Probably the most unusual aspect of Shanghai Gesture is the tribute to extras at the end of the titles. Clearly Josef Von Sternberg was entranced with the image of the roulette table in the pit of a gambling den and this scene is repeated several times through the course of the movie. The titles reflect this respect for the everyman aspect of movie making calling characters "The Bartender", "The Bookkeeper" and so forth even though many of the characters have names.
Plotwise, Shanghai Gesture leaves much to be desired. Stagy and wordy it does not have much modern appeal. It was adapted from a stage play, which is evident when much of the "action" occurs as people sit around at dinner tables and talk, as people sit at bars and talk as they sit at poker tables and talk. The Gene Tierney character has the emotional depth and reactions of a two year old.
Ona Munson is encumbered with the most fantastical hairdos ever seen without exception. The burden of the old studio system is evident as many of the close-up scenes were clearly shot at a later date and mesh most awkwardly with the scene in which they are embedded.
Plotwise, Shanghai Gesture leaves much to be desired. Stagy and wordy it does not have much modern appeal. It was adapted from a stage play, which is evident when much of the "action" occurs as people sit around at dinner tables and talk, as people sit at bars and talk as they sit at poker tables and talk. The Gene Tierney character has the emotional depth and reactions of a two year old.
Ona Munson is encumbered with the most fantastical hairdos ever seen without exception. The burden of the old studio system is evident as many of the close-up scenes were clearly shot at a later date and mesh most awkwardly with the scene in which they are embedded.