Dangerous Money

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.

Charlie Chan (Sidney Toler) investigates when a treasury agent is murdered aboard an ocean liner. Penultimate Toler Chan film has some pros & cons. The pros: Jimmy Chan (Victor Sen Yung) is assisting his father. Jimmy breathes life into the Monogram series which, with the exception of the one movie with Frances Chan as Charlie's daughter, saw Charlie saddled with lifeless sidekick Benson Fong and bug-eyed comedian Mantan Moreland. Another pro is the decent supporting cast that includes Dick Elliott, Richard Vallin, Joseph Crehan, and pretty Gloria Warren. The cons: typically cheap Monogram production, as well as the inclusion of stereotypical comic relief Chattanooga Brown (Willie Best). This is the second and final appearance of Chattanooga in the series. Thankfully, he's overshadowed by the likable personality of Victor Sen Yung. Not a particularly strong Chan film, but helped by the presence of Jimmy.

There's a small turtle with a torch on his back in "Dangerous Money," but that's never explained.

Well, we never do find out about that turtle...

"Dangerous Money" takes place on board ship, where a treasury agent investigating the movement of counterfeit money tells Charlie (Sidney Toler) that two attempts have been made on his life.

Finally, one succeeds, thanks to a flying knife, which plays into other parts of the film as well.

Charlie investigates, with the "help" of Jimmy Chan (Victor Sen Yeung) and Chattanooga Brown (Willie Best). This time around, Charlie actually has a couple of real assignments for them. The film also features Gloria Warren as Rona Simmonds.

Jimmy and Chattanooga supply some of the humor and play off of one another well. The best is Chattanooga playing sick so that Jimmy can get the doctor's fingerprints.

Entertaining.

Charlie is on board a cruise ship. While there he is approached by a government agent. He represents the Treasury Department. After confiding to Chan that there have been threats on his life, he is killed. Tommy and Chattanooga are on board as his assistants (I thought he was on vacation, but). There are several plots at work. A young couple is keeping some sort of secret. There is a blowhard who is driving everyone crazy with his invasive behavior. People are being killed with knives that are thrown with amazing accuracy. To complicate things, there is a knife thrower on board. Anyway, it's typical Chan. There is the obligatory scene where the lights are turned off and chaos ensues. The writers really couldn't let go of some obviously tired plot elements.

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.