Romance de Eva

Author Earl Derr Biggers (1884-1933) was among America's most popular writers of the 1910s and 1920s and many of his works, such as 'Seven Keys to Baldpate', were translated to stage and screen with great success. About 1919 Biggers encountered stories about Hawaii's celebrated Chang Apana (1887-1933), a police officer of Chinese heritage who was noted for his fearlessness in dealing with criminals engaged in the opium trade. Apana, who carried a whip as his weapon of choice, was more noted for courage than detective skills--but he proved the inspiration for Charlie Chan.

Between 1925 and 1932 Biggers wrote six Chan novels. HOUSE WITHOUT A KEY and THE Chinese PARROT were filmed as silents in 1926; the first sound film to feature Chan was BEHIND THAT CURTAIN. But although it is generally based on the Biggers novel, the film takes a very strange direction: instead of presenting the mystery novel that Biggers wrote, it dispenses with mystery and presents the story of a runaway wife as a melodrama pure and simple, and Chan (played here by E.L. Park) is only a cameo role tacked on at the film's finish.

The cast sports several notable actors of the era, most particularly Warner Baxter, who had a distinguished career, and it offers an early and very brief role to Boris Karloff in his pre-FRANKENSTEIN era. But the cast struggles a great deal with the new technology of sound and they read as stiff and mannered. The direction and cinematography are only serviceable, and even for an early sound film BEHIND THAT CURTAIN feels extremely slow and heavy-handed.

BEHIND THAT CURTAIN is not presently available to the home market in the form of a studio release, nor is it likely to be so at any time in the near future. Although it is generally credited as "The First Sound-Era Charlie Chan Film," it is not really a part of the series that would become so popular between 1931 and 1942. Hardcore Chan fans will want to see the film at least once, but once will be more than enough.

Gary F. Taylor, aka GFT, Amazon Reviewer

An international orientalizing romance mystery from the pen of Earl Derr Biggers, author of the Charlie Chan mysteries. Chan is not really in this movie, except indirectly—instead there is a British-explorers-in-the-East theme, India and Persia and Tehran and pith helmets. Eve Mannering (Lois Moran) has married the wrong man, Durand (Philip Strange), who is a bounder and who has killed an agent, Hillary Galt, to prevent Eve's uncle from finding out. A watchman, blackmailing him, writes to Eve in India, and she confronts her husband, who hurts her and acts threatening, so she disappears into the desert with dashing, dependable Col Beetham (Warner Baxter) who has been longing for her all his life. Meanwhile, the urbane Scotland Yard detective Sir Frederick Bruce (Gilbert Emery) pursues the mystery with a clue provided by Chan, and the story winds up in San Francisco will all wrinkles ironed out. A very early sound movie, this one is marred not so much by the spotty sound recording as by the stagy acting style: thrilling and plummy tones ("ohhhhhhhhh Erik!") from Moran and Baxter. She's sometimes quite winsome, and Boris Karloff has a tiny part as Beetham's oriental servant. Later films focus on Chan, but not this one. Interesting use of title phrase, first to indicate why explorers explore, and then to preface Beetham's film-illustrated lecture at the denouement.

As others have noted, this film is very dull. This is largely due to the extremely slow delivery of actor Gilbert Emery, who plays Sir Frederic Bruce of Scotland Yard. You can almost sense the impatience of the other actors whenever he's onscreen. If you're only curious about Charlie Chan, skip to the last 10 or 15 minutes.

According to THE FILMS OF BORIS KARLOFF, by Richard Bojarski, this was released in both sound and silent versions (a common practice during the early years of sound films). It would be interesting to see if the silent version, running at a faster film speed, is less dull.

The first half of "Behind That Curtain" is a excellent example of the drawbacks of early talkies. Except for Warner Baxter, all the actors indulge in over-enunciation to the extent that they often sound as if English is not their first language. The camera is nailed down in one long interior scene after another with the occasional mike boom shadow crossing faces. The second half, however, is a strong improvement. The lead actress learns how to properly emote and there are a number of excellent exteriors in the desert and in downtown San Francisco of 1929. Also livening events in the last half are cameo appearances by Boris Karloff and the character Charlie Chan, both in their first talkie appearances. Chan is played for once by an actual Asian person and Karloff has a good scene where he has to pretend to be mute, giving a glimpse of his later masterful work as Frankenstein' monster. He is also given the horrible line, "the desert gives and the desert takes away" but imparts a wonderful sense of mystery to it.

This is a globe-hopping film that begins in England, then moves to India, Iran and finally San Francisco. The story involves a sociopathic murderer who kills someone and then marries a nice girl. Once married, he treats her like dirt and cheats on her. She puts up with it until she discovers that he was a murderer. Then most of the film consists of her trying desperately to avoid him as well as scandal if the secret were be revealed.

This is the earliest Charlie Chan film known to be in existence and it is absolutely nothing like the later films--nothing. Apart from the name "Charlie Chan", there is no similarities to the later exceptional series.

Back in 1929, films were often a bit stilted and overly melodramatic. Because the studios weren't used to using sound, the actors tended to remain very stationary (due to poor sound equipment) and the dialog sounded more like plays than movies. I accept this and tend to rate these early talkies with this in mind. However, even keeping this in mind, BEHIND THAT CURTAIN is still a dreadful film--even for 1929. The main problem is not how constricted the actors were due to the sound equipment but how gosh-darn awful the dialog was. In fact, I would have to say that the love scene in the desert might just be the absolute worst love scene I have ever seen and heard--it was THAT overly melodramatic and stagy as well as laughable. I truly believe that most high school actors could do a better job today.

In addition to horrible dialog, the movie suffered from being way too slow--and the first half in particular crawled at a snail's pace. Later, despite the horrid dialog and acting the film did pick up a bit--but certainly not enough to make it even passable entertainment! I think the biggest problem is that the film clearly shows those involved with the movie weren't used to talking pictures. However, my complaints weren't just about the wretched dialog and pacing, but also the acting and direction. For example, the film starred Warner Baxter who was an exceptional actor. He was famous not just during the silent era but in sound pictures like the Crime Doctor series and such excellent films as PRISONER OF SHARK ISLAND and KIDNAPPED. I loved how he played such realistic and likable "everyman" characters, but here in BEHIND THAT CURTAIN he was a simpering idiot who overdid the love scenes--making him one of the biggest liabilities in the film. The female lead, Lois Moran was perhaps even worse. The only actor who came off well (very well, actually), was Gilbert Emery as the Scotland Yard inspector.

One reviewer pointed out that the only good element was the cinematography, though I would differ. While it was exceptional seeing the sound outdoor shots of the caravan (for 1929 getting this right was VERY tough), all too often the camera was static. At one point it was even laughable, as the scene began with just the tops of the characters' heads showing--like the camera should have been several feet lower. This was because the couple were about to stand and instead of moving the camera or using a cut, they just left the camera on and created a very awkward and sloppy scene.

Now as for Charlie Chan, he was only a bit player who appeared in a very limited capacity in the last 12 minutes of the movie. Surprisingly, he was actually played by an Asian--something you'd never see in the 30s-50s. However, this isn't all positive as E.L. Park had the charisma and charm of a bag of lint. They simply gave this actor nothing to do--making him just a glorified errand boy for Emery. Also, Chan oddly was NOT a Hawaiian-based detective--instead serving in Chinatown in San Francisco. Also, Mr. Park didn't look as Chinese as Warner Oland (who was a Swede)--looking more like a native Hawaiian (though with a Korean name). Chan was supposed to be a Hawaiian but of Chinese descent. Because of these inconsistencies and a thankless part, the "Chanophiles" out there will no doubt find all this very disappointing.

In conclusion, the plot wasn't bad but due to horrid acting, dialog and direction this is one supposedly lost film that might just as well as have remained lost!

Also, in a small role is Boris Karloff. While it's not a huge role, this excellent actor acquitted himself well in the role of a devoted servant. It was nice to see him in a pre-Frankenstein role.