Mr. Moto und der Kronleuchter

Of all the yellowface performances I've ever seen from classic Hollywood, Peter Lorre's Mr. Moto strikes me as the least offensive. The only times the character comes off as too stereotypical are when Mr. Moto is trying to trick dumb white people into thinking he's an ignorant heathen. Most of the time he's exceedingly intelligent, a Japanese Sherlock Holmes. He even has a couple of action sequences (apparently the audiences at the time ate up the Judo stuff). Lorre's just great in the role. The rest of the cast here is fine, too (the most recognizable actors are Henry Wilcoxon and Erik Rhodes). The Asian detective character was extremely popular at the time, the most famous of them being Charlie Chan (there's also Boris Karloff's Mr. Wong). I'm planning to take in a Charlie Chan and Mr. Wong film (n.b. I did end up watching Mr. Wong, Detective afterward, and it was pretty good, too) just for comparison. I also plan on watching all the other Mr. Moto films available to me. I love Lorre and very much enjoyed this film.

The Moto films were 'cheaps', made quickly and inexpensively, and also rather short to pack in with other films for a cinema experience packed with a variety of films in a string. Where most other films of the time have either risen to heights through brilliance or, as most have done, fallen from interest completely due to mediocre or lackluster efforts, the Moto films have found quite an enthusiastic audience that still thrills to the honest, entertaining portrayal of an exotic crime fighter.

Mysterious Mr. Moto is the first film in the series where the crew seems to have 'gotten it together'. The acting, acing, story, and film work were all quite a notch above the previous three. Though the stories are always rather linear they keep an audience by balancing thrills, violence, mystery, character and mild romance.

The criticism of racism is odd. Lorre plays the character slightly off Japanese, his accent being obviously Germanic, but his mannerisms are keen. Moto is an American schooled Japanese, which was very typical in those days, and it gives him an obvious bridge in understanding western culture. It is a pity they didn't find more Asians to fill key roles in these films, but generally the American actors used were quite good despite looking too Caucasian. I can forgive authenticity for acting ability, especially in the days when there were few stories written for Asians.

Moto always comes off as a powerhouse. He's an admirable figure for anyone undersized in a brutal world. Kids must have loved Moto in the day as he proved someone tiny could trash giant brutes with guns and ham hock fists. He's a great roll model for more than just Asians or Japanese, he's a hero for everyone. These films are fun, matinée film that portrayed the shrinking world with a metropolitan and international flavor. I think they are admirable. Lorre proved himself adept beyond any doubt with these movies. They are a credit to the entire crew.

One of the weakest gimmicks in the Sol Wurtzel-Peter Lorre Moto series was Moto's occasional attempts to lurk about in disguise a la Sherlock Holmes. It's surprising therefore that one of the most successful (and dramatically strongest) films in the series featured Moto doing an extended undercover operation as "Ito," the pidgen-English-speaking Japanese houseboy of a British gangster. The scenes in which Ito/Moto is treated with condescending contempt by his employer and roughed up by Cockney barflies are clearly intended to stimulate the audiences' outrage against their stupidly bigoted treatment of "his kind"--racism here being portrayed as a specifically British tendency, in stark contrast to the friendly respect with which Mr. Moto is treated by American characters. Considering that the Moto series itself has been labeled racist--the assumption being that casting the "ugly" Jew Lorre as a Japanese was an insult to Asians, never mind the way the character was actually treated in the films--it may be time to take a more objective second look.

This series was a competitor to the more long-running Charlie Chan stories. The differences are striking.

Chan seems to never know what is going on until the end, when he has sussed out an amazingly complex set of circumstances. Our job during the movie is simply to collect facts that will only mean something when the final story is told. During this task we are given a few jokes. Chan's job is precisely the same as ours and we are always with him when he discovers something. He's just smarter, the product of a more clever race.

Moto knows ahead of time much of what's going on. The stories aren't detective stories; they're adventure stories. Moto isn't a passive, simple observer on the viewer's side of the stage, but a participant, an actor who plays a role in disguise. He fights. He thwarts the bad guys. In his normal persona, he's much more poised, more genteel. More schooled. Its the superiority of the man, not the race.

These each are sides of Sherlock Holmes in the two variants of stories. Interesting to see how they were bifurcated during this period. They'd stay separated until now, each developing into its own genre.

Ted's Evaluation -- 2 of 3: Has some interesting elements.

In the late 1930s, eight Mr. Moto films were made of varying styles. In some (the best ones if you ask me), Moto was a rather amoral character and often killed bad guys instead of arresting them. In the lesser films, Moto was almost like a clone of Charlie Chan--very sedentary and the sort of guy who wouldn't hurt a fly. Well, this one is of the former type where Moto is a good guy but is more than willing to rub out his enemies to save the government the trouble of prosecuting them! What a guy, that Moto!

The film begins with Moto escaping with a prisoner from Devil's Island (Leon Ames). It seems that Moto is so intent on infiltrating a gang of international assassins that he went to a heck of a lot of trouble to get himself locked up, befriending one of the founding members of the group and then helping him escape! Back in London, Moto pretends to be an ignorant and VERY stereotypical Japanese houseboy for Ames. Many, I'm sure, will be annoyed or shocked with Peter Lorre's performance in this dual role, as the houseboy (and escaped prisoner) is 100% stereotype--complete with phrases such as "so solly"! Uggh. Well, while I don't condone this, this was the 1930s and have learned to ignore these scenes--otherwise all the Moto films will make you go crazy!

Moto's job is not just to discover who's the head of this mob and capture the entire gang, but he must also somehow protect a Czechoslovakian guy who is really, really stupid. First, he sounded about as Czechoslovakian as Winston Churchill. Second, he never takes the assassins' threats very seriously--even when they showed they really meant business. Even after they kill one of his friends right after they promise to demonstrate their power, this idiot insists he needs no help from Moto or the police!! Can anyone be that stupid? Apparently, in a B-film the answer is "yes".

So far, this film is about average for a Moto film. However, towards the end it really picks up its pace and delivers a very shocking finale that only Moto could engineer. See it for yourself and see what I mean. Oh, that Moto!

Overall, a bit better than average for the series despite having a really dumb character (if I were Moto, I would have let him die) and Lorre's rather obnoxious impersonation of a brain-dead Japanese servant.