Chu Chin Chow

This one works in all departments – a 1930's British film of a British stage musical that ran from 1916 to 1920 – the sheer artistry involved in this production disguised the staidly primitive techniques. And the production is breathtaking at times – it shows just what can be achieved with a little money but plenty of intelligence. George Robey, three decades past his Prime Minister Of Mirth heyday was perfect in the main role of Ali Baba. Just in case you ever wonder: even when young he never had a singing voice, it was his down to Earth silliness playing with words that endeared him to British Music Hall audiences.

It's the story of Ali Baba and the Forty Thieves and his sudden rise to wealth and power, from the finding of their cave and robbing the robbers of their treasures. The magnificent Chu Chin Chow of the title and his coterie travelling to Baghdad are reduced to dust in double quick time, leading to the imposture by Abu Hasan and his Thieves at the court of Kasim Baba. The sets are astounding, probably gossamer but believable. Fritz Kortner as Head Thief is suitably savage, and Anna May Wong (again playing the treacherous insider, as in Fairbanks' Thief Of Bagdad) as his … slave is in a difficult position for the entire film. Along the way are some lovely songs: The Cobblers Song, the incredibly romantic Corraline (sung in the sparkling "moonlight" to every camera angle imaginable), I Love Thee So (languid and atmospheric photography) but especially the gorgeous Any Time's Kissing Time. Robey and Thelma Tuson gave it their all and succeeded in creating the most delicious idiotic/romantic 2 minutes in film history – just look at the slaves laughing in the background!

It's one of the best British films from the decade even so I don't expect UK TV to ever show it again, but it's one I trot out on video to watch every few years with no loss of enjoyment. It might have been better in Technicolor because a lot of people who might have liked it today could be put off by the black and white photography. But if you can sink into the first 10 minutes or so you'll find a little gem worth the taking.

Michael Balcon certainly pulled out all the stops for his production. Originally conceived by Oscar Ashe as a combination of Christmas pantomime and operetta, based on the success of KISMET, it had become the West End's biggest wartime hit, as soldiers on leave flocked to see it -- with the censors reading the mail to and from their girlfriends, I imagine some of them felt the closest they could come to discussing what their plans would be "Get some tickets for the show and a hotel room since it will be too late to return home after. Bert said he and his girl had a great time."

In any case, the show not only played for over 2,000 performances, it toured for decades. The movie had to compete with that, so director Walter Forde had enormous sets built. Cinematographer Mutz Greenbaum keeps his camera moving constantly, and a great cast, including George Robey as Ali Baba, Fritz Kortner, Anna May Wong, Francis L. Sullivan, and Frank Cochrane reprising his role of "the Cobbler" from the original stage show, keep things hopping.

There are lots of complaints about British musicals, but considering MGM was about to enter on a series of stolid and very successful operettas starring Jeanette MacDonald and Nelson Eddy the following year, this lively example of the genre is a lot of fun.

CHU CHIN CHOW (1934) is one of the best films from Anna May Wong's British period. Disappointed that her career had been stuck in a succession of oriental vamp roles, she went to Europe and accepted an invitation from E. A. Dupont (director of VARIETY with Emil Jannings) to do PICCADILLY.

First filmed in 1925 with Betty Blythe, CHU CHIN CHOW is the Arabian Nights story of Ali Baba And The Forty Thieves, with musical numbers as you might expect to see them in a British music hall of the era---------including some pre-Busby Berkeley choreography. It was London's longest running musical and is given an elaborate screen adaptation. The production boasts sumptuous sets and lush cinematography, meant to suggest the Western view of the mysterious orient, and has a lavishness usually missing from the films of depression era Britain. The choreography, while interesting as a record of the time period, gave Busby Berkeley few sleepless nights.

An international cast, with wildly varying accents, lent CHU CHIN CHOW an odd otherworldly flavor, which fit nicely with the Arabian Nights fantasy. Besides the very beautiful and American Anna May Wong, the role of Ali Baba is played by comedian George Robey, known in Great Britain as "the Prime Minister of Mirth."

Austrian born Fritz Kortner brought a malicious enthusiasm to the role of Abu Hassan, the bandit chief. Kortner plays the part with his usual over-the-top expressionist style-------almost as if he were a very wicked little boy----------cruel and murderous one moment, cuddly and boyish the next. It was only in his American films that he approached a role with anything like restraint. He had been something of a popular curiosity in Europe for staging "eccentric" versions of Shakespeare. His right hand man in the film is Dennis Hoey, best known to American audiences as the baffled and long-suffering Inspector Lestrade opposite Basil Rathbone's Sherlock Holmes.

Pearl Argyle, one of the most beautiful leading ladies in British films, has the romantic lead of Marjanah, but is best known for her appearance as Katherine Cabal opposite Raymond Massey in THINGS TO COME. The part of Abdullah, the singer with the very low voice, is the famous Mr. Jetsam (Malcolm McEachern), the deeper half of the popular singing duo of Flotsam and Jetsam.

Most amusing of all, though, is Francis L. Sullivan, who specialized in comically pompous and officious types, playing the Caliph toward the end of the film. The famous story told about him is from the early days when British television was still live. He was reputedly playing a passenger on a plane in flight, but had evidently forgotten his lines. On camera, he blithely ad-libbed to the passenger next to him, "Excuse me, this is my stop" and left the set. But whatever his eccentricities, he and his broad girth gave an immensely enjoyable performance in one of the most fondly remembered British films of the 30's.

Jay F.

Think of Michael Powell/the Korda brothers' Thief of Bagdad but better, even! An Arabian nights adventure but no stops for spectacle, rather a seamless story and an unrestrained telling almost unprecedented in British film. The sets are wonderful, there are songs popping up in the least expected places, the direction has a verve rarely seen elsewhere in British film and the story is adapted with guts and no fear that restraint (any) must be employed, as it usually is, it seems neccesarily, in British film. It's a film which goes all the way in all departments, astonishing for any age let alone for 1934, just a year after Korda's Private Lives of Henry VIII had opened things up a bit for Britfilm.

This movie is adapted from the incredibly popular British musical stage show that had over two thousand performance on the London stage. It's based on the Ali Baba and Forty Thieves story. The sets are lavish and highly stylized and a large number of extras are used - the production values in this movie are stunning. The uncut 102 minute version is available from VCI Entertainment - it's a very good print. For me, the major reasons for seeing this film are that it is of such historical importance and that it features Anna May Wong. It was nice seeing her in such a prestigious film. That said, some of the acting was overdone and not really suitable for film, although undoubtedly fine for the stage. It's purely a matter of taste but I didn't find the story interesting or the music memorable or enjoyable. I think the movie is too long and slow going. I probably should have watched the 78 minute version - which VCI includes with the uncut version set.