Quite recently I have been watching some of the old Weissmuller ‘Tarzan’ movies and concerning ‘Tarzan the Ape Man’ and ‘Tarzan and his Mate’ noticed how ‘grown up’ these were. This is most relevant in the second Tarzan movie where romanticism combines with eroticism, as Tarzan chucks Jane into the lake and a branch rips her dress clean off resulting in Jane swimming naked . This was a beautiful sequence but how daring it was too especially for 1934. Then I realised these features were not victim to the Hays code; that evil piece of censorious Puritanism that afflicted mainstream Hollywood from 1935 onwards until the late 1940’s. Fortunately before this there was a golden age where, between 1929 and 1934, mainstream studios such as MGM, Warner Brothers and Universal gave the public unbridled thrills, genuine horror and titillation and where directors could express visually what they wanted (within some boundaries – we are in the ‘30’s here after all) without burden or constraints or fuck- wittedness of morality guardians. Those are those narrow minded people who crusade for moral decency when deep down there jealousy is the root cause of seeing people doing things they always desire to do or behaving like they always wanted to behave but the majority have been brought up oppressed and usually tainted by religious dogma – therefore if I can’t be like that – none of you shall either!! I am sure you understand the mentality of such prudishness dear reader - alas plenty still exist.
Way back in 2006 I reviewed ‘
Mystery of the Wax Museum’ another triumph of the pre-Hays code era with its genuine scares, racy wise cracks and ‘liberal’ tone. I was delighted to view something as big as an enjoyment if not more so in the cinematic guise of ‘
The Mask of Fu Manchu’. I would say this is a pre-code masterpiece and a total must see for fans of adventure, horror and science-fiction- oh and of course vintage salaciousness!
Due to the freedom of pre-code we are presented with art deco masochism at its most ingenious, we are treated to amples of flesh, boundless female emancipation and spates of violence some of the like we would never see again until the 1960’s. Mask of Fu Manchu combines all these elements in its scant 68 minute running time and leaves you craving for more. Personally I think this is a perfect consummation of its genre and is a prime example of a liberated early 1930’s cinema. One also realises how much of the films formula was pinched to produce the overrated Indian Jones movies and just how underrated Mask of Fu Manchu is.
Fu Manchu was the creation of Arthur Henry Sarsfield Ward who writes under the pen name of Sax Rohmer. He found success with a succession of Fu Manchu novels in which the diabolical mastermind attempts varied ways of world domination and spreading the menace of the ‘yellow peril’ to the west – a bit like fanatical Islam in this day and age. As we know from such characters there has to be a just foil for fiendishness and this was in the form of Denis Nayland Smith and his sidekick Dr. Petrie. In a Holmes/Watson relationship both battle against Fu Manchus’ fiendish master plans involving traps, bizarre scientific weapons and even germ warfare!
The movie version of ‘Mask of Fu Manchu’ was an adaptation which followed hot on the heels of the printed serial, penned by Rohmer appearing in Colliers magazine in early 1932. The movie begins in the U.K and sees Nayland Smith of the British Secret Service visiting renowned Egyptologist Sir Lionel Barton. He seeks Barton’s assistance and divulges the whereabouts of the sacred tomb of Genghis Khan. Smith needs to set up an expedition urgently to get to the tomb which houses the sacred mask and sword of Khan. It is vital and will be a race against time as they need to claim the ‘treasure’ before the fiendish Fu Manchu.
Manchu plans to utilise the treasures to claim he is the reincarnation of Genghis Khan and intends to enflame the peoples of Asia and the Middle East thus causing an uprising where the white race is wiped out or enslaved and Manchu becomes dictator.
Manchu arranges Barton to be kidnapped and he is taken to Manchu’s lair where he is bribed into revealing the treasures whereabouts – Fu Manchu even offers the pleasures of his daughter Fah Lo See but Barton retains his stiff upper lip only and refuses. When all else fails Fu Manchu puts Barton to the torture and his fiendish method will be by a giant bell. Barton is carried to a table and tethered down ; above him is a huge bell about to be rang by Manchu’s henchman - before the torture Manchu gleefully tells Barton ‘....the percussion and repercussion of sound against your eardrums will soften and destroy them until the sound is magnified a thousand times. You can’t move, you can’t sleep, you will be frantic with thirst. You will be unspeakably foul but here you will lie day after day until you tell.......’ Unfortunately Barton’s sufferance begins and after a long stint of the cruellest sort of campanology comes a moment of sheer twistedness and classic cinematic spite, Fu Manchu halts the proceedings to give Barton water – Barton promptly spits it out, ‘Oh I forgot to tell you it was salted ...’ Fu Manchu tells Barton who by now is edging to the brink of madness from torture and dehydration– how evil is that!!
In Barton’s absence his beautiful daughter Sheila requests she should be part of the expedition as she also knows where the tomb is. She is joined by her hunky fiancé Terrence ‘Terry’ Granville and has the support of others for an expedition. Eventually the tomb is found and the mask and sword is taken – Nayland Smith also joins the party.
Learning of the discovery Fu Manchu sends his coolies to steal the artefacts but the robbery is thwarted. Concerned about the welfare of her father and the jeopardy of the expedition Sheila asks Terry to take the sword and mask to Fu Manchu . However they have been switched by fakes by Nayland who is one step ahead of the game knowing there will be multiple attempts at stealing the goods. At Manchu’s lair Terry arrives and presents the mask and sword but after they are analysed by one of Fu Manchu’s scientific instruments they are proved to be replicas. In a rage Fu puts Terry in the hands of his daughter for some cruel punishment. Terry is lead to the dungeon, stripped and then whipped for the pleasure of Fah Lo See which she seems to enjoy with orgasmic relish.
Eventually Manchu sends Sheila the corpse of her father and to prevent the same fate befalling her fiancée, Nayland Smith ventures to Manchu’s lair to free Terry from bondage, but the attempt fails and he too is captured.
Terry is taken to Fu Manchu and is injected with a hypno-serum where he is under the spell of Fu Manchu and will carry out everything he is asked to do. Manchu sends him to Sheila and Professor Von Berg stating that Nayland Smith requires the sword and mask and everything is fine. Sheila realises Terry is not behaving like the man she loves but Von Berg obligates and gives the mask and sword straight into the hands of Fu Manchu and ultimately entraps himself and Sheila in the process. Fu Manchu finally has them all in the palm of his hand and he has some fiendish ways of dealing with them. Sheila he nominates for the sacrificial westerner where she will be slayed by Khans sword in front of his Asian followers. Poor Terry will be drugged again and will become the plaything and slave of Fu’s daughter. Nayland Smith is taken away and placed on a see-saw with the end carrying him tilting further and further into a pit of crocodiles as the sands of time run out. Meanwhile Von Berg is strapped to a seat with a wall of spikes either side edging nearer.
Fortunately Smith manages to untie his bonds and escape by using the crocodiles as a walk way to the stairs leading up from the pit – I believe Roger Moore’s’ James Bond did the same thing about four decades later! Smith finally frees Terry and saves Von Berg from being a human pin cushion.
As Terry makes his way to save his sweetheart from a fiendish sacrifice so Nayland and Von Berg utilise one of Fu Manchus weapons – a lethal electric death ray!
As Sheila is about to be slaughtered after Fu Manchu spins the crowd into a frenzy with the immortal lines of ‘...would you all have maidens like this for your wives? Then conquer and breed! Kill the white man and take his women!!’ – oo-er. Terry bursts onto the scene, Nayland and Von berg blast Fu with his laser and he loses his grip on his sword, Terry snatches it and starts chopping Fu Manchu to pieces with the sword of Khan. Then they turn the laser on the groups
of congregated fanatics rendering them to burnt carbon thus saving the world from domination and the yellow peril!
The heroes then journey back to England and on the overseas haul despatch the sword of Khan into the ocean - free from the clutches of Fu Manchu !!
So ends this wondrous slice of pre-hays code joy! Boris Karloff is superb as the villainous Fu and proves he is to the 30’s what Chaney was to the 20’s. He was reputed to have spent four hours in make up in the morning before the shoot began to achieve the desired aesthetic.
Sax Rohmer was also pleased on the choice of actor as Karloffs’ ‘lisp’ made Fu Manchu more ‘snake’ like. Here Karloff adds such zeal to his performance attacking it with such relishness - it is potentially one of his finest performances.
Myrna Loy is also superb as his wicked daughter and combines the piquant charm of an oriental porcelain doll with the sadean perverseness of a dominatrix!
Admittedly one can understand why this was a controversial piece as there is a hefty chunk of sex and violence on display and quite regularly the two are woven together – a censors absolute nightmare , an exploitation fans joy ! It seems the object of affection is that of Terry Granville (played by the ruggedly handsome Charles Starrett) and with his good looks it is understandable why he has Fah Lo See and daddy Fu in a bit of a spin.
But surprising even more is the perversity that accompanies such sequences, in one censored segment Terry is taken to the dungeon, manacled and hoisted. His shirt is then ripped off his back by two scantily clad, muscle-bound negroes (a favourite of Fu Manchu in his lair) .
Fah Lo See then commands his whipping , as she repeats ‘harder !.... harder!’ over and over again - she seems to be getting turned on by this display as the camera switches to the whip wrapping around Terrys exposed torso and the salacious look on Fah Lo Sees face ! This sequence plays out to the frenzied sounds of whip cracks, moans of sufferance and utterances of dominant pleasure – it is fucking brilliant.
In another sequence Terry is strapped to a table wearing the skimpiest of loin cloths as Manchu prepares the hypno- serum injection. It seems the daughter is not the only admirer as before the injection is administered Manchu runs his talons over Terry’s writhing body.
The camera delights in providing us such a homo erotic moment as Terry thrusts his groin towards the camera as he tries to wriggle free and therefore frequently tenses revealing the actors superb muscle definition for the pleasure of the audience – this is pretty ‘hot’ stuff . As this occurs so Fah So Lee concludes ‘...he is not entirely unhandsome, is he, my father’, to which Fu Manchu retorts ‘For a white man – No!’.
Predictably the movie pissed the Chinese off causing the embassy in Washington to complain about the negative representation of the Chinese in the picture. I can understand their moan as they are not represented in a positive light at all. Personally in 2011 I just found it to come across as rather charmingly ignorant.
In one scene that made me chuckle Fu Manchu reveals his dastardly deeds to Sheila , wide eyed and in shock she recoils and then exclaims , ‘you yellow beast !’. Such instances really appreciate how far we have evolved with our understanding of ‘foreigners’ but one can’t help but delight in the stereotyping that creates proper villains out of cultural difference . Did I believe this was a true representation of all Chinamen throughout the world – no. Did it make me laugh at how we saw Chinamen back in the early 1930’s – yes it did.
The sets for The Mask of Fu Manchu are an art deco triumph – sleek, elegant, hard lined and brightly lit with a veneer of class. That also goes for some of Fu Manchus diabolical contraptions – one can see from the designs how this inspired the Doctor Who Story ‘The Talons of Weng Chiang’ , which , in my opinion is one of the best stories ever produced. The sets are just so impressive – from the laboratories to the grand lair of Fu the camera picks it all up with superb long shots which blend the clinical with the oriental thanks to the directional craftsmanship of
Charles Brabin and the cinematography by Tony Gaudio. What a combined talent -in one sequence Fu Manchu can be seen next to a huge magnifier which reflects his image but distorts and warps it representing the sort of character Fu Manchu is – such sequences like that are littered throughout and should be applauded. Some of the shadows and light are also used to great effect too and could only be eclipsed by Murnau or Dreyer .
This film has it all and I cannot impress upon you to hunt down a copy. Ensure though it is the full version you view. The prints that initially circulated were severely truncated of all the ‘good bits’ mainly the sex, sadism and the current social bogeyman ‘racism’. Even as late as 1992 the VHS print in circulation on VHS was shorn of the ‘hate speeches’ but finally the ‘offending’ footage has been restored from a 16mm print of the movie – thank god this survives.
As part of my pre-hays code festival the horror films I watched were, ‘the Old Dark House’, ‘Murders in the Rue Morgue’ and ‘Island of Lost Souls’ and I have to conclude that this knocked the lot of them into a cocked hat, I enjoyed this as much, if not more so, than ‘Mystery of the Wax Museum’ and even what we are brainwashed into believing are ‘classics’ of the horror film.
The only let down is that before the Hays code was brought in a few more Fu Manchu films weren’t made - regrettably MGM didn’t bother. Then again how could they have possibly bettered or excelled on something that is so perfect in the first place? I adore this film and hope you do too - definitely The Mask of Fu Manchu ranks in my top 20 movies of all time.........
A Good Cast is Always Worth Repeating .....
Directed by Charles Brabin
Year : 1932
Running time : 68 minutes
Country : United States
Not exactly a pre-Hays code picture but another controversial movie from the ‘30’s worth mentioning is ‘Ecstacy’ directed by Gustav Machatý .This Czech film was once so controversial it was banned in some states as being utterly obscene and had to play American theatres without the Hays code seal of approval. The Hays office described the movie as ‘’highly-even dangerously-indecent’’. The story of one woman’s voyage of sexual discovery, sexual frustration and an illicit affair proved far too much for the moral brigade. 
It was one of the first films to feature nudity and the first to feature an orgasm and dared to make a film about the necessity of sex , it’s power and it’s importance.It’s also notable for starring Hollywood beauty - Hedy Lamarr, known in the credits here as Hedy Kiesler before her stardom. 
One sultry afternoon Eva decides to mount a horse and gallop to the nearest lake where she can cool off by a bit of skinny dipping. The horse, hearing the cries of a mare, races off to satisfy its lust taking Eva’s clothes with him in the process. 
When Eva arrives back at the ranch she is confronted by her ex-husband, he has been awaiting her arrival for the entire night, he tries desperately to convince Eva that they should try and give things another go. Eva refuses and tells him that it is too late for any reconciliation; Emil leaves understandably dejected.
Ecstacy is definitely an arty affair which completely went over the heads of the puritanical that saw it as out and out smut. This is completely incorrect as it is cinematically ignorant – smutty it certainly is not; erotic – definitely, sensual – at times but unfortunately a rather plodding affair.
When this happens it is a major noticeable segment as we have only been aware of Eva’s frustrated gentility as can be witnessed where her husband squashes a fly and the disdainful look she gives him Up until this point we are aware that she ‘’wouldn’t hurt a fly’’ – now nature has transformed her into a sexually liberated creature. Now we realise she wants to be that mare, not in the bestial sense you dirty bugger but to be the willing participant that is could be freed sexually by a willing stud. 
Another odd thing is that the movie has virtually no dialogue and also relies heavily on the natural sounds as though the dialogue and situation takes second fiddle to the almost pagan change in the character which can be conveyed without words only by the environment which is the biggest seducer of all Eva has played maiden, a deeply unsatisfied one. The openness of the fields, the forests and of the elements stirs the libido so Eva could be represented as the whore before she transcends into motherhood at the climax of film. 
The nudity scenes are very brief but expertly handled and occasionally the odd branch or twig hides more than what we imagine we have seen. Kiesler is like a nymph in these sequences and one cannot help be enchanted by her beauty and admiration in her freedom. The sequence itself is very chaste in its execution and very mild in these times but back in 1933 would have been almost incendiary for any moralist. 
Even more so is the ‘orgasm’ sequence, which I thought was beautifully sensual and demonstrated the warmth of eroticism exquisitely using soft locus lens and Kiesler’s visage, as her index finger runs over her lips we can applaud such daring and such triumph of translating such a sensation .We are never clear whether this is coitus or cunnilingus but we sense Eva is enjoying this immensely. What is awesome, bold and refreshing is that an orgasm is finally shown in its power and its beauty - to me this is what the director is trying to tell me but alas, others did not see it this way.
I am wondering however if this film received a little more TLC and a decent visual clean up whether this would heighten your viewing experience of it. Potentially yes as this is also a mise en scène of aesthetics where Machatý uses a sense of rhythm that begins pure and virginal to the machismo of the construction workers as Ecstacy is about juxtaposition as well as coincidence and liberation. These sequences of the workers would not be out of place in Soviet cinema as well as the other end of the spectrum – the cinema of Facism. These scenes are reminiscent of what was accomplished from Leni Riefenstahl two years later in ‘Triumph of the Will’ in the way they are framed, lit and celebrated. 
‘Ecstacy’ is a kind of sexual lullaby that needs perseverance but I cannot guarantee fulfilment at the end of the film if you decide to watch it – don’t expect too much. It is very brave in concept and in execution and does deserve some kudos in the blatancy of its sexual odyssey and, of course, treading where others feared to tread. Setting these ‘brief/controversial’ instances aside; ‘Ecstacy’ is nothing but a moral melodrama of its time mixing, what we call now, art-house and naturism focussing on a journey of a woman’s awakening. Refreshing, daring and bold but sometimes, as mentioned, a little too dreamy for its own good. 
One of the things that can assist us with viewing it in 2011 is to do so with an idea or empathy of the times it was first screened then we can comprehend how ‘shocking’ this must have been. It is also worth catching it due to its notoriety and for its pioneering dare but maybe a fair few would find the ‘wandering ‘ of the cinematic eye and it’s visual poetry slightly irritating . On one hand ‘Ectasy’ can be praised for its glimpses of genius and expressionism whilst on the other it lacks a certain something that stops us from being totally absorbed. 
of congregated fanatics rendering them to burnt carbon thus saving the world from domination and the yellow peril!
Sax Rohmer was also pleased on the choice of actor as Karloffs’ ‘lisp’ made Fu Manchu more ‘snake’ like. Here Karloff adds such zeal to his performance attacking it with such relishness - it is potentially one of his finest performances. 
Fah Lo See then commands his whipping , as she repeats ‘harder !.... harder!’ over and over again - she seems to be getting turned on by this display as the camera switches to the whip wrapping around Terrys exposed torso and the salacious look on Fah Lo Sees face ! This sequence plays out to the frenzied sounds of whip cracks, moans of sufferance and utterances of dominant pleasure – it is fucking brilliant.
Charles Brabin and the cinematography by Tony Gaudio. What a combined talent -in one sequence Fu Manchu can be seen next to a huge magnifier which reflects his image but distorts and warps it representing the sort of character Fu Manchu is – such sequences like that are littered throughout and should be applauded. Some of the shadows and light are also used to great effect too and could only be eclipsed by Murnau or Dreyer . 
