A Filha do Dragão

Recently I saw Anna May Wong in Piccadilly, a stylish silent melodrama made in England in 1929. It has its flaws, but over all it struck me as quite interesting and unusual, and it did provide its fascinating star with a role she could sink her teeth into. Anna May Wong was virtually the only Chinese-American leading lady of her era, gorgeous in an unconventional way, with a magnetism rivaling that of Louise Brooks. I was eager to see more of her work, and knew that she'd made several silent films in Hollywood during the '20s and a number of talkies there in the '30s, after she'd returned from Europe.

One of Anna May's first vehicles upon her return to the U.S. was Daughter of the Dragon, which was also one of the first screen adaptations of a Fu Manchu story from Sax Rohmer's long-running series of books. Unfortunately, while Piccadilly exhibited the best technical qualities of the late silent era, including first-rate cinematography, fluid camera movement, and smooth editing, this film exhibits some of the weakest traits of early talkies: the dialog is awkward, the editing rhythm is lethargic, and the acting (with a couple of exceptions) is theatrical in the worst sense of the word. There are sporadic attempts by the director to infuse the movie with striking visuals, such as silhouettes cast on screens or quirky camera angles, but for the most part the presentation is as flat and dull as a school play. Aside from rare bursts of action we find ourselves staring at actors who strike attitudes and declaim purple prose against the harsh crackle of the soundtrack, with no background music to help smooth over the rough spots.

Anna May Wong's charisma is intact, but the material she was given to deliver in Daughter of the Dragon puts her dignity to a severe test. I never expected Political Correctness from a Fu Manchu movie, but it was nonetheless disheartening to observe the Yellow Peril stereotypes on parade here. Sinister Orientals spy on enemies through panels in the wall, and gongs are struck at key moments as Dr. Fu Manchu intones such lines as: "My flower daughter, the knife would wither your petal fingers." Fans of the Charlie Chan series might be surprised to find Warner Oland playing Fu, very much the opposite of his more benign Asian portrayals. Legendary Japanese actor Sessue Hayakawa is on hand as a Chinese detective working for Scotland Yard, thus providing a positive Asian role model to balance the villainy of the others, but even in his case it's made clear in an early scene that he's a "special worker," not an official member of the force.

Hayakawa manages to retain his dignity in the midst of this hokum, and so does Anna May Wong, but the waste of these two extraordinary actors is frustrating to witness. This movie is as silly as the toy dragon breathing fire under the opening credits, and perhaps it can be enjoyed as such, but if you care about these actors as human beings it leaves a depressing aftertaste. One last thought: what's the deal with sinister Asians spying on people through sliding panels in the wall? What's up with that? I mean, did you ever see an old movie where sinister Lithuanians, Greeks or Eskimos spy on people through sliding panels? Oh well, I guess it's just one of those inscrutable mysteries of the Hollywood Orient.

Dr. Fu Manchu (Warner Oland) terrorized London looking for undeserved revenge against the Petrie family. With his supposed death twenty years before, the terror is over. Unaware of her own origins, his daughter Princess Ling Moy (Anna May Wong) lives next to the Petries. At Scotland Yard, Sir Basil Courtney is warned by Ah Kee of the return of Fu Manchu.

There is a case of racism especially with Fu Manchu. It's a modern criticism of old Hollywood with a white actor playing a cartoon Chinese villain. At least, this does have Chinese actress Anna May Wong. She's very appealing. There is too much standing and talking for my modern tastes. For its era, this is more good than not good. The use of Asian actors as leads is commendable.

Watch this entertaining Anna May Wong vehicle and swallow hard; some of the plot devices may be tough to handle. Once you struggle to suspend your disbelief it is an easy going 70 minutes to watch the great Anna May follow in her father's (Warner Oland's) footsteps to uphold the family honor.

It is fast-paced and great fun, and at 70 minutes just long enough so that it doesn't overstay it's welcome. Those inscrutable Chinese baddies try to match wits with a Chinese detective (Sessue Hayakawa, who was Japanese) as he tries to foil their murderous plans, and are led by Anna May herself. Hollywood racism of the time prevented her from getting meatier parts, so you have to watch her and wonder what might have been. She was a beautiful and talented actress who was shortchanged. I put my star rating in the heading as the website no longer prints mine.

This Grade B film offers a rare opportunity to see the underused Anna May Wong in a lead role as a noted Chinese dancer on tour in London who also happens to be the daughter of the sinister Fu Manchu. Playing a Chinese detective is the Japanese actor Sessue Hayakawa no less. One can see why Hayakawa would have been a successful silent film actor with his elegant physical presence and one can simultaneously hear why he didn't cut the mustard in talkies - the accent is so thick that one must strain to understand him. He never improved. Even in late films such as THREE CAME HOME and THE BRIDGE ON THE RIVER KWAI the accent blunted the power of his performances to some extent. Warner Oland, the Swedish actor best known for playing Charlie Chan, is Fu Manchu. Finally, we also get a chance to see the fine actor Bramwell Fletcher in a rather substantial role as one of Fu Manchu's intended victims. He is probably best known as the archaeologist who screams so memorably well in THE MUMMY when the monster approaches him in a tomb. Otherwise, this film is just a passable crime melodrama with some colorful exotic touches of costuming and decor. Editing and continuity are noticeably clumsy. Wong makes a spectacular entrance dressed in a sparkling Chinese goddess gown with a huge Ziegfeld-style headdress. If this were a silent it would be worth watching just to look at her in an array of flattering outfits from scene to scene. Her emoting is as good as one could expect from the comic book-level material she is given. She had a beautiful, somewhat deep speaking voice similar to that of Claudette Colbert with just the slightest trace of an accent, making it all the more enchanting to the ear. Judged on its own terms, DAUGHTER OF THE DRAGON is a reasonably diverting suspense offering with some real excitement in the final reel as the bad guys fight it out with the heroes as well as a beautiful and romantic closing shot which I won't give away.

Warner Oland played the sinister Dr. Fu Manchu in a series of three pre-Code movies: The Mysterious Dr. Fu Manchu (1929), The Return of Dr. Fu Manchu (1930), and finally this one, Daughter of the Dragon (1931). It has the disadvantage that it's the sequel to the sequel, repeating the concept that Fu Manchu had actually not died in the previous film, but the advantage that it stars the lovely Anna May Wong. What a concept, an actual Asian actor in an Asian role, and a primary role at that - and not just her, but also a detective (Sessue Hayakawa). It was Wong's first talking picture, and the first time two major Asian stars appeared in the same movie.

Unfortunately, the plot is pretty contrived and the pace is creaky. Early on, Fu Manchu has a drug that allows him to both choke a person and control their mind, which is a little comical. However, after failing to complete his revenge on a wealthy family, he passes the torch to his daughter, Anna May Wong. Using secret passageways and her feminine wiles, she attempts to fulfill her promise, but things get complicated when she begins having feelings for both her target (Bramwell Fletcher) and the detective (Hayakawa).

There are some beautiful shots of Wong in the film, and mercifully the film is not blatantly racist. She oftentimes uses her character's name instead of the pronoun "I" in sentences, and where the idea an Asian person who otherwise speaks perfect English would do this is baffling. Otherwise, her character is strong, smart, and beautiful, though subject to the script's questionable character motivations, which have her swinging between love and murderous rage kind of oddly. As in other films, I'm not wild about Warner Oland in the role, but he turns in a decent enough performance. It was refreshing to see Fletcher have a romantic interest in Wong without recriminations, since miscegenation was so taboo then.

The film just squeaks by with an average rating, but I bumped it up a bit because of Wong and Hayakawa. If those actors don't appeal to you in any particular way, I'd probably advise skipping this one. If you're interested in a more entertaining and campy plot, where Fu Manchu is played by Boris Karloff and with Myrna Loy as his 'exotic' assistant, I would recommend 'The Mask of Fu Manchu' (1932), though that one does dial up the stereotypes and 'yellow fear'.