No Umbral da China

On this evidence, Fuller is a strident and uncompromising anti-Communist anti-racist. You heard me. This is a late-50s movie about 'Indochina' - a little ahead of the curve there! - which takes the USA to task for not leaping right in there with their French pals; the enemy has Stalin all over the wall of their lookout posts. So it's more than a little silly, to put it nicely. But given this, the racial issues it confronts are above and beyond the call of duty - the espionage tour our heroes embark on is really an opportunity for dynamite expert Gene Barry to smarten up after abandoning his distinctly Asian-featured kid from his liaison with half-white Lucky Legs (Angie Dickinson). Along the way there are exciting scenes, surprisingly well-modulated performances, and a budget-conscious stylistic trick I've never seen before: shot almost entirely in wide master shot, Fuller constantly pans-and-scans the black-and-white Scope image to approximate camera movement. Here's a guy who's smart enough to know that grainy (not to mention silly) won't matter if the damn thing MOVES.

Angie Dickinson is reputed to have said "I was often a lead actress, but never the lead." Even an idiot will see her to be the lead actor and character in China Gate. She has a better role than Gene Barry by a mile.

I can't claim to have seen a lot of Samuel Fuller directed films--but this is the best I have seen of his to date. The shots with the child at the beginning and the end are very well made. The film may not easily be recognized as a family film but it is essentially one. Is it the only role where Dickinson is on screen as a brunette? Probably so.

The power of Fuller's writing is evident is these lines "Everbody doesn't carry their lives in the face" and "You are tough enough to handle explosives but not handle life."

This is the best rounded performance of two actors--Lee Van Cleef and singer Nat "King" Cole, who actually sings the title song.

As any historian will tell you, France ruled over Indochina - comprising three territories known today as Laos, Cambodia and Vietnam - until its military defeat at Dien Bien Phu in 1954, causing the Ho Chi Mihn-led communists to expand from the northern part of Vietnam, Hanoi as capital, to take the southern part, with Saigon the capital.

Samuel Fuller built up a reputation as writer of such staple screenplays as THE STEEL HELMET, SHOCKPROOF, HELL AND HIGH WATER, and director of his acknowledged masterpiece, PICKUP ON SOUTH STREET (1953).

CHINA GATE (1957) does not rate as highly as any of those efforts, but it provides a most interesting insight into the last days of French rule over Indochina and the circumstances that led to the United States deploying forces in southern Vietnam to prevent it falling under the communist sphere.

The screenplay suffers from unevenness but generally holds your attention by depicting the perils of a war against a determined enemy, and, especially, by curvaceous Angie Dickinson, one of the most beautiful women ever to grace the screen and soon to become closely connected with Frank Sinatra, Peter Lawford and President John F Kennedy. In this film, she plays the half-breed who has had a child by Gene Barry and wants that child to become a US citizen, and to that end she is willing to make all sacrifices.

Gene Barry leaves something to be desired. He is not a bad actor, he looks the part of a soldier, but somehow he looks short-changed throughout. Unexpectedly to me, because the only other part I saw him in was in CAT BALLOU singing the film's theme ballad, the famous crooner Nat King Cole delivers a far more convincing performance as a fellow soldier.

Highly competent B&W cinematography by Joseph Biroc.

Warrants watching, especially if you are interested in what led to the USA's decision to deploy military forces in Nam. In my humble view, THE DEER HUNTER and APOCALIPSE NOW are the masterpieces that reflect best the consequences of that ill-fated move. 7/10.

Sam Fuller's worst war film is worth watching-or at least scanning-for several reasons. The most obvious is the bizarre casting. Then there is the unpersuasive attempt to recreate Vietnam on a studio backlot,which would be duplicated with not much more success years later by Stanley Kubrick in Full Metal Jacket(1987). Finally,both the screw loose plotting and the rabid Red-baiting have become unintentionally comic with the passage of time. This was in fact Sam Fuller's first-ever film for a major Hollywood studio(Twentieth Century-Fox)and his first to be presented in full widescreen Cinemascope.

A voice-over introduction sets a hyperbolic tone: "With the end of the Korean War,France was left alone to hold the hottest front in the world and became the barrier between Communism and the rape of Asia." Moments later,we learn that because the dirty Reds have put the Vietnamese town of Sun Toy under siege,a little boy's(Warren Hsieh)pet puppy is about to be eaten! Presumably because 1957,American audiences did not know much about the country or the war,Fuller spends most of the first act spinning out a fanciful interpretation of the situation,blaming many of the country's problems on the Chinese Communists and their massive underground ammunition bunker at China Gate. The French Legionaires decide it to blow it up,and call in explosives expert Sgt. Brock(Gene Barry). The only person who can lead them from Sun Toy to China Gate is Lucky Legs(Angie Dickinson in one of her first major roles),who is allegedly half-Chinese. She's also Brock's ex,and if that weren't enough,the kid with the puppy is their son! That's doubly hard to believe because the stars generate all the sexual chemistry of two wet paper towels. Not to mention in 1957,white actors or actresses were playing roles of minorities,whether Latino or Asian or Arabian were stereotypical then.

After that's been established,the already pokey action stops cold for Goldie(Nat "King" Cole) to not only demonstrate his acting abilities but also sings the theme song. Then off they go,with a half dozen or so more Legionaires and a couple of boxes of highly explosive detonators. At every opportunity.one or more of these guys bears his tortured soul,and as they get closer to the Chicorns,it becomes apparent that our girl Lucky has been a sort of one-woman welcoming committee whose mission is to boost morale in every way that she can. All the guys know her because she makes regular visits to the Chinese to deliver cognac and sex,even though her main squeeze is the commander of China Gate,Maj. Cham(Lee Van Cleef),yet another half-Chinese who is in line for a promotion to Moscow.

With only a few exceptions,the combat scenes are as phony as the rest. They were filmed on cheap-looking sets with little originality or energy. Nothing on screen comes as close to Fuller's better work in "The Steel Helmet",and "The Big Red One". Still,"China Gate" is instructive. It's a perfect example of Hollywood's attempt to turn every post-war conflict into another World War II. When the film does try to draw any distinctions,it still reduces the action to good guys versus bad guys. If a few Americans will just go over there and blow up stuff and shoot some guys,those benighted foreigners will see the error of their ways and everything will straighten itself out. That's a bit of oversimplification,but given the loopy politics of China Gate,it's not too far off the mark. It misses it.

The film contains beautiful war scenery with buildings and parts of streets completely destroyed. The other part of the sets are jungle sets built in a studio where the film will take place at night.

The interest of the film is to show the war in Indochina led by the French. It is about a French army commando with an American who will try to destroy an arms depot to avoid that the French parts of Indochina are bombed by the communists.

This pretext allows Samuel Fuller to build an effective war film, but also to talk about subjects such as racism and psychological problems related to war.

Samuel Fuller does not show heroes, because none of the characters are heroes, except perhaps Angie Dickinson who plays an Indochinese woman who has had a child with an American. She helps the commando to get through the jungle to the communist village that houses the weapons.

One of the curiosities of the film is Lee Van Cleef in a very short role who plays the communist leader of the Indochinese. Curiosity, because it is a character with dialogues (his filmography has often used him in roles with few words).

Otherwise, the Samuel Fuller system works well: a mix of studio shots, real set shots, documentary stock shots, edited together; or else, the dialogues are ampouled at times, but they are effective. And a rather effective direction of actor who makes that each of the characters has its function. The whole thing works quite well and remains captivating until the end. Obviously one of the messages of the film is also to show the horror, the stupidity and the absurdity of war.

That is to say that we are not in the subtlety, the messages of Samuel Fuller are well inserted in a very insistent way so that the spectator captures them well.

All in all, the film remains very interesting, because there are very few films about French soldiers during the Indochina war!