Detective James Lee Wong is on the scene as archaeologist Dr. John Benton, recently returned from an expedition in China where a valuable ancient scroll was recovered, is murdered while giving a lecture on the expedition.
When Captain Street's best friend Dan Grady is murdered, Street enlists the help of Chinese detective James Lee Wong. Mr. Wong uncovers a smuggling ring on the waterfront of San Francisco ... See full summary »
A pretty Chinese woman, seeking help from San Francisco detective James Lee Wong, is killed by a poisoned dart in his front hall, having time only to scrawl "Captain J" on a sheet of paper.... See full summary »
In the middle of a pictorial lecture on his recent expedition to the Mongolian Desert, Dr. John Benton the famous explorer, drinks from the water bottle on his lecture table, collapses and dies. His last words "Eternal Fire" are the only clue Chinese detective Jimmy Wong and Captain Street of the police department have to work on. Win Lee, Benton's secretary, reveals the doctor's dying words refer to a scroll which tells the location of rich oil deposits. Wong and Street then begin the search for the killer among Benton's associates. Written by
Les Adams <email@example.com>
The last of the six-film series, and the only one not to star Boris Karloff, replaced by Keye Luke. Monogram owed the distributors one more Wong feature, and had completed Karloff's six-picture contract with the horror film The Ape (1940). See more »
James Lee Wong:
Greetings. Only the eyebrows of youth would have the temerity to call the beard of age at such an hour.
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No offense to Boris Karloff, who had previously played Mr. Wong, but this film shows how an "oriental" action-thriller can be improved by casting a gifted Chinese actor in the role. Keye Luke is handsome, charming, dashing, brave, clever, and just downright sexy as James Lee Wong, and he meets his perfect match in Lotus Long, the mysterious Chinese secretary of a famous Anglo-American archaeologist. The ending, which would have featured some romance between Luke and Long had they both been Caucasians, is still satisfying, as Luke shows his feelings for Long with his eyes and smile. Lee Tung Foo also deserves mention in a fun turn as Wong's servant. Of the many oriental-exploitation films of the era, this is perhaps the best, featuring some fine Asian art objects, superb set decoration, social commentary about Westerm archaeological appropriation of cultural treasures, unusual documentary footage of an expedition to Mongolia, and real Chinese people playing Chinese people. It's by no means an "A" picture, and seeing the star-god Shou depicted as a "god of vengeance" is silly, but "Phantom of Chinatown" deserves a better reputation than others of its ilk.
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