinese characters were the heroes-- and they were actually played by Asian characters rather than white actors in yellowface.

DAUGHTER OF SHANGHAI is a better than average potboiler. It's fast-paced like a serial and the atmosphere is one of heady adventure. But it is Anna May Wong who is the central attraction, outthinking her enemies and kicking ass. I really loved her character and am so glad this film still exists. It's such a shame opportunities like this were so few for Wong.

First and foremost, it was very refreshing to see the treatment of Asian-Americans in this film. There are no stereotypes or actors in yellow face, and the characters are articulate, sophisticated, and intelligent. The two main characters unraveling a smuggling/extortion racket (the fabulous Anna May Wong and Philip Ahn) are of Asian descent but the parts could have been written as Caucasians. Meanwhile it's a group of white people who run this racket and brutally murder people. It's no wonder that Wong was so happy with this film, her first with Paramount, and said "I like my part in this picture better than any I've ever had before...This picture gives Chinese a break - we have sympathetic parts for a change."

Overall it's a B movie in terms of production value and the plot is simple, but it's certainly entertaining, there are moments of tension, and of course it also has Anna May Wong. She looks radiant while wearing a number of gowns, most of which she had purchased herself in China on her travels there the year before, which was a big event in her life. A great example of her acting ability is her facial reaction when she sees what's happened to her father in the film, and we also get to see her silky dance moves when her character goes undercover as a dancer in a tropical nightclub. I adore her and everything she fought for, and this film feels like a vindication of sorts, after the bitter pill of being passed over for 'The Good Earth.'

You can really feel the heat and seaminess of the environment her character finds herself in, and I thought director Robert Florey did a good job given the scale of the picture. Some of his camera angles and shots of things like people being dumped into the bay are quite good. The representation of women is strong too - aside from Wong, the kingpin of the crime organization is a tough woman played by Cecil Cunningham. You can also look for 22 year old Anthony Quinn as well. Quite enjoyable for me, and I wished it had gone on for longer than 62 minutes.

Quote: White nightclub patron, dismissive upon seeing Anna May Wong: "I don't speak Chinese." Anna May Wong: "I speak English."

This film is about smugglers who take people from other parts of the world and bring them to the United States to work for others (sounds almost contemporary). Anna May Wong plays the daughter of Quan Lin, a successful merchant, who refuses to "buy" anyone for his business. He gets killed and his daughter narrowly escapes. This plays as a film noir, and it could even be considered a B movie, but it is pretty good. The plot thickens, there are a few surprises and then there is the beautiful, accomplished actress Anna May Wong. She was something special. I liked its pacing, and I feel it is a film you should watch, if you're into mystery and intrigue. Check it out.

Anna May Wong's father is killed because he will not cooperate with a gang that smuggles illegal Chinese emigrants into the US. Miss Wong goes undercover to help Federal agent Philip Ahn track down the mysterious head of the ring.

Paramount gave Miss Wong a push upward with top billing on this B movie directed by Robert Florey. She's certainly given a splashy entrance in a spectacular Chinese costume, but despite popping in and out as she goes dance hall girl somewhere in the islands back to the US, the story is diffuse. Intercut with her, we see Ahn's slow track dealing with slow-witted goons, and a large cast of performers adding attraction to the story: Charles Bickford, Buster Crabbe, Cecil Cunningham, J. Carrol Naish, Anthony Quinn, Evelyn Brent... even though there are a lot of Chinese-American performers here, they're almost all uncredited.

It's the same sort of story that Poverty Row producers had been telling for a couple of years, with the sort of gloss that Paramount could provide mostly coming from Charles Schoenbaum's photography. Clearly they were aiming at a sort of Von Sternberg look that lends this a pre-noir air, but the script is too straightforward for much more than an entertaining flick.

...screams a headline at the beginning of the film. Quick! Somebody notify agents Scully and Mulder. No, not THOSE kinds of aliens!

A human-trafficking ring makes an offer a Chinese American San Francisco/Chinatown businessman cannot refuse, except that he does. For that, and for taking the evidence that he already has against the human trafficking ring to the feds, said trafficking ring kills him. His daughter (Anna May Wong), rather bitter about her father's murder not ardently being investigated by the feds he was trying to help, decides to go under cover in the tropics, using the only contact name she has - Hartmann - and ferret out the killers and traffickers herself. She runs into G-man Kim Lee (Philip Ahn) while doing this, and they team up to bring the criminals to justice. Along the way they encounter a very unlikely Mr. Big and an even more unlikely hero who steps in to help them save the day.

This may be one of my favorite B movies of the decade. Wong and Ahn are certainly unusual leads in an American film of the day, and they're both great in their roles. There's a surprising amount of violence, including people being dropped to their death out of a plane, shootings, and brutal beatings. J. Carroll Naish and Anthony Quinn are typecast as two of the bad guys, but I was surprised to see Buster Crabbe, with black hair and a mustache, as a particularly sadistic cohort.

Rather unintentionally funny moment - In the opening scene the two guys piloting a plane full of aliens headed for the United States have been spotted by a government plane, which is after them. The two tough guys are inexplicably wearing matching checkered ascots. Recommended - the movie, not the ascots.