Monday 12 January 2009

Anna May Wong: A Celestial Star In Piccadilly, BBC R4

Anna Chen aka Madam Miaow writes and presents A Celestial Star In Piccadilly, a half-hour profile of Hollywood's first Chinese movie star for BBC Radio 4.
Broadcast 11:30am, Tuesday 13th January 2009.
Pick of the Day in Guardian Guide, Daily Mail and Mail on Sunday.
BBC Radio 4


While I was growing up in Hackney, there were few east asian women in the culture reflecting anything like my appearance. Those that did slip through were not necessarily an inspiration. Yoko Ono was unfairly reviled in the media as a hate figure, although – far from breaking up the Beatles –she was a respected Fluxus artist in her own right and famous among the avant-garde cognoscenti way before John Lennon was anything more than a pop star. The twin horrors of my childhood, Suzy Wong and Juicy Lucy – happy hookers who migrated from popular literature onto the screen – were always there to define me in the eyes of a society without any other reference points. There were powerful women, too, but they came in the shape of Jiang Qing (Madam Mao), the kleptocratic Imelda Marcos and, in fiction, the evil daughter of Fu Manchu. Her I quite liked.

I wondered who the young Anna May Wong had to look up to. She grew up as third-generation Chinese born in a youthful America when Native Americans were safely out of the way on their reservations and former slaves were consigned to ghettos and plantations. Chinese-Americans were about as low as you could get; depicted as so much of a danger to working men and decent citizens that the US government introduced legislation specifically designed to curb the ambitions of the Yellow Peril within. Their ambitions may have been humble — earning an honest dollar for one's labour, living in safety and security, bringing up families of their own — but the owners of capital tolerated them only as cheap labour, while much of the labour movement in both the Britain and the USA (Wobblies excluded) saw the Chinese as more of a threat than as fellow workers.

Various schools of thought say that Asiatic humans first walked over the Beriing Straits more than 17,000 years ago and populated the Americas down to their southernmost tip. Others contend that Imperial Chinese ships arrived in the 15th century, predating Columbus by decades; or that they initially landed in California on Portuguese ships carrying silver from mines in the Philippines.

What we do know is that in the mid-19th century, the discovery of gold at Sutters Mill in 1848 drew first a trickle and then a flood of Chinese who joined in the Gold Rush, populating the west coast and working the mines in the Sierra Nevada mountains. The next wave of immigration was brought in as cheap coolie labour by Charles Crocker in the 1860s to build his Central Pacific railroad which would link Sacramento with the East and bring the West into the Union during the Civil War. Conditions were harsh and they were paid less than their white counterparts.

But not all Chinese would submit and conform to the role of coolie; there was one major strike with thousands laying down tools as they busted through granite mountains and worked in 20-foot snowdrifts. It was a strike that had the potential to unite all workers, and ever since I found out about it in the early 1990s while working with Sinophile author Martin Booth on his film script The Celestial Cowboys in 1993, it has inspired me, especially as there are those who insist that Chinese are genetically bourgeois and incapable of working-class consciousness. The strikers were eventually starved back to work with a few concessions but they had shown they they weren’t all pushovers.

Many miners and railworkers settled in the US and formed America’s first Chinese communities. These were Anna May Wong’s roots.

In a world bereft of role models, Anna May carved out an acting career in the early days of the Hollywood film industry. She started young, as an extra on the streets of Los Angeles, learning her craft and gaining proper roles in defiance of her traditionalist father, who wanted her at home in the family laundry.

By 17, she was starring in Hollywood’s first technicolour movie, The Toll of the Sea, as the Madame Butterfly character, “marrying” an American who promptly dumps her when he returns to his homeland and a white wife. She dies tragically at the climax, beginning a pattern that would endure for most of her career.

Trapped in Dragon Lady or Lotus Blossom roles, she grew tired of being demeaned, insulted and limited. Anti-miscegenation laws meant she wasn’t allowed to kiss a romantic lead if he was white, even if he was a white actor playing a Chinese. Your sexuality got you killed, at least symbolically.

In the late 1920s she came to Britain, where she was already a huge star and made the black and white silent feature film Piccadilly for the German director E A Dupont. This was perhaps her greatest starring role, but she still had to die at the end. Death was the fate she had to endure for the crime of being attractive. I take a closer look at this movie in the programme as there’s a plethora of prejudice leaking at the edges, some of it hilarious, much of it still extant today.

Anna May was the toast of Europe: mates with Paul Robeson, Josephine Baker, Marlene Dietrich and, strangely, Leni Riefenstahl. Such was the contrast in Europe with what she’d experienced back home that she once stated there was no racism in Germany. And that was in the Thirties, which gives you some idea how bad it must have been if you were a minority in the Land of the Free.

She starred with Marlene Dietrich in Shanghai Express, acted with a greenhorn Laurence Olivier on the London stage. Philosopher Walter Benjamin had a major crush on her. She dined with royalty and was adored by her fans. Eric Maschwitz wrote the classic song “These Foolish Things” about her.

Yet Hollywood still refused to lower the drawbridge and give her the starring roles she deserved. Those still went to white actresses in Yellowface. Myrna Loy as evil Daughter of Fu Manchu? Loy, Katherine Hepburn, Luise Rainer and Tilli Losch were all considered better at being Chinese than Anna May Wong.

These things take their toll and she died in 1961, at the unnervingly early age of 56.

But isn’t everything different today? Nope, it’s still with us. The form has mutated but the content lives on. A Celestial Star in Piccadilly is one case study in how minorities are rendered invisible in the culture and as producers of culture, while the fruits of their labour are appropriated by those who sit at High Table.

And the danger of that is it’s the sleep of reason where monsters are born.

Hmmm, sounds familiar and rather too close to home ...

Interviewees include:
Graham Russell Gao Hodges, Anna May Wong's biographer, Laundryman's Daughter
Diana Yeh, historian
Alice Lee, writer and actress who performed her one woman show about Anna May Wong, Daughter of the Dragon
Elaine Mae Woo, director of Frosted Yellow Willows about Anna May
Ed Manwell, film producer, Frosted Yellow Willows
Neil Brand, composer of the new score for the BFI Southbank rerelease of Piccadilly on DVD
Jasper Sharp, east Asian film expert
Kevin Brownlow, legendary film historian and filmmaker
Margie Tai and Connie Ho, who remember Anna May Wong visiting their Limehouse neighbourhood when they were kids

Produced by Chris Eldon Lee for Culture Wise Productions
Many thanks to Mukti Jain Campion of Culture Wise for giving me latitude and for her feedback

Anna develops her radio programme into a musical multi-media extravaganza, Anna May Wong Must Die!

Anna on Anna May Wong and Chinese in Hollywood. The Good Earth review.

For more pictures, visit the Anna May Wong Society

Anna started writing her novel, Coolie, on the Transcontinental strike by Chinese workers since 1994, taking longer than construction of the railroad itself.


Anonymous said...

I just listened to the programme and got an awful lot out of it, bearing in mind it's a subject I know shamefully little about. Great to see an iconic Asian woman being brought to the attention of a new generation.

Mrs. M. said...

It's just so, so difficult for my brain to comprehend the kind of thought that goes behind the discrimination you described. I don't really know how it is across the pond, but I know America has such a shady past that sadly repeats itself but goes by a different name. Like you implied, everyone at some point has been the one on the other side of the wall. People have always been too jewish, too black, too gay, too Irish, to Asian, too Native American, too TOO. I think most people are guilty of forgetting that their bloodline was at some point in time the ones catching the flack, not at all realizing that they are persecuting others in the same way their ancestors were persecuted against. How anyone can measure worth (or in AMW's case, talent) on race, sexuality, or any other means is just insane in my opinion. Which is why I am so adamant and so determined to stop the descrimination of the LGBT community on a case by case basis. Not saying I am so influential that I can single handidly stop it-quite the contrary. Whenever the occasion presents itself, I love nothing more than to rationally present my case to a homophobe and try to present a compelling case that will at least make them think. But I digress. Because I've lost my train of thought. Sorry this comment is so long. I probably could have just summed it up eloquently by saying "People is stupid." Which, is also very true. Not all people, but definetly some. That includes both past, present, and future people.

Mrs. M. said...

By the way, one of the things I found most unfortunate about your broadcast was when you said Ms. Wong could basically only get parts where she was stereotyped, and she took them because acting was what she loved to do. Yet she was resented by her fellow Chinese Americans for taking those parts. It was very damned if you do, damned if you don't. How else was she supposed to break ground for Chinese women in cinema if she didn't at least put herself out there? If she hadn't taken those parts, who knows how long it would have taken for women to break into film.

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Ms Chief said...

Listened to your programme by accident on Radio 4 yesterday - I came home for my lunch put the radio on and there was you just about to start. I love film, and the history of film. I had a lovely lunch for a change eating homemade brushetta, salad, a cup of tea and listening to your programme. You also have a beautiful voice - great for radio and even better for Radio 4.

I don't know if I can recall Anna May Wong in any films but I will look out for her next time I curl up on the couch to watch and black n white.

Madam Miaow said...

Oh, great. Glad you caught it, Cat. Yes, I have the perfect face for radio.

Poor Anna May, Mrs M. Caught between a rock and a hard place. Some of those roles were indeed fiendishly crap but all in all the world is a better place for her presence in it. What a tough situation to be in.

Mind you, not a lot has improved. You want to try being Chinese on the left in Britain!

Unknown said...

is there any chance it can be listened to again?

Madam Miaow said...

'Fraid not, senzafine. The BBC only allows seven days to listen online.

They might repeat it but that probably won't be until 2010.

Unknown said...

oh what a shame! im fascinated by Miss Wong; currently trying to write an essay on her and her contemporary counterparts. thanks anyway