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.
1939—U.S. Declares Neutrality in WW II
The Neutrality Acts, which had been passed in the 1930s when the United States considered foreign conflicts undesirable, prompts the nation to declare neutrality in World War II. The policy ended with the Lend-Lease Act of March 1941, which allowed the U.S. to sell, lend or give war materials to allied nations.
During the 1972 Summer Olympics in Munich, West Germany, a paramilitary group calling itself Black September takes members of the Israeli olympic team hostage. Eventually the group, which represents the first glimpse of terrorists for most people in the Western world, kill eleven of the hostages along with one West German police officer during a rescue attempt by West German police that devolves into a firefight. Five of the eight members of Black September are also killed.
1957—U.S. National Guard Used Against Students
The governor of Arkansas, Orval Faubus
, mobilizes the National Guard to prevent nine African-American students known as the Little Rock Nine from enrolling in high school in Little Rock, Arkansas.
1941—Auschwitz Begins Gassing Prisoners
Auschwitz-Birkenau, the largest of Nazi Germany's concentration camps, becomes an extermination camp when it begins using poison gas to kill prisoners en masse. The camp commandant, Rudolf Höss, later testifies at the Nuremberg Trials that he believes perhaps 3 million people died at Auschwitz, but the Auschwitz-Birkenau State Museum revises the figure to about 1 million.
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