An altered remake of 1933's "White Woman," finds cabaret-singer Kim Ling, daughter of a Chinese general who has been accused of absconding with government funds, arriving in the Straits ...
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Violene and death stalk the Chinese of a big American city, but one man, Dr. Chang Ling, and his daughter, Dr. Mary Ling, defy the racketeers who are responsible, and, against terrific odds, bring peace to their oppressed neighbors.
Anna May Wong,
J. Carrol Naish
Mei Lee Ling, an astrology expert, tells one of her fellow passengers on a ship, that he will die within two days and the next day he is dead. The police suspects that Mei does know ... See full summary »
Princess Ling Moy, a young and beautiful Chinese aristocrat lives next door, unbeknownst to her, to Dr. Fu Manchu, a brilliant but twisted genius who is out to rule the world. She is ... See full summary »
Anna May Wong,
An altered remake of 1933's "White Woman," finds cabaret-singer Kim Ling, daughter of a Chinese general who has been accused of absconding with government funds, arriving in the Straits Settlement. There, she meets Gregory Prin, a half-caste gun-runner and head of a jungle empire where he treats the Malaysians ruthlessly. She meets Prin and agrees to accompany him in search of her father, as she has several reasons to believe Prin is holding her father prisoner. Written by
Les Adams <email@example.com>
One of over 700 Paramount Productions, filmed between 1929 and 1949, which were sold to MCA/Universal in 1958 for television distribution, and have been owned and controlled by Universal ever since. See more »
Wong Overshadowed by Hammy Naish in Disappointing Vehicle
Island of Lost Men (1939) does not show much of an improvement over Dangerous To Know (1938). The director (this time, Kurt Neumann) again allows the main player (this time, J. Carroll Naish, complete with a particularly grating, phony accent) to grossly over-act and swamp the rest of the cast, although Brod Crawford and Eric Blore give him a good run for his money. Anna May Wong, alas, is rather subdued. The ridiculously melodramatic script may have been tolerable given a different lead (bring back Akim Tamiroff!), even though its stage origins are never less than glaringly apparent. This movie represents the first of a dozen or so movies in which director Neumann teamed with photographer Karl Struss. As might be expected, the lighting is certainly attractive but, alas, nothing special.
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