Ich kaufte ein Chinesenmädchen

This is one of the strangest westerns I can recall--and for many reasons. First, the cast is odd. Jack Lord is the star and his friend is played by none other than Mel Tormé! It's also interesting that a Hawaiian of Japanese ancestry (James Shigeta) would play a Chinese man. And, the leading 'Chinese' lady in the film (Nobu McCarthy) was Japanese. Second, the plot is just odd...very, very odd. The film begins with a slave auction in California circa 1870 (give or take). When Linc Bartlett learns about this, he's appalled. He's even more upset to see a poor girl who is obviously very humiliated being stripped and sold. He steps in and buys the girl--intending to set her free. However, what happens next is completely unforeseen. I'd say more but it's just something you should probably see for yourself.

To me, this film was quite enjoyable but was also intended less as a history lesson and more a metaphor for the changing civil right atmosphere in the US in 1960. Still, it's pretty good--and quite interesting. One of Lord's few starring roles before vaulting to super-star status with "Hawaii Five-O".

This is one unusual western where the subject of racial prejudice takes a front row seat as the topic dealt with. But this was prejudice western style as it deals with the influx of immigrants from the Orient.

Jack Lord, recent veteran of the Civil War is in San Francisco to pick up mining equipment when he reminds himself of what the Civil War was about and buys Nobu McCarthy at a Chinese slave auction. Women were really on a low rank on the scale in that patriarchal culture that the Chinese took with them to America. He frees her, but as James Shigeta points out she's free to go nowhere. Shigeta he's giving a lift back to his home where Shigeta's uncle Benson Fong runs the Chinese laundry.

Of course it ends up with Lord and Shigeta both falling for McCarthy. As for McCarthy is it love she feels for Lord or just overwhelming gratitude to be taken from a life probably spent in some Chinese brothel in San Francisco.

Lord isn't exactly free from anti-Oriental prejudice nor is his mother Josephine Hutchinson, but both come to accept McCarthy. Hutchinson gives a warning to McCarthy similar to what Sidney Poitier got from his movie father Roy Glenn in Guess Who's Coming To Dinner. There are some similarities in those films though I suspect the budget for Walk Like A Dragon might have been part of Kate Hepburn's salary in the other film.

One thing I could not abide though was the casting of Mel Torme as the scripture quoting gunfighter named Deacon. Like Tony Martin in Quincannon, Frontier Scout, Torme looked out of place. In the saloon he looked like he was waiting for a song cue from the piano.

The really heavy handed approach and the lack of production values kept Walk Like A Dragon from a better rating. It is though a sincere effort to explore a topic not very often talked about, especially in westerns.

(revised '21) Multi-talented Australian writer/producer/director James Clavell, for his second Hollywood feature, picked an interesting (and brave) racially-themed historical situation. He then selected a fascinating hand-picked international cast to bring his story to life. His characters are rich and varied and well defined, mixing a multinational group of people brought together in the developing days of the 1870s American West.

It's been said Mr. Clavell had difficulty deciding on the right way to finish, so shot two alternate endings, and at one stage both ran simultaneously in two Cinemas. Seems the ending presented on TCM was regarded as the strongest and was adopted for the subsequent world market release. Award-winning veteran cinematographer Loyal Griggs (Shane) provides the fine B/W photography with Paul Dunlap's evocative music score blending perfectly. It's a thoughtful look at a young nation in its formative years and deals with sensitive racial interactions as Chinese immigrants are introduced into its early development.

This makes for an unusual up-close examination of the many facets of racial prejudice, and in Clavell's hands results in this better than average, medium-budget western - which benefits greatly from sincere performances by its interesting cast. Singer Mel Torme plays a saloon 'peace-keeper' and sings the title song, adding further curious appeal to a generally little-known but pleasing, off-beat production. James Clavell's real-life is as fascinating as his writings.

A Note on Characters: While looking at Clavell's interesting array of character choices, look also at the town sheriff; Rodolfo Acosta a Mexican, keeping the law in a predominantly white Californian town (reminiscent of Anthony Quinn in "The Man From Del Rio") ~ Lilyan Chauvin as Lili the French Saloon keeper and lady friend of Jack Lord's character, Linc Bartlett (a descendant of this character also features in Clavel's latter novel; 'Noble House') ~ Charles Irwin as Angus, the Scottish Forman of Linc's freight line, then there's Michael Pate an Australian, as Will, the towns Reverend. Mr Clavell certainly had a penchant for unusual international characters all holding down curious positions in odd places, this certainly added unique flavour to his 'original' approach to writing.

I am a great fan of Jack Lord, and on my quest to find all his movies, I came upon this one...Its a superbly done movie, with a great plot! Its strange to see Jack Lord in any other role than in Hawaii 5-0.... I just loved it! Well done, James Clavell!

I happened across this movie years ago on a independent t.v. station in the middle of the afternoon. I first watched because of Mel Torme, but I found myself thoroughly enjoying a western... *shock*. The one thing I recall most was how very "un-Mel" Mel was. His portrayal of a gunslinger was very low-key and VERY effective. If I ever get a chance to see this again, I'll have a tape ready to role. I strongly recommend it.