It’s good to be top of the heap.
Above, the iconic Rita Hayworth, star of such films as the incomparable Gilda, as well as The Lady from Shanghai, Cover Girl, and the musical You Were Never Lovelier, seen here looking comfy at the height of her fame in a photo made at her home, by her rather astonishing pool with its central island and palm tree, in 1945.
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
Leaving this border town, don’t know where.
It has the most famous one-take tracking shot in cinema history, it’s the last of the official film noirs (unless you’re one of those Kiss Me Deadly purists), and it was directed by distinguished filmmaker Orson Welles. And if that isn’t enough, it’s actually a pretty good movie too. It was called Touch of Evil, and though it has its flaws, the technical prowess on display is indisputable. At this point film noir was a well-charted phenomenon in which Welles had already dabbled when he made Lady from Shanghai and The Stranger. This time out, he wanted to fully explore the possibilities of shadow the way a painter might explore the possibilities of oils. Everyone knew black-and-white was on the way out. Touch of Evil was Welles’ grand commentary on the style. He was showing the world what was possible, and by extension, what might be impossible using color.
The casting of Charlton Heston as Ramón Miguel Vargas has been thoroughly discussed pretty much everywhere one cares to look, so we don’t need to get into it except to say those criticisms are valid. However, the dual shortcomings of unauthentic accents and white men playing ethnic roles were still the norm in the late ’50s. Certainly, an actor such as, say, Ricardo Montalbán would have shone where Heston merely sufficed, but cinema simply mirrors the age in which it was produced. It’s okay to use our modern world as a prism through which to examine the circumstances around an old film, but it’s best do so respectfully, because somewhere in the future people with their own prisms will be looking upon our age, and it won’t look so good to them. Welles’ Touch of Evil is genius in any age, and it touched Sweden for the first time today in 1958.
, Touch of Evil
, Lady from Shanghai
, The Stranger
, Orson Welles
, Charlton Heston
, Ricardo Montalbán
, film noir
, poster art
, movie review
Random mix of French pulps, circa 1950s, except for Sabine, which carries a copyright date of 2005. The rips and creases on that one are a deliberate part of the cover design intended to make the book look vintage, and it worked—we bought it before realizing it was just a pulp knock-off. C’est la vie. It cost a euro so we can’t really complain.
, la Vipére de Shanghai
, Meurtres à l’O.N.U.
, Le Gangs des Toubibs
, Paul Alperine
, Cyril Beaton
, Henry van Rugghe
, Jacky Fray
, Jean David
, cover art
The headlines that mattered yesteryear.
1963—Warren Commission Formed
U.S. President Lyndon B. Johnson establishes the Warren Commission to investigate the assassination of President John F. Kennedy. However the long report that is finally issued does little to settle questions
about the assassination, and today surveys show that only a small minority of Americans agree with the Commission's conclusions.
1942—Nightclub Fire Kills Hundreds
In Boston, Massachusetts, a fire
in the fashionable Cocoanut Grove nightclub kills 492 people. Patrons were unable to escape when the fire began because the exits immediately became blocked with panicked people, and other possible exits were welded shut or boarded up. The fire led to a reform of fire codes and safety standards across the country, and the club's owner, Barney Welansky, who had boasted of his ties to the Mafia and to Boston Mayor Maurice J. Tobin, was eventually found guilty of involuntary manslaughter.
1934—Baby Face Nelson Killed
In the U.S., killer and bank robber Baby Face Nelson, aka Lester Joseph Gillis, dies in a shoot-out with the FBI in Barrington, Illinois. Nelson is shot nine times, but by walking directly into a barrage of gunfire manages to kill both of his FBI pursuers before dying himself.
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