Dangerous Money

When a murder takes place on board ship, it's a good thing that Charlie Chan is there to solve it!

It's Sidney Toler's next to last appearance as the detective, and it's a pretty good entry in the Monogram series. Victor Sen Yung is present again as #2 son, Jimmy, and his comic timing with assistant Willie Best. The cast is well filled out, with Dick Elliott, Joseph Crehan, and Gloria Warren. Toler is looking tired, and the movie is directed to have him move as little as possible. He was suffering from the cancer that would eventually kill him. Longtime cast member Mantan Moreland told him he should be in the hospital, but Toler worked on; "Manny, if I go, all these people are out of a job."

And so he soldiered on. It's good that this one is a better mystery, and the cast was up to higher standards.

I was always a big Charlie Chan fan. I saw most of them as I was growing up and I liked Sidney Toler over Warner Oland. I had never see this one before, and it must be one of the few clinkers in the Charlie Chan canon. It is a stagebound film with no exterior shots and suffers from a very weak screenplay and spotty direction. And none of the Warner Oland's were this low in quality.

Now, I understand Monogram's predicament as a Poverty Row studio and the financial problems involved, but they should have been able to find a better script writer than the one who wrote this misfire. Cast was good, and they substituted Willie Best for Mantan Moreland in the Pop-Eyed comic relief role. But the film bites off more than can be chewed and the result is a slap-dash product which tries to squeeze in too much, and results in my rating above.

Storywise, this is yet another disposable Chan story, industrialized movie-making.

There are two things of interest here.

One is how the needs of the Chan franchise ferret out peculiar corners of the American national story. In this case the US was well into the beginning of administering regions in the Pacific. This gave opportunities for new kinds of crime and the novelty of the crime was one of the attractions of the series at this point. So we have the smuggling of colonial currency, an esoteric illegality — and the use of new weapon, a "knifethrowing" pistol.

Ho hum. I suppose that will be interesting to historians. But for students of film there's a lesson here too. What do you do if your story depends on matters of race and you want to exploit that but also want to bury it? You fold it into other narrative elements of race.

For those who don't know the franchise, it was very long and successful. It stars a white guy pretending to be a Chinese master detective, the acting mostly through a halting English and a few phrases like: "a hasty man can drink tea with a fork." Incidentally, this fits in an odd place in the detective genre because we never really see any detecting, any real wisdom. The only thing we see is him setting traps with the trap revealing the hidden crook. He never figures it out directly.

Back to race. Chan's race is hidden twice. First, we have one of his sons as "assistant," a comic, bumbling idiot. This truly is racist and deliberately so. The contrast between the son (played by a real Asian) and his lack of insight and his father is amplified by the physical appearance and the obvious appearance.

And this is further folded or shadowed (an appropriate term) by the black guy. He is placed as far from the son in all dimensions as the son is from the father. He is that much more comic, and independently clueless, and also independently "ethnic." Its a vile notion to exploit by today's standards, but the method of shadowed folding is clear.

Its a device used in literature, but much more common in film because you can link so many more qualities in parallel, here all aligned to "detection" qualities. That Africanamerican's name is Chattanooga, derived probably from Jack Benny's "man" Rochester.

Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.

Ocean-going steamships and trains make great settings for 1940s mysteries. Charlie didn't have any adventures in a train, but this is the second on a ship--the third if you count the docked sailing ship in one of his outings. Toler is outstanding as always, in one of the greatest ongoing screen characterizations of an ideal film detective: clever, humane, with a sense of humor and of justice. It's his ability to make Chan so very likeable which really elevates these films, putting them, on the whole, on about the same level as the great Universal Sherlock Holmes films with Basil Rathbone and Nigel Bruce. And Toler never had the support of a truly first-rate, all-pro actor, as Rathbone had in Bruce. This movie is pure fun. Lots of action. The humor is sometimes very corny, but that's part of the charm. Highly recommended!

On board the S.S. Newcastle bound from Honolulu to Samoa, Charlie Chan is approached by a fellow passenger who reveals himself as Scott Pearson of the Treasure Department; he's on a strictly secret mission concerning 'hot' money on the islands, but there have already been two attempts made on his life and so he asks Charlie for help. Charlie suggests that the best place to observe all the other passengers is the lounge, where a party is being held for the crossing of the Equator - but the danger comes from OUTSIDE: through the blinds of a window, a knife shoots right into Pearson's back...

Together with Captain Black, Charlie goes through Pearson's secret papers, where a mysterious 'Lane' is mentioned - but who is he?? More or less EVERYBODY on board seems suspicious in some way: loud-mouthed 'cotton trader' Burke, a Swedish trader called Erickson and his Samoan wife, Rona Simonds who poses as a tourist, but there seems to be something wrong with her papers, and the ship's purser George Brace obviously covers up for her, strange ichthyologist Prof. Martin, Reverend Whipple and his ugly wife...

When they land in Samoa, things become even more complicated: we find out that Burke blackmails Rona, then that he himself also knows things he hasn't admitted - and then more knives come flying through the air... And finally, Charlie's favorite 'number two son' Jimmy and Chattanooga make a GREAT discovery!

A real treat for all fans of complicated crime movies - and a big joy for the fans of the 'Charlie Chan' series: Sen Yung (who'd been serving in the US Airforce Intelligence during the War!) is back again as Jimmy! Not that Benson Fong as 'Tommy', or the other 'members' of Charlie's large family who'd played his assistants in between, hadn't added a great lot of entertainment to the movies they'd played in; but Jimmy is - well, just Jimmy... Fresh and rash and self-confident as always, he and ever-frightened 'Chattanooga' Willie Best make an EXCELLENT duo here to lighten up the murderous plot!