Chu Chin Chow (1934)

People are voting emotionally.

The performances transcend the film's tropes, grounding it in characters that feel more complete than this subgenre often produces.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

After playing with our expectations, this turns out to be a very different sort of film.

Michael Balcon certainly pulled out all the stops for his production. Originally conceived by Oscar Ashe as a combination of Christmas pantomime and operetta, based on the success of KISMET, it had become the West End's biggest wartime hit, as soldiers on leave flocked to see it -- with the censors reading the mail to and from their girlfriends, I imagine some of them felt the closest they could come to discussing what their plans would be "Get some tickets for the show and a hotel room since it will be too late to return home after. Bert said he and his girl had a great time."In any case, the show not only played for over 2,000 performances, it toured for decades. The movie had to compete with that, so director Walter Forde had enormous sets built. Cinematographer Mutz Greenbaum keeps his camera moving constantly, and a great cast, including George Robey as Ali Baba, Fritz Kortner, Anna May Wong, Francis L. Sullivan, and Frank Cochrane reprising his role of "the Cobbler" from the original stage show, keep things hopping.There are lots of complaints about British musicals, but considering MGM was about to enter on a series of stolid and very successful operettas starring Jeanette MacDonald and Nelson Eddy the following year, this lively example of the genre is a lot of fun.

Here we go again: she's smarter, more tenacious, and of course more beautiful than anyone else. And boy, is she rugged too! This film is apparently a historically famous effort, but comes up short because there's not enough of the real star. We'll just have to take what we can get and be happy. (By the way, they've got the "Open O Sesame" bit all wrong--as Popeye showed us it's really "Open Sez Me!" And there's even a song about olive oil--but the wrong kind--they sing about the stuff you use for food, not the real Olive Oyl.)

This film would have been shown in New Zealand when I was about 7 or 8 I'm now 78. There are some films from that era that stand out in my mind and this is one of them. I must have seen thousands of films since, 95% now forgotten but I always remembered Chu Chin Chow and have waited for it in vain on TCM. Checked it out on Amazon and there it was on DVD, it arrived this morning and I have watched it in full. I'm not disappointed. It is hard to believe that this was a British production because it is way up there with the best of the Americans of the era. George Robey is great and Anna May Wong a gem. It is a DVD I'll watch more than once.

CHU CHIN CHOW (1934) is one of the best films from Anna May Wong's British period. Disappointed that her career had been stuck in a succession of oriental vamp roles, she went to Europe and accepted an invitation from E. A. Dupont (director of VARIETY with Emil Jannings) to do PICCADILLY. First filmed in 1925 with Betty Blythe, CHU CHIN CHOW is the Arabian Nights story of Ali Baba And The Forty Thieves, with musical numbers as you might expect to see them in a British music hall of the era---------including some pre-Busby Berkeley choreography. It was London's longest running musical and is given an elaborate screen adaptation. The production boasts sumptuous sets and lush cinematography, meant to suggest the Western view of the mysterious orient, and has a lavishness usually missing from the films of depression era Britain. The choreography, while interesting as a record of the time period, gave Busby Berkeley few sleepless nights.An international cast, with wildly varying accents, lent CHU CHIN CHOW an odd otherworldly flavor, which fit nicely with the Arabian Nights fantasy. Besides the very beautiful and American Anna May Wong, the role of Ali Baba is played by comedian George Robey, known in Great Britain as "the Prime Minister of Mirth."Austrian born Fritz Kortner brought a malicious enthusiasm to the role of Abu Hassan, the bandit chief. Kortner plays the part with his usual over-the-top expressionist style-------almost as if he were a very wicked little boy----------cruel and murderous one moment, cuddly and boyish the next. It was only in his American films that he approached a role with anything like restraint. He had been something of a popular curiosity in Europe for staging "eccentric" versions of Shakespeare. His right hand man in the film is Dennis Hoey, best known to American audiences as the baffled and long-suffering Inspector Lestrade opposite Basil Rathbone's Sherlock Holmes.Pearl Argyle, one of the most beautiful leading ladies in British films, has the romantic lead of Marjanah, but is best known for her appearance as Katherine Cabal opposite Raymond Massey in THINGS TO COME. The part of Abdullah, the singer with the very low voice, is the famous Mr. Jetsam (Malcolm McEachern), the deeper half of the popular singing duo of Flotsam and Jetsam.Most amusing of all, though, is Francis L. Sullivan, who specialized in comically pompous and officious types, playing the Caliph toward the end of the film. The famous story told about him is from the early days when British television was still live. He was reputedly playing a passenger on a plane in flight, but had evidently forgotten his lines. On camera, he blithely ad-libbed to the passenger next to him, "Excuse me, this is my stop" and left the set. But whatever his eccentricities, he and his broad girth gave an immensely enjoyable performance in one of the most fondly remembered British films of the 30's. Jay F.