The Face of Fu Manchu

In the light of its considerable reputation, this is a big disappointment. It's the old tale of Fu Manchu, the Yellow Peril, trying to take over the world. The racism of this is so self-evident it's probably not worth mentioning, although the blazing red whenever the Chinese are around, and the worker-like garb of Manchu's henchmen, suggest some sort of allegory of Communism - or is this story of a megalomaniacal, world-domination-lusting, Chinaman a parody of such portentousness?

I really wanted to like this film, but there's so much wrong with it. It's been called a spoof, but if so, the joke's on me. The 1920s setting is somewhat rudimentary - a few contemporary cars and hats in what looks like a very 1960s London (although the reviewer below suggests it is in fact Dublin). Far from camp, the plot is played so straight as to be unenjoyable. Every absurdity and implausibility, rather than hurtling us into the giddy realms of fantasy, rather lumbers us in a plot of cliched hackery.

The acting is abysmal - I've never gotten the point of Christopher Lee (he never had Peter Cushing's middle-aged anguish), although his plummy English tones in the supposed role of a fiendish Chinaman, offers some amusement, as does his daft moustache; worst of all is Nigel Green as the oaklike hero, Nayland Smith - a man so unexpressive and graceless should be funny, but here is dull, slowing down the film at every turn. Only FU Manchu's very sexy daughter, Tsai Chin, enthralls, her subservience to her father suggesting perverse depths of sado-masochism.

This is all the more frustrating in that the film has merit in abundance. The colour schemes, costumes, set-designs and compositions are frequently gorgeous, if sometimes let down by leaden direction; the afoementioned incestuous undertones in the relationship between Fu and daughter; a splendid ironising, despite the racism, of the noble West - Nayland Smith is quite clearly insane, and with his Chinese ladyservant, and death mask ornaments, seems more of a mirror image than a foil for Fu Manchu (there is also something wrong with chemists that research into a concoction that can wipe out whole peoples - there is a RIVER KWAI-like frisson in the plight of the Professor who ironically, and enthusiastically, aids his captor); there is a splendidly directed and designed car chase, reminiscent, as Tom Milne notes, of silent serials.

Best of all is the setting of this grotesque potboiler in placid England. This discrepancy gives the film an AVENGERS-like chill on occasion, especially the amazing scene where Fu Manchu first exercises his power, and wipes out an entire village - spinetingling, chilling, and much more frightening than a similar scene in GOLDFINGER.

Undoubtedly the best of the series of Fu Manchu films produced in the late 60s, well cast and well directed by Don Sharp, who commendably eschewed camp 'Boys Own' heroics to produce a gripping adventure-thriller. Christopher Lee (as one would expect) is suitably menacing and inscrutable as Fu Manchu, even though the emphasis on his hypnotic eyes is an obvious reference to his role as Dracula. The ever-reliable Nigel Green (Zulu)turns in a solid 'Holmes-ian' performance as Fu Manchu's nemesis Nayland Smith, while James Robertson Justice has a memorable cameo as an irascible museum curator.

The highpoint of the film is undoubtedly the chilling sequence set in a English village, where all the inhabitants have been killed by poisoned gas. It still sends a shiver up the spine. The first sequel, Brides of Fu Manchu, with Douglas Wilmer as Nayland Smith, is watchable, even though it is basically a retread of the first movie, but the films which followed (especially the two directed by the notorious Jess Franco)are absolutely dire.

...Death to Fu-Manchu!

And so begins this great movie! Well, maybe its not so great overall, but the opening sequence of this film rivals any other in intensity. After all, would you lay down face up for your own beheading? The fun thing about this movie is that every character, regardless of age or sex, avidly fist fights several times throughout the picture. Bottom line is... great fun to watch, just don't take it too seriously.

Hit and run independent film financier Harry Alan Towers made his bid for the big time in 1965. Spending more money than he ever had (or would) again, scouting attractive international locations, hiring respected craftsmen and actors and launching a multi-million dollar publicity campaign to promote his pet project. "The Face of Fu Manchu", the unlikely recipient of all this attention, represents a plateau to which Towers would never aspire again.

After publicly purchasing the pulp adventure novels of Sax Rohmer, Towers signed horror film icon Christopher Lee to a six-picture deal as the title menace. As director, Towers hired Don Sharp, maker of numerous elegant, effective horror films and probably the most talented director to put his name on a Towers contract. Writing the script himself under his nom de cinema Peter Welbeck, Towers ignored the plots of all the Rohmer novels and concocted his own. The film wisely retains the period setting of early-twentieth century London (which required shooting in Dublin, for the sake of authenticity), but alters the deductive tone of the books in favor of action sequences in the style of the James Bond films, which were then in their first flush of international success.

The finished film is beautiful to see, filmed in technicolor and cinemascope, it truly looks more expensive than it is. Encouraged, Towers launched an expensive international publicity campaign whose most notable stunt was wallpapering election-year New York City with oversized "Fu Manchu For Mayor" posters

In the end, "Face" failed to return enough money to justify the huge outlay spent in making and promoting it. The film seemed to please no one: fans of the series were outraged by the James Bondian gunplay, fights and car chases, while Bond fans were alienated by the period trappings (1920s cars just don't go that fast!). More likely, this type of film just did not have the potential to reach the mainstream audience needed to make it a success.

Although Towers continued the series, the films would steadily decline in quality, from the high point of "Face" to the home-movie calibre of the final entry, "Castle of Fu Manchu".

First outing about the terrifying exploits of the mystic Fu Manchu. Sax Rohmer's fiendish 'Yellow Peril' revived and performed straight in a beautifully designed, competently paced and genuinely exciting thriller. At the film there are adventures, action, thrills, sadism and atmospheric outdoors filmed in London and country exteriors. Produced , as usual, in medium budget by Harry Allan Towers and also written under pseudonym of Peter Breck . Christopher Lee excels in this first chapter as the evil powerful Fu Manchu , the ominous genius who doesn't give up easily, and is out to destroy world or bent on conquering it. This time has designed a fantastic scheme , he returns with a plot to contaminate the River Thames with a powerful toxin extracted from Tibetan poppies. Along the way, abducted people and beautiful girls are tortured by Fumanchu and his nasty daughter (T Sai Chin) . Inspector Nayland Smith (an excelently imperturbable Nigel Green) of Scotland Yard is his perennial adversary and arch-nemesis , he takes the center of attention when undergoes the dangerous mission. Nayland Smith is assigned the case along with his assistant Dr. Petrie (Howard Marion Crawford) and helped by Carl Jannsen (Joachim Fuchsberger), all of them go into the action . The most evil man the world has ever known! Fiendish! Fantastic! Frightening! The sinister minister of fear is here! Who dares look into The Face of Fu Manchu?. Obey Fu Manchu... or every living thing will die!

This is a bizarre blending of thriller, suspense, action , intrigue and fantastic adventure . This exciting, diverting picture is full of Chinese killers, British adventurers , abducted scientist and megalomaniac villains . Christopher Lee with his usual stoic acting as Fu displays efficiently his abilities and killing mercilessly people. Fine 1920s atmosphere with good sets and old vehicles. Chinoiserie sets are notable, even better are the locations, so carefully chosen for their twenties' period, like the great chase with rattletrap cars speeding along cobbled alleys while the pilot of a pursuing aeroplane leans, entrancingly, over the side to drop his squat, fin-tailed bombs by hand. Good performance by Nigel Green as Nyland Smith who in subsequent episodes was interpreted by Douglas Wilmer, and, Richard Greene, as always supported by Dr. Petri from ministry of Interior played by Howard Marion Crawford. The villain T Sai Chin stands out as Fu Manchu's daughter. International and cosmopolitan support cast formed by European actors from diverse countries, such as: Joachim Fuchsberger, James Robertson Justice, Tsai Chin , Ric Young, Walter Rilla and gorgeous Karin Dor who was the wife of producer Harry Allan Towers.

Fu Manchu-Christopher Lee series usually set in London and loosely based on Sax Rohmer's characters were the following: The best installments were ¨Face of Fu Manchu (1965, Don Sharp)¨, and ¨Brides of Fu Manchu ( 1966, Don Sharp)¨, the latter not as nice as ¨Face of Fumanchu¨-also by Don Sharp- but is still amusing and entertaining. And followed by the very inferior sequels: ¨Vengeance of Fu Manchu (1967 by Jeremy Summers ) and most critics felt the outing ¨Blood of Fumanchu¨ was one of the weakest entries along with ¨The castle of Fu Manchu¨, both of them directed by Jess Frank with similar casting , plenty of stock-shots and a Z-series style. Rating The Face of Fu Manchu (1965) : 6/10, acceptable. A witty, fun, stylish, and a treat to watch first installment.