Iris Wong Movies

The tendency is to scoff at Macao as just another example of Josef von Sternberg's late-career exercises in exoticism; true, it has its problems, including a weak plot and a slightly hasty pace, but it is still an extraordinary film for its time and its personnel. The real sparkplug for the movie is Jane Russell as out-of-work singer Julie Benson, who inadvertently gets the plot rolling when she ends up in a cabin with a lout who won't take no for an answer. Her plight, and a flying shoe, brings in laconic, slightly mysterious traveler Nick Cochran (Robert Mitchum), who seems to have something to hide and manages to get his wallet (including passport) lifted by the opportunistic Julie. Crossing paths with them is Lawrence Trumble (William Bendix), a good-natured lunkhead salesman coming to Macao for the gambling. And gambling, among other less legal activities, is what local hood Halloran (Brad Dexter) is all about. He's just hot enough in international crime circles to attract the authorities, who can't touch him in Macao; he's already had one New York detective killed and expects another to arrive, and he's keeping an eye on any suspicious, unfamiliar Westerners arriving, which leads him to Julie, Cochran, and Trumble. Halloran has other, obvious plans for Julie, especially when obliging corrupt police chief Thomas Gomez points her to a singing job at his club, much to the distress of his one-time girlfriend (Gloria Grahame); he dismisses Trumble as a lovable clown. But Nick has cop written all over him and is hiding something. All of the pieces fit together neatly in the end, and everyone is keeping at least one secret that will surprise viewers.

What makes Macao truly special are the performances, beginning with Jane Russell, who, with the possible exception of Gentlemen Prefer Blondes, was never better. Her ample physical assets are on display as usual, but she also never gave a sharper, more naturalistic or purely sensual acting performance. Russell had clearly found her talent and her center with this film. Whether she's shooting a suspicious glance at larcenous police chief Thomas Gomez, singing a sultry torch song in a seductive white strapless outfit, or striding forward in an exquisite dolly-out shot, she commands every scene in which she appears. And it's not just her imposing physique that does it, but a boldness of nuance; Russell had learned a lot since The Outlaw. Brad Dexter, the odd man out in The Magnificent Seven, makes an excellent villain, like a more pathological version of Steve Cochran. Meanwhile, Robert Mitchum, in his portrayal of a neurotic, perhaps shell-shocked veteran, shows a vulnerable side that seldom came out so convincingly or touchingly in his RKO movies; and even William Bendix found a new wrinkle to his screen persona as the seemingly larcenous commercial traveler. The audience will be beguiled and surprised throughout this movie -- an underrated noir classic -- and not just by the stories that unravel. The last line and wrap shot create an amazingly lusty, censor-challenging denouement for an early '50s film. ~ Bruce Eder, All Movie Guide

Set in Japanese-occupied China shortly before the bombing of Pearl Harbor, this action/drama stars Alan Ladd as Mr. Jones, a cynically materialistic American who has no qualms about selling oil to the enemy; as far as he's concerned, their money spends as well as anyone's. Against the advice of his friend and partner Johnny Sparrow (William Bendix), Jones heads to Shanghai to negotiate a sale with representatives of the Japanese government. En route, Jones and Sparrow are caught in a massive rainstorm that leaves the roads all but impossible to navigate; the yanks are also stopped by Chinese guerilla troops, who force them to take on a group of schoolgirls and their instructor, an American named Carolyn Grant (Loretta Young). Between the patriotic Carolyn, the Chinese schoolgirls, and a baby that Sparrow rescued from the side of the road, Jones has a lot more going on than he's used to dealing with, but the situation forces him to take a long, hard look at his personal politics. When he discovers that one of the girls was brutally raped by Japanese soldiers after she tried to return to her family, Jones decides he can no longer stand alongside the Japanese and kills the three soldiers responsible. This was one of a small number of pro-China films made in the United States during World War II, when the two countries had a mutual enemy in Japan; however, a few years down the line, Hollywood's attitude towards China would be markedly different. ~ Mark Deming, All Movie Guide

Sidney Toler made his second appearance as oriental sleuth Charlie Chan in the above-average Charlie Chan in Reno. It all begins when nervous young Mary Whitman (Pauline Moore) shows up in Reno to seek a divorce from husband Curtis Whitman (Kane Richmond). Before long, Jeanne Bentley (Louise Henry), another divorce-seeker, is found slain, and the police are certain that Mary, or her estranged husband, is responsible. It so happens that the Whitmans are from Honolulu, the stamping grounds of Charlie Chan, which is why our wily hero shows up in Nevada with son Jimmy (Victor Sen Yung) in tow. Every so often, the mystery slows down long enough for an amusing battle of wits between Chan and local sheriff Fletcher (Slim Summerville), who admittedly has only half the necessary ammunition. The billing order of the supporting cast is as usual a giveaway of the true killer's identity, but this doesn't lessen the enjoyment of this well-crafted programmer. Charlie Chan in Reno was based on Death Makes a Decree, a story by Philip Wylie. ~ Hal Erickson, All Movie Guide