And as another tear falls with definitive purpose as Anna
May Wong shows herself at 33 years of age as a master of her emotional craft. Dangerous
to Know is a surprisingly powerful film with mature sound technique and a
very strong line-up including the indomitable Akim Tamiroff, Gail Patrick,
Lloyd Nolan and young Anthony Quinn. Anna not only holds her own but raises her
game to provide the film’s heart, soul and surprising ending. As with so much
of her work, she acts between the lines to hand over more thought and
expression than her script might define. Season curator Xin Peng said that she
had not seen the film before planning out the programme and it was not only one
of her favourites now but perhaps her subject’s best film. This season has been
a revelation for this and much more.
 |
| I have questions about the AMW brand in 1930... |
Hai-Tang aka The Flame of Love
(1930), 35mm BFI print
She: How long I wonder Boris, will we two be together,
just as we are now…?
He: Always Hai-Tang, surely it will always be so.
She: No Boris, the day will come when you and I will
go another way, it must be so…
He: Hai-Tang my dear… I’m not going to listen to you.
[Plays Beautiful Songs of Russia on the piano]
She [impressed]: You are right Boris, why think of
tomorrow?
First up was a continuation of Anna May’s European
adventure with her first major talkie, Hai-Tang aka the above title –
the third film she had made with Richard Eichberg after Song (1928) and Pavement
Butterfly (1929). It was co-directed with Walter Summers, who co-wrote the
English-language script, and filmed at Elstree Studios by British International
Pictures - another “euro-pudding” with continental ingredients all complicated
by the need to accommodate spoken languages, in this case three, German and
French as well as English as it ought to be spoken courtesy of Miss Wong’s
extraordinary facility with language and dialect.
After the critical bashing she got for her American twang
performing Circle of Chalk on the London stage, AMW invested two hundred guineas
in a voice coach according to Xin Peng and her hard work paid off in this
English version when, if anything she comes across as more fluent than her
co-star John Longden who is a bit too sonorous and microphone aware at times (I
know, in spite of the silent/talkie Blackmail…). The actress was equally diligent
learning German six hours a day initially for Song (1928) – working harder than
she ever did on childhood Chinese lessons in Los Angeles noted Professor Peng
who quoted a German review noting that many of their countrymen could do with
applying themselves as she had.
Anna plays Hai-Tang the star of a Chinese troupe of acrobats,
and of a show including singers and dancers many of whom we get to see perform
at a theatre mocked up on the giant Elstree sound stage. The setting is
pre-revolutionary Russia with Longden playing Lieutenant Boris Borissoff, Adjutant
to the Grand Duke whose troops are based in St Petersburg.
Variety dismissed the film as “just a programmer”, noting
the “poor direction” and dialogue although it appears they were reviewing the French
version which has Marcel Vibert as the Grand Duke whereas the English one has German
actor Georg H. Schnell who is suitably imposing and brutal when he needs to be.
The film is reasonably unconcerned with the issues of race except for “the
Grand-Duke’s lady”, dance hall hostess Yvette (played in English and French by the
Mexican Mona Goya who makes a good show of a French accent) who warns Boris to
think of his career when it comes to his choice of romantic partner.
Orders? What are they to me? I tell you I will not go…
we must fly… I would sooner die.
John Longden and Anna
As with all of these films though, AMW is an object of
desire even if it is forbidden in some way – and not just by the coy British
censors’ consideration of which prevents Mr Longden from connecting his lips
with those of Ms Wong at any point no matter how much they declare their love.
Forbidden love rarely is allowed to be consummated although, for the purposes
of the plot, it’s fine to let the Grand Duke lust after Hai-Tang and he forces
her to come to the Orpheum café a down-market venue hosting coarser
entertainments and notorious venue in which the Grand Duke’s men do as they
wilt.
So it is that the Grand Duke tries to take advantage of Hai-Tang
with Boris hidebound by his rank and duty, exactly as she knew would happen but
she agrees to go for the sake of his career. Who will stand up for her when the
time comes?
The story is slight but AMW acts well and there is
excellent support from Fred Schwartz (credited as Schwarz) as Birnbaum, the
long-suffering and wise-cracking Jewish piano player: a relative outsider just
like Hai-Tang and someone who is brave enough to try and set things straight
once events get out of hand. It is also fascinating to see the dancers,
jugglers and acrobats, no doubt fresh from the music halls of the west end.
Variety, the spice of life!
 |
| Gail Patrick and Akim Tamiroff |
Dangerous to Know (1938), 35mm
According to Xin Peng, directly after wrapping the above
film, Anna May Wong was offered the role in the New York production of Edgar
Wallace's hit 1930 play, On the Spot, with the writer ambushing her on
her arrival in New York docks after she had sailed over from Southampton – she
signed before she left the Port Authority recognising the opportunity to play a
leading role with agency. The producers had finally decided on the novel idea
of casting an actor of Chinese descent in the role of a character of Chinese descent
and the resulting successful run would allow her to fully develop the character
and thereby establish her stage credentials. When casting this film version
eight years later, there was only one choice.
Wallace's play had been inspired by the career of Al
Capone and featured Akim Tamiroff as Stephen Recka a gangster well on the way
to establishing himself in straight society and who is always steps ahead of
the police, press and politicians. Tamiroff has Edgar G Robinson energy and
barely blinks in this film as a man driven by a ferocious need to prove
himself, he’s the smartest man in the room and can also play Mozart better than
a professional musician on his pipe organ. Yet there are still people who
underestimate him and these include his own men, one of whom plots to replace
him as the man behind City Hall with his own puppet mayor. Recka finds out and
there’s a cold-blooded price exacted.
Steve Recka? That kind never gets into our house…
That’s why you must ask him. He’s very anxious to meet
nice people and I’m very anxious to get re-elected…
 |
| Akim Tamiroff |
The only person to understand this man is his “hostess”
Madame Lan Ying (AMW) a woman who provides the greatness underpinning Recka’s
legitimate empire someone, no matter how incredibly intelligent he is, the “businessman”
is taking for granted as he chases a position in polite society that might just
be beyond him. We see this at his birthday party where establishment money
gives him only begrudging respect he frightens them; he owns them and they do
not like him for it. Yet, he charms them and they laugh at his jokes.
All the charm of a diplomat.
Yes and ten times the general ship.
Into this walks Margaret van Case (Gail Patrick) a woman
from old money who is curious to meet Steve Recka whose reputation makes him a
bit of a thrill for the socialite. Steve is instantly smitten and a flirtation
begins much to Lan Ying’s distress, she sees a rival but deeper than that, an
over-reach that can only result in trouble. So it proves as Steve tries and
fails to woo Margaret and then, realising she loves a young bond salesman Phillip
Easton (Harvey Stephens), frames him for robbery in an attempt to force her
into marriage.
Mexican Anthony Quinn was a long-term friend of Anna's and in many of her films
It's fast-paced and there’s quick-witted support from Lloyd
Nolan as Inspector Brandon and Anthony Quinn is good too as Recka’s lieutenant
Nicky Kusnoff who along with Lan Ying, see’s Steve making mistakes as he
searches for the ultimate negation of his criminal past.
The closing section is full of surprises and everything
rests on Anna May Wong’s ability to break hearts and to bring her exquisite empathy
out from the screen and into the audience. This is a superlative performance
and certainly one of her very best. Even battle-hardened old marketing
professionals were left shaken and stirred as those tears flowed and fragile
courage also came forth. A very important stage in her acting journey!
There’s still two weeks to go of this season, details on the BFI website.
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