The Wrath of Genghis Kahn
Talk about a trashy film, just how trashy? Boris Karloff plays a sort of Asian Hitler hell-bent on exterminating the white race, or how about the scene which involves Myrna Loy having a sexual fetish from seeing a man being whipped. Man, pre-code Hollywood was not right in the head. The film’s plot is like an Indiana Jones film which never got made (or more importantly could never be made), like Indiana Jones getting an artifact before the Nazis to avoid them harnessing its power to take over the world except here its Asian Nazis. This is the kind of film which is so off the wall that its fun describing it in one of the purest pieces of pulp escapism to come out of the 1930’s.
In today’s politically correct world where everything offends everyone and people are obsessed with racism (like seriously, what well-known movie doesn’t have a “This movie is racist” topic on IMDB) I find there’s a certain joy that comes from watching something as shocking and politically incorrect as The Mask of Fu Manchu; like a kid watching R rated movies behind their parent’s back. Even as late as the 90’s scenes from The Mask of Fu Manchu had to be cut for a VHS release (thankfully now in it’s fully restored original version on DVD) – notice for example how picture quality degrades for the line “A China man beat me? He couldn’t do it”.
Old Hollywood had an odd fascination with East Asia and Eastern Asian mysticism as Lewis Stone’s characters states, “Will we ever understand these eastern races, will he ever learn anything?”. Is it right to simply dismiss The Mask of Fu Manchu as a “racist” film? Is there a malicious intent with the film to demonize a race and culture with Dr. Fu Manchu being the anthesis to Judeo Christian values, or is it merely the representation of the perversion of a foreign culture and race.
No expense is spared on Fu Manchu’s layer. This is the bad guy layer that would make James Bond villains jealous. Complete with torture devices, crocodile pits, an assortment of mad scientist gizmos of topped with all-round luscious deco making The Mask of Fu Manchu one of the most visually sumptuous films of the pre-code era. Like any Bond villain Fu Manchu could kill his opponents with a simple gunshot but instead puts them on devices which will kill them at a slow pace, and yes, they’re able to escape and halt the bad guy’s evil plans.
Boris Karloff prevents the character of Fu Manchu coming off a total caricature, showing he is a man of taste and culture and one who puts the genius in evil genius, boasting that he is a doctor three times over having graduating from three different universities. Likewise, it amazes me how Myrna Loy transformed her image from an exotic to something as far from that as possible within such a short period of time; thankfully she didn’t do these kinds of roles for too long a period of time. I delight at that stoic dialogue she delivers and her ever menacing presence.