M. Moto dans les bas-fonds

With this, I begin a seven-movie tribute to the late British film critic Leslie Halliwell (the first one I came across and who instilled in me a love for the golden age of cinema) on the 25th anniversary of his untimely passing. He had compiled two books citing 219(!) of his all-time favourites, including titles he did not even praise all that much in his assessment on the official pioneering guide! Even if hardly constituting products of outstanding merit, but certainly proving great fun to watch, he showed a particular fondness for crime/mystery franchises (such as the Mr. Moto one here, Charlie Chan, Bulldog Drummond, Sherlock Holmes and "The Thin Man") – and also threw in a couple that could only be described as "guilty pleasures" i.e. NIGHT MONSTER (1942) and HOUSE OF Dracula (1945)!

This is actually the fifth entry in the character's original eight-movie run and, though I own all of them (as well as the 1965 one-off revival. THE RETURN OF MR. MOTO), only the second I have watched so far. Coincidentally, the other one (MR. MOTO'S LAST WARNING {1939}) was also singled out for praise by Halliwell in those volumes…and, indeed, "Mr. Moto" is the only series to receive more than a single nod: make of that what you will! While there are obvious intrinsic similarities between him and that other even more popular Asian sleuth, Charlie Chan (concurrently the subject of a parallel franchise that would last much longer at the same studio – Fox), so much so that one of the Moto films i.e. MR. MOTO'S GAMBLE (1938) was originally planned as a Chan entry(!), the two detectives' modus operandi was decidedly different – since the former adopted affability and camouflage to solve any given case, whereas the latter relied on wise sayings and a little help from his brood of sons to get at the truth.

Needless to say, the look of the films and some of their credentials were similarly interchangeable – but so was the entertainment value gleaned from them: the Motos' briefer stretch ensured that this (and the plot lines) did not risk running thin, as the Chans inevitably did – especially since it saw a couple of replacements to the central role along the way! To its credit, not all these various detective thriller series featured great actors in the lead – but this surely was the case with Mr. Moto, played for nearly two straight years by Austro-Hungarian Peter Lorre in the initial stages of his Hollywood career. Though his features could hardly pass for an Oriental, Lorre's diminutive stature and soft-spoken delivery made him an ideal choice regardless: still, he is not played up as a feeble and subservient stereotype (outside of a deliberate disguise on his part) – in fact, he can effortlessly outwit or physically overcome his antagonists and show authority figures for the pompous fools they are (as amply seen in the movie under review)!

At this juncture, I cannot say which is the better effort of the two Motos I have checked out: it has been some time since my sole viewing of LAST WARNING, the sixth in the saga, via an original DVD of Public-Domain "Mystery" films (generously donated to me by an American friend of long standing) – though I would probably give the edge to it in view of supporting actors George Sanders and John Carradine and the exotic setting involved. Incidentally, why MYSTERIOUS was so called is itself a puzzle – as this is all-too-generic (witness the almost identically-titled yet wholly unrelated efforts involving the Oriental figure of Mr. Wong incarnated by fellow horror icons Bela Lugosi and Boris Karloff) and, basically, the kind of moniker by which a personage is normally introduced to audiences!

That said, it is obviously representative of the lot, with respect to narrative (already with an eye on the impending war in Europe), twists (Moto springs a hit-man - Leon Ames - out of jail to catch his gang leader!), suspense (the climax being set in a crowded art gallery, with Moto dressed up as a disgruntled Germanic artist!), characterization (for the best part of the film, Moto poses as the hit-man's meek butler, bullied by racist bar patrons, in order to expose his opponents!), romance (Moto's own relationship with an Asian colleague working undercover is interesting – countering the obligatory one between the second leads - including Henry Wilcoxon) and comedy relief (supplied by Erik Rhodes, formerly the "other man" of many an Astaire/Rogers musical). In fact, the whole atmosphere (even more so here in view of the London backdrop and looking particularly nice in this DVD-sourced transfer) is – delightfully – not too far off the early Hitchcock mark.

The Moto films were 'cheaps', made quickly and inexpensively, and also rather short to pack in with other films for a cinema experience packed with a variety of films in a string. Where most other films of the time have either risen to heights through brilliance or, as most have done, fallen from interest completely due to mediocre or lackluster efforts, the Moto films have found quite an enthusiastic audience that still thrills to the honest, entertaining portrayal of an exotic crime fighter.

Mysterious Mr. Moto is the first film in the series where the crew seems to have 'gotten it together'. The acting, acing, story, and film work were all quite a notch above the previous three. Though the stories are always rather linear they keep an audience by balancing thrills, violence, mystery, character and mild romance.

The criticism of racism is odd. Lorre plays the character slightly off Japanese, his accent being obviously Germanic, but his mannerisms are keen. Moto is an American schooled Japanese, which was very typical in those days, and it gives him an obvious bridge in understanding western culture. It is a pity they didn't find more Asians to fill key roles in these films, but generally the American actors used were quite good despite looking too Caucasian. I can forgive authenticity for acting ability, especially in the days when there were few stories written for Asians.

Moto always comes off as a powerhouse. He's an admirable figure for anyone undersized in a brutal world. Kids must have loved Moto in the day as he proved someone tiny could trash giant brutes with guns and ham hock fists. He's a great roll model for more than just Asians or Japanese, he's a hero for everyone. These films are fun, matinée film that portrayed the shrinking world with a metropolitan and international flavor. I think they are admirable. Lorre proved himself adept beyond any doubt with these movies. They are a credit to the entire crew.

In the late 1930s, eight Mr. Moto films were made of varying styles. In some (the best ones if you ask me), Moto was a rather amoral character and often killed bad guys instead of arresting them. In the lesser films, Moto was almost like a clone of Charlie Chan--very sedentary and the sort of guy who wouldn't hurt a fly. Well, this one is of the former type where Moto is a good guy but is more than willing to rub out his enemies to save the government the trouble of prosecuting them! What a guy, that Moto!

The film begins with Moto escaping with a prisoner from Devil's Island (Leon Ames). It seems that Moto is so intent on infiltrating a gang of international assassins that he went to a heck of a lot of trouble to get himself locked up, befriending one of the founding members of the group and then helping him escape! Back in London, Moto pretends to be an ignorant and VERY stereotypical Japanese houseboy for Ames. Many, I'm sure, will be annoyed or shocked with Peter Lorre's performance in this dual role, as the houseboy (and escaped prisoner) is 100% stereotype--complete with phrases such as "so solly"! Uggh. Well, while I don't condone this, this was the 1930s and have learned to ignore these scenes--otherwise all the Moto films will make you go crazy!

Moto's job is not just to discover who's the head of this mob and capture the entire gang, but he must also somehow protect a Czechoslovakian guy who is really, really stupid. First, he sounded about as Czechoslovakian as Winston Churchill. Second, he never takes the assassins' threats very seriously--even when they showed they really meant business. Even after they kill one of his friends right after they promise to demonstrate their power, this idiot insists he needs no help from Moto or the police!! Can anyone be that stupid? Apparently, in a B-film the answer is "yes".

So far, this film is about average for a Moto film. However, towards the end it really picks up its pace and delivers a very shocking finale that only Moto could engineer. See it for yourself and see what I mean. Oh, that Moto!

Overall, a bit better than average for the series despite having a really dumb character (if I were Moto, I would have let him die) and Lorre's rather obnoxious impersonation of a brain-dead Japanese servant.

A well-conceived story in the Moto series with Lorre escaping from Devil's Island with a British gangster and then parading as his houseboy/servant. Lorre never gets enough credit for his skill as an actor as he gives us two performances as a Japanese, one as Mr. Moto and one as the houseboy as played by Mr. Moto. Both portrayals are markedly different and his Ito performance does suggest a lot of racism that was going on at the time to the Japanese. Watch the film for the mystery involved, Lorre's great performance, and bear in mind the context of the times when the film was made. The scene with Lorre and some pub roughs is a gem as is the finale scene in an art museum. For all the press that goes out about the inherent racism in these films, few ever talk about the fact that Mr. Moto is a cultured, intelligent man who always bests his adversaries in whatever endeavor they partake of.

One of the weakest gimmicks in the Sol Wurtzel-Peter Lorre Moto series was Moto's occasional attempts to lurk about in disguise a la Sherlock Holmes. It's surprising therefore that one of the most successful (and dramatically strongest) films in the series featured Moto doing an extended undercover operation as "Ito," the pidgen-English-speaking Japanese houseboy of a British gangster. The scenes in which Ito/Moto is treated with condescending contempt by his employer and roughed up by Cockney barflies are clearly intended to stimulate the audiences' outrage against their stupidly bigoted treatment of "his kind"--racism here being portrayed as a specifically British tendency, in stark contrast to the friendly respect with which Mr. Moto is treated by American characters. Considering that the Moto series itself has been labeled racist--the assumption being that casting the "ugly" Jew Lorre as a Japanese was an insult to Asians, never mind the way the character was actually treated in the films--it may be time to take a more objective second look.