China Doll

This appears to be a pretty low-budget movie. As such, it is very poignant -- right up there with Borzage's best. The location and matter-of-fact story of miscegenation, which must have been quite shocking for its time, remind one of Samuel Fuller (generally a far more rough and gritty director than Borzage).

Right from the beginning, it was hard to get behind Mature as the leading man in this picture. His acting felt like it was mailed in. Even his drinking scenes could have been better if he had been drunk. But he wasn't and it was very pretentious. When he was flopping around in bed, it was as if he was trying to resemble a fresh caught cat fish. He was supposed to be drunk. It was too difficult to buy in to the storyline, even though the rest of the films actors and actresses were very good and credible. At one point, it was very difficult to figure out if Matures character was supposed to be comic relief or not. It could have almost worked if he had tried to play it that way. It was really my first time watching Mature in a serious lead. I read his bio and discovered if you believe what he says, that he just did his movies as a way to play golf. But if you do, then it makes sense, and even the fine performances put in by Ward Bond and others were sacrificed.

This penultimate film from Frank Borzage, made in his mid sixties, is very much a slow moving, sad, bleak old man's film. But then again I'm a geezer myself (albeit not, I fancy, a bleak or sad one) so I can definitely relate. And, unlike the previous reviewer, I think Victor Mature is the best thing about it since his general mien is slow moving, lugubrious and hopeless and, apart from his bad attempts at playing a drunk (agree with the previous reviewer there), perfectly embodies the director's overall tone. Less good is the film's leading lady, Li Lihua, not because she is a poor actress (apparently she was the recipient of the award for best actress in Chinese language films) but because Borzage and his scenarists, Thomas Kelly and James Nablo, fail to provide her with anything beyond the submissive, saintly stereotyped Good Asian Woman role. And the stories and characters beyond Mature and Lihua are, with the partial exception of Ward Bond's chess playing priest, rather dull. I especially disliked the streotyped Cute, Precocious "I shine your shoes, GI" Asian Kid. So, let's give it a very generous B minus for being the last interesting film from a great director.

PS...I want one of those bomber jackets with the map of China on the back.

I agree that it was touching in spots, downright sad in others, but what really spoiled it for me was the fact that the leading man and lady weren't able to kiss because of the race issue. That made it seem very stilted and unbelievable. Just when did they throw out the ban on interracial kissing, anyway?

This film is reminiscent of The Good Earth in the sense that it sticks very close to actual Chinese mores and customs. Li Hua Li gives a sensitive performance as the romantic interest of Victor Mature. The movie is unexpectedly a two-hanky affair, and not just another GI Joe in Asia adventure.

The film highlights the Flying Tigers, a military unit that struck petrifying fear in the hearts of the Japanese occupation forces within China during WW 2. There is very little jingoism or gung-ho dialog, as normally associated with Hollywood productions. This is because this is not a Hollywood production, but a well-made independent film. Kudos to the producers of this film and the screenwriters who made this film unforgettable. Some might say it is a bit corny and sentimental, but those sentiments are quickly dashed after the film's plot begins to unravel. You can keep Gigi, the winner of the Best film of 1958. This film is much better.