darryn.mcatee

full of usual mgm production values: magnificent sets, costumes. locations within the mandarin's palace are often framed within archways or over walls to emphasise its other-worldliness. it indicates our access into another civilisation but also suggests that this is a world of entrapment. the love plot between East and West civilisations is not original and is told conventionally. there is also recourse to racial stereotyping typical of the era. a domestic 'coolie' is presented as an object of fun. the chinese are presented alternatively as a child civilisation (in comparison to the developed West) or else, in the figure of Mr Wu (Chaney), fiendish and despicable. a film of historical interest rather than one that will entertain.

a minor warner studio output using up its contract players. blondell and farrell spark off each other like an early version of thelma and louise as they serve witness summons on a range of male lugs: a crooner, a wrestler and a wiseguy. an interesting film for the potential it offered for female leads, a potential that hollywood has always underexploited.

Overall this film has dated and lacks depth. However it contains some good sequences. The best involves the cross-cutting between the principals as they journey toward their home after three years apart. In a shot which seems to anticipate Bergman, we see a close-up two-shot of Deborah Kerr and Glynis Johns. Kerr faces camera expressing her doubts and concerns with Glynis Johns in profile to one side. The other very good sequence is in the pub after they have agreed to divorce, a scene treated with a sensitive touch. Deborah Kerr adds complexity to her role. Glynis Johns is excellent as an independent-minded female, a role model situated half-way between old-fashioned suffrage and post-war feminism. Unfortunately, the implications for gender roles in a post-war Britain are cast aside in favour of a romantic resolution.