Westerners undone yet again by the inscrutable Chinee.
The Shanghai Gesture is a movie we were excited to see. It’s a Josef von Sternberg directed vehicle adapted from a John Colton play (though neutered due to Hays Code worries), with Gene Tierney starring alongside Victor Mature, Walter Huston, Ona Munson, and Phyllis Brooks. Von Sternberg makes almost fetishistic use of his main asset—the luscious Tierney—by showing her in such extreme close-up you’d almost think it’s her breath fogging the lens, rather than one of the diffusion filters mid-century filmmakers utilized to shoot their female stars. A few minutes after she appears, as she observes the decadent tableau inside a Shanghai casino, she pulls out this line: “The place smells evil, like a place where anything can happen.” We’d suggest that if a place smells evil, something already happened. Blame the nearest person. Or the dog. Anyway, when Tierney makes her observation we understand pretty quickly that it’s going to be about her, a flower of Western purity, and her headlong descent into Oriental flooziedom.
All well and good, but the filmmakers fall prey to the type of easy characterizations that the best movies of the period were learning to avoid. When you observe, for example, the mostly respectful depiction of a character like Sam in 1942’s Casablanca, it becomes difficult not to cringe at such excesses here as Ona Munson's Chinese character MotherGin Sling entering rooms to the sound of a gong, or Walter Huston’s Sir Guy Charteris—a supposed old hand in Asia—querying Mike Mazurky with, “You speakee Chinee? Cantonee? You breakee window?” Did Westerners in China back then really say things like that? We’re dying to know. Mazurky gets the last line in the film, tossing off a smug echo of one of Huston’s earlier questions, and at that moment he’s a sort of stand-in for all Shanghai, which by now we know is a place where white people meet their ruin, but still—“You speakee Chinee?” The unintentional humor of such moments undermines the believability of the entire enterprise.
Another problem for us is that Victor Mature comes across as singularly unappealing. He’s not supposed to be a nice guy, but depriving him of any shred of charm makes it hard to believe Tierney would desire him. In any case, the script requires this and other indignities of poor Gene, and soon her fall from grace is so complete she even loses her mellifluous upper class accent and starts braying like a donkey. Yes, there’s some good here. Tierney is spellbindingly beautiful (one reason so many people thinkthis movie is better than it really is, we suspect). Some of the interiors are excellent, especially Mother Gin Sling’s baroque circular casino. A couple of the set pieces are striking, such as when young women are hoisted in baskets above a crowd of men clambering to buy them for their flower boats—i.e., floating brothels. And Huston is solid in his portrayal of Charteris. But all in all, The Shanghai Gesture is strictly so-so.
Incidentally, the movie is widely labeled a film noir, but it really isn’t. Yes, it can be difficult to say definitively whether a film fits into a certain category because “genre” is a nebulous concept to begin with, but we submit that this one is well off the mark, no more a noir than is The Lost Weekend, or for that matter Casablanca. If we’d known in advance it was a run-of-the-mill melodrama—yes, an exotic one, but also clunky and unengaging—we would not have expected the cutting cynicism and visual wit that characterize so many film noirs. If you go into it expecting something more along the lines of a B-picture, then The Shanghai Gesture might entertain. But whatever you expect, don’t think you're goingto see von Sternberg or Tierney doing their best work. At top you see the original American promo poster, and below that some production photos. The Shanghai Gesture premiered in New York City on Christmas 1941, and went into national release today in 1942.
, The Shanghai Gesture
, Josef von Sternberg
, Gene Tierney
, Victor Mature
, John Colton
, Walter Huston
, Ona Munson
, Phyllis Brooks
, poster art
, movie review
The headlines that mattered yesteryear.
1921—Chanel No. 5 Debuts
Gabrielle Bonheur "Coco" Chanel, the pioneering French fashion designer whose modernist philosophy, menswear-inspired styles, and pursuit of expensive simplicity made her an important figure in 20th-century fashion, introduces the perfume Chanel No. 5, which to this day remains one of the world's most legendary and best selling fragrances.
1961—First American Reaches Space
Three weeks after Russian cosmonaut Yuri Gagarin became the first human to fly into space, U.S. astronaut Alan Shepard completes a sub-orbit of fifteen minutes, returns to Earth, and is rescued from his Mercury 3 capsule in the Atlantic Ocean. Shepard made several more trips into space, even commanding a mission at age 47, and was eventually awarded the Congressional Space Medal of Honor.
1953—Hemingway Wins Pulitzer
American author Ernest Hemingway, who had already written such literary classics as The Sun Also Rises, A Farewell to Arms, and For Whom the Bell Tolls, is awarded the Pulitzer Prize for fiction for his novella The Old Man and the Sea, the story of an aging Cuban fisherman who struggles with a giant marlin far out in the Gulf Stream.
1970—Mass Shooting at Kent State
In the U.S., Ohio National Guard troops, who had been sent to Kent State University after disturbances in the city of Kent the weekend before, open fire on a group of unarmed students, killing four and wounding nine. Some of the students had been protesting the United States' invasion of Cambodia, but others had been walking nearby or observing from a distance. The incident triggered a mass protest of four million college students nationwide, and eight of the guardsmen were indicted by a grand jury, but charges against all of them were eventually dismissed.
2003—Suzy Parker Dies
American model and actress Suzy Parker, who appeared the films Funny Face and Kiss Them for Me, was the first model to earn more than $100,000 a year, and who was a favorite target of the mid-century tabloids, dies at home in Montecito, California, surrounded by family friends, after electing to discontinue dialysis treatments.
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