Think Fast, Mr. Moto

... loosely based on the books by John Marquand, from 20th Century Fox and director Norman Foster. After a series of murders occurs in San Francisco, the mysterious Mr. Moto (Peter Lorre) boards a cruise ship to China, where he befriends Bob Hitchings (Thomas Beck), the son of the owner of the cruise line. Bob has fallen for a moody passenger named Gloria (Virginia Field). Once they make landfall in China, things get dangerous for them all.

This initial outing in the series is different in at least one respect: Mr. Moto's motives and allegiances are kept a mystery for most of the picture. In fact, he's even presented as a possible suspect, or at least in league with the villains. Despite it being another regrettable instance of casting, Peter Lorre is outstanding as Moto, charming, funny, mischievous, and just a little creepy. His performance elevates what would have been just another routine mystery programmer of the day.

I love these Moto flicks. I'll tell you that right out of the gate, and the history of these low budget detective films is almost more interesting then the films themselves. First of all, Peter Lorre was one of the most underrated actors in cinema history. In fact, those who knew him thought he would have been a psychiatrist had he not been an actor, which tells me he studied people and learned a lot about how a little goes a long way in a portrayal. The director reportedly wanted character actor J. Edward Bromberg to play the lead but the studio gave him this Hungarian Jew just out of Hitler's Germany to play the part, which made the director go berserk. He needn't have worried.

Forget the fact that Lorre was in such poor health in those days after starving in Europe for most of his adult life and had to have a stuntman do his jiu-jitsu scenes for him. (Harvey Parry was his name. Another underrated genius in cinema history who did stunts for everyone from Douglas Fairbanks Sr. to Buster Keaton and Harold Lloyd) Lorre is just terrific and with almost no make-up, he is damned convincing as a Japanese detective.

A short side note here. Please pretend that there was never a 1960s Moto movie with Henry Silva. The eight 20th Century Fox Motos are to be treasured. It's only a shame that World War II stopped the series for good.

As for J. Edward Bromberg, he even acted in one of the Moto films as a Rajah in Thailand (which acerbic yet clever critic referred to as "Indoors China") before he was hurt by the blacklist and died a sad and broken man, who unintentionally hurt the career of actress Lee Grant when she attended his funeral and was herself blacklisted until the movie "In The Heat Of The Night."

Watching Peter Lorre in any film is always a delight and the Motos never disappoint for pure entertainment value.

The shame of the Japanese-American concentration camps has cast a shadow over the Mr. Moto series, giving it a sorry reputation as an artifact of Hollywood racism. The truth is that as far as European-in-yellowface portrayals of Asians went, Peter Lorre's Moto was far less racist and considerably more sympathetic than the clownish, epigram-spouting Charlie Chan. In fact, it's easy to forget Moto's Japaneseness altogether and just view him as yet another wondrous manifestation of the white-linen-suited, Austrian-accented Lorreness so prevalent between the wars in films like "Strange Cargo," "Island of Doomed Men," und so wieter. Audiences certainly took to the little fellow in this first entry in the series, which introduces Moto in all his enigmatic glory--the bemused, politely ironical man of action with his love of kittycats, preference for cow's milk over whiskey, and disdainful conviction that beautiful women only confuse a man. Though Lorre reportedly had no idea what the whole thing was supposed to mean and spent his time offstage disconsolately listening to his archenemy Hitler on the radio, the eight Moto films established him as one of Hollywood's most beloved personalities and gave millions of small men who wore glasses the hope that they, too, could be strong and adorable.

This was the first of the eight Mr. Moto movies but not necessarily the best of the early group, although not bad. I thought the second and third ones were the best of the first grouping of four. This got bogged down a little too much early on with Thomas Beck's infatuation with Virginia Field ("Gloria Danton"). In subsequent Moto movies, the romance angle was lesser and Moto featured more, which is better. However, some of the sappy guy's lust for his girl turns out to tie in with the head crook, so all is not lost in having to sit through the dull romance spots. (Dull because the dialog was affected, especially Beck's as "Bob Hitchings," the son of the shipping magnate and the man pursuing Gloria.

When the script featured the crime angle (smuggling), as in the beginning and in the last 25 minutes, it's interesting and gets involving. The long break in the middle of the film makes it easy for the viewer to lose track what exactly is going on here: who is smuggling what. We have to piece things together again when the action re-gains in the last third of the film. There is an interesting twist near the end and we hear Mr. Moto sum everything up a la Charlie Chan.

The exotic setting is Shanghai and viewers can enjoy the hectic sets with lots of people running to and fro; obnoxious British and Americans making racist statements to the locals, treating them as insignificant young kids and, of course, all the Asians played by the Anglos. That was part of '30s Hollywood, and you just accept it.

The last 40 percent of this movie makes up for any shortcomings and makes the viewing worthwhile. Mr. Moto is definitely one cool guy, who seems to have it all - except height. Peter Lorre was just great playing this role and I hope I get the opportunity to see all eight feature films in the series. I always enjoy his disguises, too, even though they don't fool us for a minute!

On a freighter going from San Francisco to Shanghai, Mr. Moto (Peter Lorre) solves mysteries caused by a gang of smugglers. First of the series.

Director Norman Foster was given this B-movie assignment, but it is probably better remembered today than many of the A pictures that came out at the time. With Peter Lorre, a strong (if under-appreciated) actor taking the lead, this was guaranteed to be something special.

Say what you will about the racism, sexism, or anything else of this nature. Such things have to be overlooked sometimes, and this is one of those times. The film is just too clever to be faulted.