Watch The Mask of Fu Manchu For Free

There are better movies of two hours length. I loved the actress'performance.

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

One of the worst ways to make a cult movie is to set out to make a cult movie.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

This film's stagnant characterization was a huge obstacle to my enjoyment of the film Overt racism aside, its more subtle stereotyping through each actor's characterization added insult to injury; not only were the characters constant and static throughout the story, but their original personalities and behaviors were modeled off such clichéd tropes that I could not even have an initial appreciation for each character. For example, just as Fu Manchu is the epitome of evil as the archetypal "mad scientist" villain, the white men (especially Dr. Nayland Smith) are steadfastly "good" as brave, noble heroes. Further, Fu Manchu's daughter embodies the two typical stereotypes associated with Asian women: exotic temptress and submissive object. She is either ordered around by her father as his "ugly and insignificant daughter," or she is making moves toward a captive Terry in her bizarre, sadistic sexual manner. These racist ideas are imposed upon her, yet she herself is never given an identity or even referenced to as an individual. Rather, she always appears and acts in relation to the men of the film.Thus, in addition to the clear racist comments and portrayals of supporting characters , it's this stagnantly sexist and racist characterization that was most problematic for me in "The Mask of Fu Manchu." In stark contrast to the plot, which morphed into a variety of situations throughout the movie, the characters of this film, whether good or evil, Western or Eastern, were altogether uninspired and wearisome.

Is it possible to be racist and entertaining? Sure. And if you doubt it, take a look at "The Mask of Fu Manchu." On one side, we have a group of nobly dedicated scientists and historians searching for the gold mask and sword once wielded by Ghengis Khan. On the other, we have cunningly evil Boris Karloff, his sloe-eyed daughter, Myrna Loy, and a horde of thugs determined to wipe out the white race. Any doubt who's gonna' come out on top? Fortunately, Karloff's performance in the title role is so demonically wicked, you're almost tempted to say let the villains win for a change. But no, our lucky band of crypt-invaders including Lewis Stone and Charles Starret (before he became a full-time cowboy) aren't about to allow a few thousand raving thuggies get the upper hand. No way this movie could be made now. But back in those more innocent -- and dreadfully naive days -- it wasn't a problem. And even if the racism makes you cringe, Karloff's performance is a class act.

Wondering at the perceived peculiarities of Fu-Manchu and his followers, Nayland Smith wonders aloud, "Will we ever understand these Eastern races?" This statement is ironic because he is surrounded by Asians— during the excavation, as well as in everyday society. If the Westerners truly wanted to learn more and understand the Easterners, all they would have to do is ask. They are unable to realize the proximity of such first-hand knowledge because of their preconceived, inaccurate notions about the East, which are especially apparent in the book. The Westerners, while claiming to be cultured and refined, seem unable to change their prejudices regarding the East. The dismissive phrase "these Eastern races" shows their inability in viewing and appreciating the East for what it actually is— a massive area with a massive number of unique cultures and people. Smith's statement is further ironic in that he, as well as his companions, are well-educated scientists. They claim the right to Genghis Khan's mask and sword for the good of their research. The fact that such academics are unable to realize the wealth of information that actual, living Asians, as opposed to non- sentient artifacts, could provide them with, is further laughable. Instead, they label the Easterners as something to be avoided and dismissed, to the point of congratulating an illiterate Asian servant for being uneducated. The film itself is entertaining: that is, until you begin to analyze what the underlying message really is, in regards to how Westerners regard Eastern culture.

This film is perhaps even more politically incorrect than its source material. Nayland Smith and Lionel Barton have no qualms from stealing from the tomb of Genghis Khan, a man who lived on the other side of the world and to whom they have no connection. In their quest of thievery, they readily enlist half-naked Asian men to help, never once even attempting to understand their culture, customs, or religion. For Smith, Sheila, Barton, and the rest --- Fu Manchu is a "yellow beast" and his people savages. The film's climax sees Smith and crew electrocute not only Fu Manchu but the entire crowd as well, making it clear that mass murder is totally okay, so long as it's against yellow people. The only good Asians are either dead, working for them, or as we see at the film's end, stupid. Aside from the plot, various other aspects of the film are problematic as well. Fu Manchu and his daughter are both played by white actors in heavy makeup --- the Asian equivalent of Blackface. Fu Manchu is purportedly Chinese while at the same time being the villain for the whole of "the East," as if director Charles Brabin doesn't realize that Asia is an entire continent comprised of all sorts of different countries. Add in Fu Manchu's black servants, and it's clear Brabin has absolutely no idea what "the East" is like at all.Is it entertaining? Sure, in a 1930's campy kind of way. But with a racist message at the core, it can't be considered a good film.