Departamento de Estado: Oriente 649

Slow-moving Cold War cheapo without the courage of its convictions. In '48 the Chinese Civil War was in full swing-- red Mao vs. nationalist Chiang, with an outcome still in doubt. The Soviets half-heartedly supported the rebel Mao while the US supplied the nationalists. With the Cold War heating up across Europe and Asia, Hollywood began celebrating government agencies in what many saw as a first line of defense against communist penetration. Here, it's the State Department getting the cosmetic treatment. Note, for example, the celebratory prologue.

The impressively handsome Lundigan plays a Foreign Service officer sent to China to assist a besieged legation. There, while romancing colleague Bruce, he experiences the brutal machinations of a warlord (Loo) who's playing both warring sides against the middle. In short, the material implies a larger scale drama than what it receives from this indie production. At the same time, the script plays it safe, never once mentioning communists or Mao. Instead, they're referred to as rebels in the North, while the US maintains diplomatic ties with the government in the South. In short, the screenplay tries to clumsily finesse a critical issue of the day, while we read between the lines.

As other reviewers point out, there's much too much talk dominating the latter half, most of it within the cheap confines of warlord Loo's trailer! The gab adds up to a downer despite the fiery upshot. On a similar note, Lundigan's spiffy gray suit remains unblemished no matter the grimy surroundings-- no doubt a concession to the Service's image. Too bad director Newfield adds nothing to the pedestrian script. Some atmosphere would have helped

On the other hand, crowded scenes of the Chinese town are well done and fairly persuasive, even though the production never leaves greater LA (Iverson Ranch, and the studio). And what a neat burst of inspiration to couple the Chinese fire-eater with the American bubble-gum chewer. In my book, it may be the movie's highlight, an amusing pairing of East and West. At the same time, chubby little Michel just about steals the show from the stiffed-up adults.

All in all, the 87-minutes unfortunately adds up to a bigger bite than the meagre budget could chew.

"State Department" is a strange film because it's about politics in China but never mentions the communists--who assumed power the same year this film debuted! It's also a rather cheap and insignificant film.

The movie begins with a prologue about various workers in the foreign service who have given their lives for their country. One of these people is the subject of this film. Ken (William Lundigan) is the new vice-consul of a remote consulate in northern China. However, he just arrives at his new posting when a local warlord arrives and begins menacing everyone. This sort of stuff did happen in the 1920s and 30--and I assume that this is the time period in which the movie is based.

The film is decent but a bit dull. While it's not a bad film, it never rises to anything more than just barely average. Lundigan and the rest are pretty good--it's just that the story never seems too interesting.

William Lundigan is appointed to the Foreign Service. Because his parents were missionaries in Mongolia, he speaks the language and is quickly assigned to a listening post in Inner Mongolia. Soon after he arrives, however, renegades warlord Richard Loo siezes the town and the consulate in his plan to establish his independent principality.

It's a very old-fashioned movie directed by Sam Newfield, now gone from the remnants of PRC, but still chugging along with his brother Sigmund Neufeld as producer. This one is even a color production, although it's shot in Cinecolor and the print I looked at was dark and the color values a bit faded.

There's no direct mention of current events in China; the Civil War was proceeding apace and eight months after this movie was released, the National government would be expelled from the mainland. In the meantime, several talented but out-of-favor performers try to make the lines sound good, actors like virginia Bruce, Jonathan Hale and Philip Ahn; and the easily recognized Iverson ranch pretends to be Inner Mongolia.

Bill Lundgren is forced to be the "army, navy, and marines" all rolled into one as he infiltrates the underground in communist China.

After learning how to be a good spy, Lundy literally bumps into pretty Virginia Bruce, whom also is a trainee in Washington. Our heroes part, but re-emerge in one another's company when serving in Peking. Frank Ferguson tags along as Lundy's boss. Fine veteran actor Joe Crehan plays a U.S. government official.

Fun at the start with some interesting narrative background concerning the Department of State, though things slow down a bit as the film progresses to the eastern hemisphere.

Worth a look as a period piece from the prime of the Cold War.

You wouldn't expect a cold war drama with a title like that to be in colour, but here it is. (Soviet propaganda films of the period were also often in colour believe it or not.) Art director Edward Jewell also otherwise manages to suggest fairly lavish production values on a limited budget and the film was presumably waved through by the Breen Office as being politically useful in the grim new postwar climate (people get their tongues cut out and arms cut off - mercifully off camera - presumably to remind audiences just how dangerous the world still was outside the good old U. S. of A.)

Unfortunately, for all it's up to the minute, Torn-from-Today's-Headlines veneer Russia exploded its first atom bomb and China fell to the communists within months of the film's release in early 1949, rendering its storyline about a dastardly Chinese warlord even more irrelevant to current events; and it fell through a fissure in history that makes it interesting today for so precisely preserving a moment of faltering uncertainty and indecision as the tectonic plates of the United States' relations with the East began shifting in ways that still haven't settled yet.