This CHAN entry is a little different from the opening. First, there is a sequence in the Missing Persons Bureau with an off-screen narrator explaining the goings on. Then the "torso killings"--shades of the Black Dahlia. I don't recall such gruesome deaths in the earlier Chans, although here they are only spoken of. The plot is pure Monogram Chan for better or worse(a scorecard would come in handy with this outing as well as most of the others). The interaction between Toler, Sen Yung and Mantan Moreland is as always fun to watch. Much has been made of Moreland's parts in these films and their supposed "racist" overtones. Maybe so, but IMNTBHO him playing a scared bumbler is no different than Lou Costello playing a scared bumbler in one of the A&C flicks---and they are both super at it. If all else fails there is beautiful Tanis Chandler to ogle! Why she never became a true star is beyond me--she's a sight.
23 Reviews
Charlie Chan could have solved the mystery of the black dahlia...
mark.waltz11 April 2014
Warning: Spoilers
A series of bodies have been found recently in Northern California-all headless, armless and legless. Who is killing these victims and leaving their torsos behind? That's Charlie Chan's newest case, and he's off to San Francisco to get involved in the investigation. The film starts with Chan (Sidney Toler in one of his last films), number two son Jimmy (Victor Sen Yung) and chauffeur Mantan Moreland on a bus going up the Pacific Coast Highway where the bus breaks down and someone takes a shot at the unkillable Charlie. Only a bit stunned, Chan immediately agrees to take on the case of a sweet old lady (Mary Gordon on a brief break from the Sherlock Holmes series) searching for her granddaughter which, not surprisingly, ties in with the case he's off to Frisco to assist on.
The stylish sets of this Monogram entry in the long-time series makes this appear to be higher budgeted than it probably was. Mantan Moreland gets the typical share of stereotypical cracks that black actors were forced to say in even the lowest ranking of Hollywood studios, but he is certainly funny saying them, whether fighting his way through a Chinese antique store (including a fun house mirror) or finding himself inside the storage area of a morgue (which he spells out loud as M-O-R-G). Sen Yung is as eager as ever in helping pop, even though he disgusts dad by ordering that all-American variation of Chinese dishes called Chop Suey. "Must use fine tooth comb to find son, like flea on dog", Chan says about Jimmy when he goes off on his own to investigate the case without dad's permission.
This is entertaining and short, not one of the best of the series (those came from 20th Century Fox in the 1930's with Warner Oland in the part), but certainly higher rated than the other Monogram films. The series would petter out in a few years as Toler's replacement (Roland Withers) never caught on with audiences and double bills themselves seemed to fade away as television came in and audiences began staying home to watch films like these for free.
The stylish sets of this Monogram entry in the long-time series makes this appear to be higher budgeted than it probably was. Mantan Moreland gets the typical share of stereotypical cracks that black actors were forced to say in even the lowest ranking of Hollywood studios, but he is certainly funny saying them, whether fighting his way through a Chinese antique store (including a fun house mirror) or finding himself inside the storage area of a morgue (which he spells out loud as M-O-R-G). Sen Yung is as eager as ever in helping pop, even though he disgusts dad by ordering that all-American variation of Chinese dishes called Chop Suey. "Must use fine tooth comb to find son, like flea on dog", Chan says about Jimmy when he goes off on his own to investigate the case without dad's permission.
This is entertaining and short, not one of the best of the series (those came from 20th Century Fox in the 1930's with Warner Oland in the part), but certainly higher rated than the other Monogram films. The series would petter out in a few years as Toler's replacement (Roland Withers) never caught on with audiences and double bills themselves seemed to fade away as television came in and audiences began staying home to watch films like these for free.
Return of Number Two Son
Hitchcoc21 January 2016
This episode is a bit edgier. First of all, the murder being investigated is much more vicious than others. Charlie is working for an insurance company and is investigating this death but also is working on a personal interest missing persons case. We have here the reappearance of the Charlie's Number Two Son, Jimmy, who has much more personality than son Tommy. Mantan is there again to provide zaniness. That aside, there are several twists and turns in this plot that make it pretty entertaining. Charlie seems to take more of a personal interest in the results of this case because of the brutality of everything. As is always the case, there are some excellent suspects and a love story to boot
Worthwhile
Panamint1 April 2015
"Confucious say sleep is only escape from yesterday"- one of several good Confucius sayings that Charlie comes up with in this movie. In fact, you might notice a number of things in this movie that are worthwhile. Personally, I first noticed the intriguing title, one of the best mystery titles ever- "Shadows Over Chinatown"- a title loaded with mystery.
The blonde actress who plays "Mary Conover" is very poised and is way above average in the looks department, and she does a commendable acting job. And don't you always love the "venerable old lady" (Charlie's words), the dear Mary Gordon. Look for some of the other supporting actors- there are many- and you will notice John Hamilton, a perennial in grade b and c films, obscure here before being immortalized in the "Superman" series on television. He only has a couple of lines and wears a mustache but is another example of what you can find here. Mantan Morland's comedy bits seem thrown together and rushed, but nevertheless he is entertaining as always.
Sidney Toler manages a strong enough and effective starring performance, but he is not very physically active and would die just months after the film's release. It is interesting to see how he is able to summon the screen presence to still be the star while sitting down through scene after scene.
While suffering from a low budget and possibly shooting schedule difficulties related to Toler's failing health, there is worth in this film if you look for it. Especially if you are a fan of the old black and white mystery movie style.
The blonde actress who plays "Mary Conover" is very poised and is way above average in the looks department, and she does a commendable acting job. And don't you always love the "venerable old lady" (Charlie's words), the dear Mary Gordon. Look for some of the other supporting actors- there are many- and you will notice John Hamilton, a perennial in grade b and c films, obscure here before being immortalized in the "Superman" series on television. He only has a couple of lines and wears a mustache but is another example of what you can find here. Mantan Morland's comedy bits seem thrown together and rushed, but nevertheless he is entertaining as always.
Sidney Toler manages a strong enough and effective starring performance, but he is not very physically active and would die just months after the film's release. It is interesting to see how he is able to summon the screen presence to still be the star while sitting down through scene after scene.
While suffering from a low budget and possibly shooting schedule difficulties related to Toler's failing health, there is worth in this film if you look for it. Especially if you are a fan of the old black and white mystery movie style.
Charlie Chan seeks missing persons
csteidler14 February 2018
Charlie Chan takes a bus trip with number two son Jimmy Chan and chauffeur Birmingham Brown. They stop at a bus station where a passenger notices he's been robbed. The station door is slightly ajar and a mysterious hand pokes a revolver through and shoots Charlie Chan. Luckily, the bullet hits his watch and he is uninjured. Could the robbery and shooting be connected?
It doesn't always make perfect sense but there's plenty going on in this lightweight Charlie Chan entry. As the picture starts, Chan is already expressing interest in a gruesome murder case ("Torso Victim Unidentified," says the newspaper headline) and is soon also investigating a phony bus driver, a Marine straggler, and a pickpocket, as well as promising little old lady Mary Gordon to help find her missing granddaughter.
Mantan Moreland is consistently funny as Birmingham Brown, and Victor Sen Yung returns to the series as Jimmy Chan (replacing number three son Benson Fong). Yung is brash and earnest as always; Jimmy and Birmingham provide Pop Chan with approximately equal amounts of assistance on the case and comic relief.
The plot's a little convoluted but I suppose there's a chance it would all add up correctly if one set out to understand it....however, if anything holds the picture together it's not the great plot but rather Sidney Toler's usual steady presence as the great detective.
Favorite scene: Father and son sit in a restaurant and Jimmy Chan orders chop suey. Charlie Chan: "I shudder to think what Confucius say to that." Jimmy Chan: "Aw, it's good stuff, Pop. You oughta try it sometime."
It doesn't always make perfect sense but there's plenty going on in this lightweight Charlie Chan entry. As the picture starts, Chan is already expressing interest in a gruesome murder case ("Torso Victim Unidentified," says the newspaper headline) and is soon also investigating a phony bus driver, a Marine straggler, and a pickpocket, as well as promising little old lady Mary Gordon to help find her missing granddaughter.
Mantan Moreland is consistently funny as Birmingham Brown, and Victor Sen Yung returns to the series as Jimmy Chan (replacing number three son Benson Fong). Yung is brash and earnest as always; Jimmy and Birmingham provide Pop Chan with approximately equal amounts of assistance on the case and comic relief.
The plot's a little convoluted but I suppose there's a chance it would all add up correctly if one set out to understand it....however, if anything holds the picture together it's not the great plot but rather Sidney Toler's usual steady presence as the great detective.
Favorite scene: Father and son sit in a restaurant and Jimmy Chan orders chop suey. Charlie Chan: "I shudder to think what Confucius say to that." Jimmy Chan: "Aw, it's good stuff, Pop. You oughta try it sometime."
Searching for the missing granddaughter...
binapiraeus22 March 2014
Charlie Chan, Jimmy and Birmingham are on a bus trip to San Francisco, where he's about to investigate for an insurance company the strange and gruesome deaths of a couple of newly wed young women - all 'torso killings', where the head's been cut off from the body; and now another victim has been found, and the lady who sits next to him on the bus explains to him that she makes the trip in order to find out if it's her missing granddaughter. Meanwhile, the bus has got motor trouble, and the passengers are forced to spend some time in a little shack - where a shot is fired at Charlie from outside, and it's only the watch Jimmy had given him for his birthday that saves him from the bullet! Then, a young man shows up who declares he's on leave from the Marine Corps to see his girl in San Francisco; but it's obvious that he left WITHOUT a leave... Then, when they arrive and Charlie goes to the morgue to see the body (whatever's left of it), he can reassure Mrs. Conover that the dead woman is NOT her granddaughter, because of a scar from an appendectomy which 'little' Mary has never undergone. And the same day, in the hotel restaurant, Charlie recognizes in the pretty young waitress the missing granddaughter, who's dyed her hair blond - and is obviously hiding from something or someone...
As it turns out, Mary is also the girl Joe, the young Marine corporal, is searching for: he'd fallen in love with her, but she'd turned him down because she was afraid - and at last, when Charlie gets hold of her, we learn the reason for her fear: she'd been working for an escort bureau, and she'd become suspicious when her boss had suggested to her to marry Joe whose father is rich, and if she'd get him to take out a high life insurance policy, they'd soon make her a rich widow! And now, it's up to brave little Mary to play the decoy in order to find the boss of the 'torso murder gang'...
A very unusual and suspenseful entry in the 'Charlie Chan' series, with an excellent cast (what a shame that most of their names are almost forgotten by now...), and as always some wonderful jokes and mishaps from Jimmy and Birmingham; a great piece of good, clean crime entertainment!
As it turns out, Mary is also the girl Joe, the young Marine corporal, is searching for: he'd fallen in love with her, but she'd turned him down because she was afraid - and at last, when Charlie gets hold of her, we learn the reason for her fear: she'd been working for an escort bureau, and she'd become suspicious when her boss had suggested to her to marry Joe whose father is rich, and if she'd get him to take out a high life insurance policy, they'd soon make her a rich widow! And now, it's up to brave little Mary to play the decoy in order to find the boss of the 'torso murder gang'...
A very unusual and suspenseful entry in the 'Charlie Chan' series, with an excellent cast (what a shame that most of their names are almost forgotten by now...), and as always some wonderful jokes and mishaps from Jimmy and Birmingham; a great piece of good, clean crime entertainment!
Different and better
asinyne6 October 2011
I really liked this Chan, it kept my interest all the way through. I found the plot complex, not hard to follow. I think that is why I really enjoyed it, there is a lot going on with lots of characters coming and going. Some people on here claimed the plot didn't make sense but let us be fair, a mystery isn't a mystery if you know what is going to happen from one scene to the next. I really have no complaints, this is one I want to watch again very soon. One thing I appreciate about the Chan movies is the fact that the producers tried to give you something a bit different from one film to the next. Sure, they recycle themselves after a while but some Chans really stand out...like this one. I just relax and watch all the events as they occur and let Charlie explain it all at the end! I guess some folks just like predictable films and turn up their noses at anything that doesn't follow the herd.
Gruesome murders with few clues..
michaelRokeefe2 July 2011
Warning: Spoilers
Hawaiian detective Charlie Chan(Sidney Toler)along with #2 son Jimmy(Victor Sen Young)and assistant Birmingham(Mantan Moreland)are taking a bus ride to San Francisco, where the honorable Chan will work on the recent "headless torso" murders. One of the bus passengers is an elderly woman, Mrs. Conover(Mary Gordon), who would like Charlie to look into the disappearance of her granddaughter Mary(Tanis Chandler). Chan will turn up information that a group is defrauding insurance companies with the "torso" murders; and Mary Conover, who has been working as a waitress and formerly at an escort bureau, is in hiding in fear of her former boss. An A.W.O.L. Marine Corporal, an appendectomy scar and Chinatown...how do these things fit into this low-budget Monogram feature? Other players: Bruce Kellogg, Paul Bryar, George Eldredge and John Gallaudet.
Fun to watch.
NativeTexan24 December 2000
Fun to watch! So what if it's not the BEST Chan movie? It's still enjoyable, and a valuable time capsule of movie-making techniques, writing, direction, and set decoration (perhaps "set dressing" would be a better term). I like all of the Chan films, and appreciate them for what they are.
Missing Persons, Large Insurance claims
bkoganbing25 June 2013
Rather than having anything to do with Chinatown, Shadows Over Chinatown is inspired by the famous and unsolved Cleveland torso murder. But with Charlie Chan on the job you know this case will be solved.
Sidney Toler, Victor Sen Yung, and Mantan Moreland arrive in San Francisco by bus during which trip Toler is almost shot, saved like Theodore Roosevelt by a pocket watch. Now you know it has to be one of the people who arrive in San Francisco with the Chan entourage.
What brings Charlie to San Francisco is that he's been retained by an insurance company as some people with large policies died on their honeymoons and the widows disappearing after collecting. As it turns out Mary Gordon was also on the bus with Toler and she's there inquiring after a missing granddaughter. It all points to an escort bureau run by Dorothy Granger where granddaughter Tanis Chandler was last known to work. There's more than Granger behind it though.
Despite the title misnomer Shadows Over Chinatown is a well made and sturdy Chan feature and one of the better Monogram features since that studio took over the series.
Sidney Toler, Victor Sen Yung, and Mantan Moreland arrive in San Francisco by bus during which trip Toler is almost shot, saved like Theodore Roosevelt by a pocket watch. Now you know it has to be one of the people who arrive in San Francisco with the Chan entourage.
What brings Charlie to San Francisco is that he's been retained by an insurance company as some people with large policies died on their honeymoons and the widows disappearing after collecting. As it turns out Mary Gordon was also on the bus with Toler and she's there inquiring after a missing granddaughter. It all points to an escort bureau run by Dorothy Granger where granddaughter Tanis Chandler was last known to work. There's more than Granger behind it though.
Despite the title misnomer Shadows Over Chinatown is a well made and sturdy Chan feature and one of the better Monogram features since that studio took over the series.
Great title. Poor movie.
admjtk170116 April 2000
Another waste of a great title for a Chan film. It starts out with Chan (Sidney Toler), his son, (Sen Yung, who returned to the series with this film), and chauffeur Birmingham Brown (Mantan Moreland) travelling to San Francisco by bus. (If Chan has a chauffeur, why are they riding by bus?)
The plot involves the Missing Persons Bureau and dismembered torsos. But it really doesn't do anything for me. I'd rather watch a Fox Chan or re-read one of the Bigger's novels.
The plot involves the Missing Persons Bureau and dismembered torsos. But it really doesn't do anything for me. I'd rather watch a Fox Chan or re-read one of the Bigger's novels.
Still good for Chan film lovers.
NativeTexan10 October 2003
Sidney Toler gives dignity to the role of Charlie Chan, even in these one-dimensional Monogram productions. Enjoyable and worth watching if you love the series as many of us do. This is one of the best titles to ever grace a "C" film!
Shadows Over Chinatown
CinemaSerf21 March 2024
I was generally a fan of the "Charlie Chan" movies with Sidney Toler and this is one of the better ones. To San Francisco he and fairly hapless No. 2 son "Jimmy" (Victor Sen Yung) travel to assist their police with a mysterious murder investigation. That's not all, though. There's a missing person to be found too. "Mary" (Tanis Chandler) has gone awol and her doting mother (Mary Gordon) and her rather drippy fiancé "Jeff" (Bruce Kellogg) are at their wits end. It doesn't help that our sleuthing genius quickly discovers that this absentee once worked with his original victim. The plot thickens and the pair - assisted ably by the cowardy custard, and only sparingly used, "Birmingham Brown" (Mantan Moreland) - must get to the bottom of things before "Mary" comes a cropper. The plot here is a bit more internecine and sophisticated than with many of these adventures. That said, there is a maybe just a little too much coincidence as the thing progresses but I'm sure "Charlie" would have a profound ancestral adage for there being no such thing as luck! There's the tinies of twists at the end and en route it moves along well for an hour. It's always nice to see the original and best Holmesian "Mrs. Hudson" in a film, too!
Huh?!?
xnet9524 February 2011
This movie is a total train wreck. I've never seen such a badly constructed movie in all my life. The story is virtually impossible to follow. Characters aren't properly introduced and we're supposed to know who they are and what they're doing!?! You literally need a scorecard to keep track of all the names that come flying at you in rapid fire succession. Plus, there are aliases we have to remember, too. One guy has at least 4 aliases. I can't see how anybody could know what's going on in this film without watching it at least 5 times. Maybe Monogram did that on purpose so that people would come back and pay to see it again.
Here are a few of the problems. The PI is not properly introduced. We don't know who he is. At he beginning of the movie, the bus breaks down and all the passengers wait in a room while the bus is being repaired. Some guy takes over and starts telling people what to do. He wants to frisk the Marine that walks in, and we don't know who this guy is (Is he a gay man that wants to "cop a feel"?). We don't know his name, and we don't know why he feels he has the authority to tell people what to do. When the bus finally gets to San Francisco, we find out that he is a PI, but we still don't know who he is. Why is he in San Francisco? Is it work or pleasure? There's no conversation with Charlie to introduce him, so we have no idea what this guy is all about. The big problem is that this PI plays an integral role in the film, plus he pops up every 5-10 minutes like the human whack-a-mole.
Why-oh-why-oh-why is Kate found dead in Mary Conover's apartment!?! This one really bothers me. We are barely introduced to Kate, but after multiple viewings I figured out that she is the woman traveling with Mary's grandmother. She is there to help Grandma find Mary because they DON'T KNOW where Mary is. If they don't know where Mary is, how could Kate be in her apartment? Is she keeping secrets from Grandma? One simple scene with Kate telling Grandma she was going to investigate a tip would've helped to clear up this major plot-hole, but the inept losers that made this mess didn't feel it was necessary. Which leads me to
Bumbleham Brown and Jimmy are total dead wood in this flick. They have absolutely NO rapport with each other. Every scene they are in could've been eliminated and the time used to explain some of the HUGE plot-holes.
The name of the film is "Shadows over Chinatown". Why? Does any of the action take place in Chinatown? How do we know they are in Chinatown? I only found out that many of the scenes took place in Chinatown after reading a review of this flick. There's NOTHING in this film that looks Chinese, except Charlie and Jimmy. Jimmy and Bumbleham go into a Chinese restaurant that looked like a Jewish deli from the outside, but we don't see the Chinese interior, we don't see Chinese architecture, we don't even see any Chinese people. There is absolutely nothing Chinese about the Chinatown in this film. It could be Anywhere, USA.
Here are a few of the problems. The PI is not properly introduced. We don't know who he is. At he beginning of the movie, the bus breaks down and all the passengers wait in a room while the bus is being repaired. Some guy takes over and starts telling people what to do. He wants to frisk the Marine that walks in, and we don't know who this guy is (Is he a gay man that wants to "cop a feel"?). We don't know his name, and we don't know why he feels he has the authority to tell people what to do. When the bus finally gets to San Francisco, we find out that he is a PI, but we still don't know who he is. Why is he in San Francisco? Is it work or pleasure? There's no conversation with Charlie to introduce him, so we have no idea what this guy is all about. The big problem is that this PI plays an integral role in the film, plus he pops up every 5-10 minutes like the human whack-a-mole.
Why-oh-why-oh-why is Kate found dead in Mary Conover's apartment!?! This one really bothers me. We are barely introduced to Kate, but after multiple viewings I figured out that she is the woman traveling with Mary's grandmother. She is there to help Grandma find Mary because they DON'T KNOW where Mary is. If they don't know where Mary is, how could Kate be in her apartment? Is she keeping secrets from Grandma? One simple scene with Kate telling Grandma she was going to investigate a tip would've helped to clear up this major plot-hole, but the inept losers that made this mess didn't feel it was necessary. Which leads me to
Bumbleham Brown and Jimmy are total dead wood in this flick. They have absolutely NO rapport with each other. Every scene they are in could've been eliminated and the time used to explain some of the HUGE plot-holes.
The name of the film is "Shadows over Chinatown". Why? Does any of the action take place in Chinatown? How do we know they are in Chinatown? I only found out that many of the scenes took place in Chinatown after reading a review of this flick. There's NOTHING in this film that looks Chinese, except Charlie and Jimmy. Jimmy and Bumbleham go into a Chinese restaurant that looked like a Jewish deli from the outside, but we don't see the Chinese interior, we don't see Chinese architecture, we don't even see any Chinese people. There is absolutely nothing Chinese about the Chinatown in this film. It could be Anywhere, USA.
An excellent Chan film; totally enjoyable
shakspryn31 December 2017
I strongly disagree with the multiple negative reviews on this film. It is a fast moving story, with the usual fine performance by Toler and good comic support from Jimmy and Birmingham. Also, this movie does not look "cheap," in any way, contrary to a frequently voiced grumble in those negative reviews. Sets are good and well dressed. Monogram did themselves proud here. This film is a jewel!
one of the last Chan films with Sidney Toler--OK for fans of series
django-130 December 2003
I didn't think much of this when I first saw it years ago, but upon re-watching it I don't think it's that bad. True, it's not as good as the first half-dozen Chans that Toler made at Monogram, but the chemistry between Chan, his son, and Birmingham Brown is still entertaining, and there are a number of interesting supporting characters (and red herrings). The cheap sets and drab visual style actually create a fitting mood for the film, and while it's easy to pick apart a film like this, Toler isn't around to make any more, so we should enjoy what there is to enjoy about the ones we have.If you are already a fan of the series, you'll probably want to see this--just don't be to critical of it while watching. If you haven't seen any of Toler's Monogram output, start with THE CHINESE CAT, THE JADE MASK, THE SCARLET CLUE, or IN THE SECRET SERVICE, and save this one and THE TRAP for later.
The Return of Jimmy Chan
utgard1422 March 2014
Charlie Chan (Sidney Toler) investigates insurance fraud and a series of murders. Another Monogram Chan film that is helped by the return of "Number Two Son" Jimmy Chan (Victor Sen Yung), last seen in the 1942 Fox film Castle in the Desert. Up until this point at Monogram, Charlie had been saddled with dull-as-dirt Tommy Chan, played by bland Benson Fong. Victor Sen Yung is a breath of fresh air for this stale series. That being said, he can only do so much. It's still Monogram so it's still cheap. Also, there's still obtrusive comic relief Birmingham Brown, played by bug-eyed Mantan Moreland. The good news is that Moreland doesn't overpower Sen Yung like he did Fong. So it's a watchable effort but nothing special. But when it comes to the Monogram series, watchable is about as much as you can hope for.
Just a Torso
tedg20 February 2006
You'll find all sorts of gems by noodling around in films of the 30s and 40s. Some absolute treasures await you in unlikely places. One of these is in various experiments in the detective story that were being conducted at the time.
And sometimes a series in this period yields riches in how it evolves. But I can tell you that except in one respect this film is so poor in content and interest, you should avoid it. I'm not talking about production values here or even questions about the sense of the mystery.
We've never let them get in the way before if there is a core that rewards.
Everyone seems tired here (except for that one element I'll mention below). Toler was in his seventies and can merely grimace. The Confucianisms that were clever in a few Chan movies are rote and childish here. The plot bumps about until it tumbles down all the stairs allotted to it.
The one bright light is Mantan Mooreland. The series is, after all, about how one race, the Chinese, have gifts inscrutable insight and some wisdom. Its always been peppered by the caveat of race by the comical black man. Mantan plays this man, the childish chauffeur (usually called a driver).
He's terrified, a coward. And he's ignorant. Combining these two with minstrel characteristics and you get a stuttering, bug eyed foil that easily is well over the line in offensive.
And yet. He is such an artist. His timing is so sublime, that you have to just watch him in awe. He's a star, a great actor. If we don't burden Brando by thinking that he is actually his characters, why should we do so here?
He's in more watchable films, and just as appealing in how he connects. But if you happen to accidentally be watching this, he'll give some relief.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
And sometimes a series in this period yields riches in how it evolves. But I can tell you that except in one respect this film is so poor in content and interest, you should avoid it. I'm not talking about production values here or even questions about the sense of the mystery.
We've never let them get in the way before if there is a core that rewards.
Everyone seems tired here (except for that one element I'll mention below). Toler was in his seventies and can merely grimace. The Confucianisms that were clever in a few Chan movies are rote and childish here. The plot bumps about until it tumbles down all the stairs allotted to it.
The one bright light is Mantan Mooreland. The series is, after all, about how one race, the Chinese, have gifts inscrutable insight and some wisdom. Its always been peppered by the caveat of race by the comical black man. Mantan plays this man, the childish chauffeur (usually called a driver).
He's terrified, a coward. And he's ignorant. Combining these two with minstrel characteristics and you get a stuttering, bug eyed foil that easily is well over the line in offensive.
And yet. He is such an artist. His timing is so sublime, that you have to just watch him in awe. He's a star, a great actor. If we don't burden Brando by thinking that he is actually his characters, why should we do so here?
He's in more watchable films, and just as appealing in how he connects. But if you happen to accidentally be watching this, he'll give some relief.
Ted's Evaluation -- 1 of 3: You can find something better to do with this part of your life.
For a Charlie Chan Fan Only
mbmnow10 August 2013
Just viewed this movie couple of minutes ago from the latest release of this one and 3 others made by Roland Winters(which I will watch very soon). I must say that the review by xnet95 was right on. I now have 38 of the total of 44 Charlie Chan movies that were made with Sidney Toler, Warner Oland and Roland Winters and this right is not very good. Did I still enjoy, yes because I am a CC fan. But the movie is not very good, script is awful, story is not fully made so one can make some logical sense out of it. And yes, what Chinatown. Except for a couple quick scenes it could be Shadows Over "Anywhere" which would make more sense. But at last, as a fan of this series I still am glad I have it. I would not recommend this to a non CC fan. But as we are aware, this is a Monogram picture which was known for very low production values.
"Never bait trap with wolf to catch wolf."
classicsoncall26 September 2004
Warning: Spoilers
Charlie Chan (Sidney Toler) is on two cases at once in "Shadows Over Chinatown", one is business, the other personal. The trail of the two investigations converge when it's learned that the missing person he is trying to locate once worked with the murder victim. Overshadowing the entire plot is an insurance fraud scheme involving the principals of an escort service.
In typical Monogram fashion, the story reveals a few interesting leads that go nowhere, such as the unlucky number thirteen, the number of people on a bus headed to San Francisco with Chan's party aboard. Charlie also exposes a pickpocket without revealing his identity to the rest of those on board, a ruse that works to his advantage later in the film.
We haven't seen Victor Sen Yung since the 20th Century Fox Series of Charlie Chan films, but he's back in this one as Number #2 Son Jimmy, along with chauffeur Birmingham Brown (Mantan Moreland). Moreland's screen time and comfort level progressed through the first few Monogram films, but here it seems like he's back to square one with a reduced role and not much to do except keep Jimmy company. He does get a good line in at one point when an unconscious Jimmy falls out of a closet - "Every time I open a door a dead body drops out".
The pieces of the puzzle eventually come together when a phony private detective is revealed to be in on the insurance scam with the head of the escort service. Chan enlists the aid of his missing person target, Mary Conover (Tanis Chandler), who agrees to seek her former job back at the agency. It's wrapped up pretty quickly, with Mary successfully reuniting with her boyfriend and grandmother.
In typical Monogram fashion, the story reveals a few interesting leads that go nowhere, such as the unlucky number thirteen, the number of people on a bus headed to San Francisco with Chan's party aboard. Charlie also exposes a pickpocket without revealing his identity to the rest of those on board, a ruse that works to his advantage later in the film.
We haven't seen Victor Sen Yung since the 20th Century Fox Series of Charlie Chan films, but he's back in this one as Number #2 Son Jimmy, along with chauffeur Birmingham Brown (Mantan Moreland). Moreland's screen time and comfort level progressed through the first few Monogram films, but here it seems like he's back to square one with a reduced role and not much to do except keep Jimmy company. He does get a good line in at one point when an unconscious Jimmy falls out of a closet - "Every time I open a door a dead body drops out".
The pieces of the puzzle eventually come together when a phony private detective is revealed to be in on the insurance scam with the head of the escort service. Chan enlists the aid of his missing person target, Mary Conover (Tanis Chandler), who agrees to seek her former job back at the agency. It's wrapped up pretty quickly, with Mary successfully reuniting with her boyfriend and grandmother.
Just plain bad!!
mmipyle15 May 2020
I couldn't wait for "Shadows Over Chinatown" (1946) to be over! Sidney Toler as Charlie Chan. Victor Sen Yung as his number two son. Mantan Moreland as his black lackey in a rôle difficult to watch today. Yes, he's definitely funny - in fact, he's the very, very best thing in the entire show!! - but the lines are an embarrassment in context or out. Then there's John Gallaudet; and there's Tanis Chandler (I know - WHO???); but thankfully, there are Mary Gordon (best actress in the entire piece) and John Hamilton and some others who needed cash so very much - obviously... It IS a Monogram Picture.
Absolutely awful! And I don't mean awe-inspiring, either! Line readings by some of the people in this would never pass muster in a high school play. No, quite literally. Toler is just awful!! I always liked Warner Oland as Chan. He had a sense of realism, though he was about as real as a statue is alive. Still, very palatable. Toler sounds as if he's a robot with broken springs in his gitalong, and he walks as if his gitalong fell off of a robot.
Just plain bad.
Absolutely awful! And I don't mean awe-inspiring, either! Line readings by some of the people in this would never pass muster in a high school play. No, quite literally. Toler is just awful!! I always liked Warner Oland as Chan. He had a sense of realism, though he was about as real as a statue is alive. Still, very palatable. Toler sounds as if he's a robot with broken springs in his gitalong, and he walks as if his gitalong fell off of a robot.
Just plain bad.
A catalog of disasters!
JohnHowardReid4 April 2018
Warning: Spoilers
NOTES: Number 39 in the official 47-picture Charlie Chan series and the third last for Sidney Toler.
VIEWER'S GUIDE: Despite the subject matter, okay for all.
COMMENT: Despite a bit of surface gloss, this is one of the least interesting of Monogram's Charlie Chan series - chiefly due to a faulty script which depends too much on co-incidence to make its situations believable.
The plot gets less and less credible as the story progresses, the characters are not made to be the slightest bit interesting (stock playing doesn't help) and little attempt is made to work up suspense or tension.
The final unmasking is ridiculous (a pickpocket an undercover agent?) and only makes the situation even less credible and more confused.
We cannot really blame the actors. They do what they can with indifferent material - Mantan Moreland doesn't even have that much, he has no material at all and is forced to pad out his footage with senseless chuckles and eye-rolling ad libs.
Terry Morse's routine direction and Toler's slow-paced, heavy-handed performance complete the film's catalog of disasters.
VIEWER'S GUIDE: Despite the subject matter, okay for all.
COMMENT: Despite a bit of surface gloss, this is one of the least interesting of Monogram's Charlie Chan series - chiefly due to a faulty script which depends too much on co-incidence to make its situations believable.
The plot gets less and less credible as the story progresses, the characters are not made to be the slightest bit interesting (stock playing doesn't help) and little attempt is made to work up suspense or tension.
The final unmasking is ridiculous (a pickpocket an undercover agent?) and only makes the situation even less credible and more confused.
We cannot really blame the actors. They do what they can with indifferent material - Mantan Moreland doesn't even have that much, he has no material at all and is forced to pad out his footage with senseless chuckles and eye-rolling ad libs.
Terry Morse's routine direction and Toler's slow-paced, heavy-handed performance complete the film's catalog of disasters.
Perhaps Sidney Toler's worst Chan film
gridoon202431 July 2017
Warning: Spoilers
Murky and forgettable, "Shadows Over Chinatown" gives the impression that the people involved in it weren't really putting in their hardest effort to make this into a good Charlie Chan movie. The cast and the mystery are fourth-rate; Mantan Moreland puts on a funny disguise at one point, and if Moreland's comic relief is the best thing about a Charlie Chan mystery, something has gone wrong. *1/2 out of 4.
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