Hotel Schanghai

When the story begins, China has just fallen to the Communists in 1949. Oddly, although you would THINK all foreign nationals in China would be scared and on their best behaviors so as to not upset the new regime, the westerners in this film are all angry and stupid. After being moved by the new regime to wait at a hotel, they scream at their captors, make threats and pretty much seem like obnoxious idiots. This is odd since it's supposed to be a propagnda picture that is anti-communist. I found myself wanting to see a few of these idiots get shot...and so the film really did not do its intended job! Fortunately, the obnoxious behaviors diminished as the film progressed.

The Chinese communists in this film are almost uniformly stupid, paranoid and evil. One is even apparently not above using extortion to try force one of the prisoners to put out for him. And, though the course of the film, these Chinese become more violent and nasty.

The odd person out in all this is Rita King (Ruth Roman). Unlike the other westerners, she is free to come and go from the hotel...presumably because she's putting out for one of the higher Chinese officials. Because of this, the other internees avoid and dislike her. But through the course of the story, she turns out to have a heart of gold and tries her best to help these prisoners.

If you are looking for realism, this isn't a great film for you. Although the Chinese communists were a bloodthirsty lot, the western folks in the film are almost like cartoon characters and often lack realism. Making threats against your captors...that certainly seems odd and stupidly out of place, for example.

Overall, a rather obvious propaganda film which could have been better had the writing been better. I think the Chinese were portrayed reasonably well...but the rest seemed like caricatures instead of real people.

Run of the mill prisoner of war film is elevated by the snappiness of the direction from Frank Lloyd, director of the first Mutiny on the Bounty with Clark Gable and Charles Laughton, and the cast.

Set mostly amongst a group of enemy aliens confined to a hotel in the title city Lloyd keeps the viewer engaged by having the action move repeatedly from room to room with occasional scenes elsewhere.

That's fine as far as it goes but the other element that makes the film enjoyable is the competence of the main players. Edmond O'Brien is impassioned as the doctor who becomes the focal point of the story with Whit Bissell and a very young Richard Jaeckel adding fine support as two fellow prisoners. Also standing out and looking very beautiful is Ruth Roman. Never given her due she was a fierce screen presence elevating the often middling material she was handed as she does here.

Nothing special but if you like this type of adventure/war picture an agreeable time passer.

Unfortunately, The Shanghai Story is not THE story of Shanghai after the fall of mainland China to the CCP in 1949. There are elements of truth in the film, and there are also stereotypes and exaggerations of CCP behavior. Some of what you see is true; and some of it is pretty silly stuff. Especially the ending; I will not reveal the ending, except to say it was one of the most ridiculous endings I have ever seen in a film. Edmund O"Brien was beginning to gain weight and age as a leading man, and looked more Rodney Dangerfield in a few scenes rather than a leading man. Ruth Roman was very good, however. And the direction is tight from Frank Lloyd. What we don't see are the motivations of the CCP in China at the time, and the amazing level of corruption of the KMT (that continues to this day in Taiwan). The fictional aspect of a "Chinese Underground" in Shanghai was also a complete fabrication; there was no such movement. However, the film is still entertaining.

I just watched The Shanghai Story and could not tell if it should be labeled a spy thriller! It is in a way, but not really.

The Communists have taken over, and under the New China, about fifty westerners are detained at the New Waldorf Hotel. Among them is top-billed Ruth Roman, who was friendly to members of the old regime, and is equally so to embers of the new. The story, however, centers on Edmond O'Brien, a doctor who wants to get out.

The story is half P. O. W. Movie, with a strong debt to CASABLANCA; the new ruling elite is as rapacious as Claude Rains' Louis Renault, but lack the warmth and humanity of Conrad Veidt's Heinrich Strasser. None of the characters is much more than a stereotype, varying in mood according to the dictates of the story. On the other hand, Jack Marta's Dutch Angles and diffuse, foggy lighting, gives the movie a fine, depressing film noir feeling, and every aspect of the production under the control of director Frank Lloyd is first rate. It's a pity this was made at the height of Cold War fever and the script played directly into that with a fervor that makes one think the war is very hot indeed.