Film Review – THE VENGEANCE OF FU MANCHU (1967)

VENGEANCE OF FU MANCHU, THE (1967, UK/Ireland/West Germany/Hong Kong) **½
Action, Crime, Horror

dist. Anglo-Amalgamated Film Distributors (UK), Warner Bros./Seven Arts (USA); pr co. Constantin Film / Shaw Brothers / Terra-Filmkunst; d. Jeremy Summers; w. Harry Alan Towers (as Peter Welbeck) (based on the characters created by Sax Rohmer); pr. Harry Alan Towers; ph. John von Kotze (Eastmancolor. 35mm. Spherical. 1.66:1); m. Malcolm Lockyer; s. “The Real Me,” “Where Are the Men,” m/l. Malcolm Lockyer and Don Black (voice performed by Samantha Jones); ed. Allan Morrison; ad. Peggy Gick, Scott MacGregor; sd. Brian Marshall (Mono); rel. May 1967 (UK), Jamuary 1968 (USA); cert: PG; r/t. 91m.

cast: Christopher Lee (Fu Manchu), Tony Ferrer (Inspector Ramos), Tsai Chin (Lin Tang), Douglas Wilmer (Nayland Smith), Wolfgang Kieling (Dr. Lieberson), Suzanne Roquette (Maria), Howard Marion-Crawford (Petrie), Noel Trevarthen (Mark Weston), Horst Frank (Rudy), Peter Carsten (Kurt), Maria Rohm (Ingrid), Mona Chong (Jasmin).

Lee’s third outing as the evil Fu Manchu sees him plot the death of his nemesis Nayland Smith (Wilmer) through the highly implausible use of a surgically created double, whilst looking to hook up with crime syndicates around the world via their go-between (Frank). This entry is not as tightly directed as the first two instalments with often static and unimaginative camerawork robbing the action scenes of much of the energy Don Sharp brought to those first two films. Lee has little to do other than give orders from his throne. However, Chin is again effective as Fu’s sadistic daughter and Wilmer and Crawford continue their “Holmes/Watson” styled relationship. The supporting cast, much of which is dubbed, is less strong and some of the acting is woeful. Despite the period setting, the female characters seem to be dressed and coiffured in 1960s salons adding an anachronistic tone and losing the period colour given to Sharp’s films. That said, there are still moments to enjoy on a basic comic strip level and it remains a notch above what the series would descend into in its the final two instalments. Filmed in Hong Kong and Ireland. Followed by THE BLOOD OF FU MANCHU (1968).

Film Review – THE BRIDES OF FU MANCHU (1966)

BRIDES OF FU MANCHU, THE (1966, UK) ***
Action, Crime, Sci-Fi

dist. Anglo-Amalgamated Film Distributors (UK), Seven Arts Pictures (USA); pr co. Constantin Film Produktion / Fu Manchu Films / Hallam Productions; d. Don Sharp; w. Harry Alan Towers (as Peter Welbeck) (based on characters created by Sax Rohmer); pr. Harry Alan Towers, David Henley; ph. Ernest Steward (Eastmancolor. 35mm. Spherical. 1.85:1); m. Bruce Montgomery; ed. Allan Morrison; ad. Frank White; cos. Harry Haynes, Tina Haynes; m/up. George Partleton, Anne Box; sd. Len Abbott, John Brommage, Roy Piper (Mono (RCA Sound Recording)); rel. 2 September 1966 (West Germany), 16 December 1966 (UK/USA); cert: U; r/t. 94m.

cast: Christopher Lee (Fu Manchu), Douglas Wilmer (Nayland Smith), Heinz Drache (Franz Baumer), Marie Versini (Marie Lentz), Howard Marion-Crawford (Doctor Petrie), Tsai Chin (Lin Tang), Rupert Davies (Jules Merlin), Kenneth Fortescue (Sergeant Spicer), Joseph Fürst (Otto Lentz (as Joseph Furst)), Roger Hanin (Inspector Pierre Grimaldi), Harald Leipnitz (Nikki Sheldon), Carole Gray (Michel Merlin), Burt Kwouk (Feng), Salmaan Peerzada (Abdul (as Salmaan Peer)), Ric Young (Control Assistant (as Eric Young)), Wendy Gifford (Louise), Francesca Tu (Lotus (as Poulet Tu)), Sally Sheridan (Shiva (as Danni Sheridan)), Denis Holmes (Constable), Maureen Beck (Nurse Brown).

In 1924, Dr. Fu Manchu (Lee), his army of dacoits and his vicious daughter Lin Tang (Chin) are kidnapping the daughters of prominent scientists and taking them to his remote island, where he demands that the fathers help him to build a device that transmits blast waves through a radio transmitter, which he intends to use to take over the world. He plans to keep (even wed) the girls in question. But Dr. Fu Manchu’s archenemy, Nayland Smith (Wilmer) of Scotland Yard, is determined not to let that happen. Lee returns as the evil Fu in the decent follow-up to THE FACE OF FU MANCHU (1965). The film repeats the same formula and adds little that is new, but the direction is lively and the pace quick. The dialogue and script are strictly comic book, of course, and the performances vary in quality. Wilmer replaced Nigel Green in the role of Scotland Yard’s Nayland Smith, whilst Crawford returns as his sidekick Petrie – the pair striking up something akin to a Holmes/Watson dynamic. Chin exudes a sadistic menace as Fu’s daughter. Good location work and period detail for the limited budget. US release includes a 1m prologue reprise of the end of THE FACE OF FU MANCHU (1965). Followed by THE VENGEANCE OF FU MANCHU (1967).

Film Review – THE FACE OF FU MANCHU (1965)

FACE OF FU MANCHU, THE (1965, UK/West Germany) ***½
Action, Crime, Drama

dist. Warner-Pathé Distributors (UK), Seven Arts Pictures (USA); pr co. Hallam Productions; d. Don Sharp; w. Harry Alan Towers (as Peter Welbeck); exec pr. Oliver A. Unger (US only); pr. Harry Alan Towers (as Peter Welbeck) (based on characters created by Sax Rohmer); ph. Ernest Steward (Technicolor. 35mm. Techniscope (uncredited). 2.35:1); m. Christopher Whelen; ed. John Trumper; ad. Frank White; cos. Dorothy Edwards; m/up. Gerry Fletcher, Anne Box; sd. Ken Cameron, Fred Hughesdon (Mono (RCA Sound Recording)); rel. 6 August 1965 (West Germany, UK), 24 October 1965 (USA); cert: PG; r/t. 96m.

cast: Christopher Lee (Fu Manchu), Nigel Green (Nayland Smith), Joachim Fuchsberger (Carl Jannsen), Karin Dor (Maria Muller), James Robertson Justice (Sir Charles), Howard Marion-Crawford (Dr. Petrie), Tsai Chin (Lin Tang), Walter Rilla (Muller), Harry Brogan (Gaskell), Francesca Tu (Lotus (as Poulet Tu)), Archie O’Sullivan (Chamberlain), Edwin Richfield (Chief Magistrate), Joe Lynch (Custodian), Peter Mosbacher (Hanumon), Ric Young (Grand Lama (as Eric Young)), Deborah DeLacey (Slave Girl), Jim Norton (Mathius), Jack O’Reilly (Constable), Peter Mayock (Soldier), Aiden Grennell (Security Guard).

Faced with a crime wave involving Orientals and drugs, Nayland Smith (Green) of Scotland Yard begins to suspect that it is masterminded by Fu Manchu (Lee), although he himself witnessed the latter’s execution in China some years previously. This highly entertaining and fast-moving adventure has a spirit of the old movie serials. Sharp keeps the plot moving and directs with an enthusiastic zeal. The cast are game too and their performances carry a conviction that elevates the material. Lee is commanding as Fu Manchu and Green authoritative as Nayland Smith. The stunt work on the many fight sequences is excellent (despite the stunt doubles being a little obvious), although you must wonder about old Fu’s recruitment programme given the ineptitude of his followers. Cold and bleak Irish locations double for Tibet and the film was successful enough to spawn several sequels. Followed by THE BRIDES OF FU MANCHU (1966), THE VENGEANCE OF FU MANCHU (1967), THE BLOOD OF FU MANCHU (1968) and THE CASTLE OF FU MANCHU (1969).

Film Review – THE MASK OF FU MANCHU (1932)

Pre Code Confidential #4: Boris Karloff in THE MASK OF FU MANCHU ...THE MASK OF FU MANCHU (USA, 1932) ***½
      Distributor: Metro-Goldwyn-Mayer (MGM); Production Company: Cosmopolitan Productions / Metro-Goldwyn-Mayer (MGM) ; Release Date: 5 November 1932 (USA), 24 November 1932 (UK); Filming Dates: 6 August 1932 – 21 October 1932; Running Time: 68m; Colour: B&W; Sound Mix: Mono (Western Electric Sound System); Film Format: 35mm; Film Process: Spherical; Aspect Ratio: 1.37:1; BBFC Cert: PG.
      Director: Charles Brabin; Writer: Irene Kuhn, Edgar Allan Woolf, John Willard (based on the novel by Sax Rohmer); Director of Photography: Tony Gaudio; Music Composer: William Axt (uncredited); Film Editor: Ben Lewis; Art Director: Cedric Gibbons; Costumes: Adrian; Make-up: Cecil Holland (uncredited); Sound: Douglas Shearer; Special Effects: Warren Newcombe (uncredited).
      Cast: Boris Karloff (Dr. Fu Manchu), Lewis Stone (Nayland Smith), Karen Morley (Sheila Barton), Charles Starrett (Terrence Granville), Myrna Loy (Fah Lo See), Jean Hersholt (Von Berg), Lawrence Grant (Sir Lionel Barton), David Torrence (McLeod), Everett Brown (Slave (uncredited)), Steve Clemente (Knife Thrower (uncredited)), Willie Fung (Ship’s Steward (uncredited)), Ferdinand Gottschalk (British Museum Official (uncredited)), Allen Jung (Coolie (uncredited)), Tetsu Komai (Swordsman (uncredited)), James B. Leong (Guest (uncredited)), Oswald Marshall (Undetermined Role (uncredited)), Chris-Pin Martin (Potentate (uncredited)), Lal Chand Mehra (Indian Prince (uncredited)), Edward Peil Sr. (Coolie Spy (uncredited)), Clinton Rosemond (Slave (uncredited)), C. Montague Shaw (Curator Dr. Fairgyle – British Museum Official (uncredited)), E. Alyn Warren (Goy Lo Sung – Fu Manchu Messenger (uncredited)), Olive Young (Cantina singer (uncredited)).
      Synopsis: Englishmen race to find the tomb of Ghengis Khan. They have to get there fast, as the evil genius Dr. Fu Manchu is also searching, and if he gets the mysteriously powerful relics, he and his diabolical daughter will enslave the world!
      Comment: Karloff is excellent as Sax Rohmer’s evil Dr Fu Manchu in this pre-Hays code adventure controversial for its racial overtones. Stone leads an expedition to Africa in search of the tomb of Genghis Khan to claim the sword and mask from within. Karloff seeks the treasures for his own benefit. Sumptuously designed and with torture scenes that would have pushed the censors a couple of years later, it is a fascinating adaptation of Rohmer’s simplistic story if rather leaden due to the static camerawork. Loy is deliciously treacherous as Karloff’s daughter who seduces Starrett – the pair being an obvious influence on FLASH GORDON’s Emperor Ming and Princess Aura. Charles Vidor was fired after a few days of shooting and replaced as director by Brabin. Rohmer’s original novel was serialized in Colliers between 7 May and 23 July 1932.