The Three Sisters (1957)


Left to right: Qin Qi, Diana Chang, Mai Ling

While we're on the topic of Mai Ling and Asia Pictures, here are some photos from the movie program for The Three Sisters (1957). Not only was it Mai Ling's first film (barring any uncredited appearances she might have made in the studio's previous films), but it was also Taiwan star Diana Chang's first Hong Kong movie. While most people today have probably forgotten about The Three Sisters, many will recognize Diana's hit song, "Barbecue Pork Buns" — thanks, no doubt, to the modern remixes of Stephen Chow and Ian Widgery.

I don't know if the film survives, but from the synopsis I've read, it sounds like a classic story of the older versus younger generation, with the outcome tipped slightly in favor of the new. Qin Qi plays the uptight elder sister, a music teacher and classically trained singer, who disapproves of second sister Diana Chang, who aspires to be a nightclub singer and goes out with "Teddy Boy" King Hu. Mai Ling plays the youngest sister, who with the help of mom tries to bring the family back together again.


Mai Ling and Diana Chang hanging out with "Teddy Boy" (and future wuxia auteur) King Hu


What mischief is little sister Mai Ling up to?


King Hu looking not quite fit enough for the challenge of handling bombshell Diana Chang


How to save a family torn apart by the mambo


Veteran Shanghai director Bu Wancang with Qin Qi, Diana Chang, and Mai Ling

My Girl, Mai Ling


Oldflames is always on the lookout for the things that make me happy, like these two rare magazine covers featuring my favorite star-who-never-made-it Mai Ling. Ever since she scootered her way into my heart last summer, I've become her number one fan.

The Asia Pictorial, the magazine at the bottom of this post, was published by Asia Press, an affiliate of the Asia News Agency, an American-supported organization created to counter Communist influence in Hong Kong and the Chinese communities overseas. Asia News Agency also established a film studio, Asia Pictures, which is where Mai Ling got her start. Unfortunately for her, the studio closed in 1958, after the withdrawal of U.S. funding.

Asia Pictures certainly didn't lack for talent: directors Tang Huang and Bu Wancang and stars Grace Chang, Peter Chen Ho, Chung Ching, and Diana Chang were among those who worked for the studio. Its nine films included The Long Lane (1956), which won Best Screenplay at the 3rd Southeast Asia Film Festival, and Mai Ling's first and only film as a leading lady, The Shoeshine Boy, directed by Shanghai veteran Bu Wancang and co-starring King Hu. Neorealist but with an anti-union message, The Shoeshine Boy competed in the 5th Asian Film Festival (1958) yet evidently wasn't released in Hong Kong until the following year.

After Asia Pictures folded, Mai Ling — with just two pictures under her belt — had to look for work. She found parts in a couple of Cantonese films before being taken under the wing of Tang Huang, who had moved on to Cathay/MP&GI. Cathay's stable was already full of established stars, so it's no surprise that Mai Ling didn't get another chance as leading lady. From 1961 to 1965, she made 7 films at Cathay, while continuing to make Cantonese films on the side (including one with Patricia Lam Fung at Shaw's Cantonese division).

Sometime in early 1964, Mai Ling got married, and hopefully lived a happy life away from the silver screen. Even though she never joined the ranks of well remembered stars like Grace Chang, Lucilla Yu Ming, and Julie Yeh Feng, Mai Ling will always have a special place in the heart of this Hong Kong movie fan.

Vanitas, but rather--Vida


Good morning starshine, the earth says, "Hello." From the subtle shifting next to me, I knew, it was time to wake up. A record player hummed soft sounds of nostalgic tunes. Bleary eyed, I look up to see my kindred spirit rummaging around. "I'm up, sorry," she shrugged. "It's whatever," I assured her. Rolling over into the warm sun bath that settled in the sheets, I tried to drift into dreams again. No use. A strong, happy voice carried up the stairs and beckoned me: come down for company. Our third part, descends the stairs and joins us for coffee, with creamer, and a warm breakfast. After assembling a manifesto, we, like birds of a feather, drove out in the crisp, sunny weather to enjoy a perfectly honest morning on the cold shores of the beach. Laugh.Snap.Look. Now onto the next thing.

Ring

[[go away. go away. leave me on my own.]]

as the days get exceedingly busier i find myself feeling more like a soft breeze. a mere wisp of air that brushes your cheek as i fly by in a hurried flurry of fear and obligation. thank god for sanctuaries and sincerity.

A Musing


early morning sunrise drives are the best especially with someone you love very dearly and sipping on coffee listening to what you do with the pieces of a broken heart and toe tapping as you watch the glittery black asphalt pass under you repeatedly and then looking out to the sea as it laps against the shore in a frothy and sporadic way that entices your mind and draws you toward its icy blueness finishing your first of four coffees before ten o'clock you realize how perfect this moment is and wonder can it get any better

Mila Kunis



Milena "Mila" Kunis born Milena Markovna Kunis on August 14, 1983 is an American actress. Her television work includes the role of Jackie Burkhart on That '70s Show and the voice of Meg Griffin on the animated series Family Guy. She has also played roles in film, such as Rachel Jansen in Forgetting Sarah Marshall and Solara in The Book of Eli.





Mila Kunis was born in Chernivtsi,Ukrainian SSR, Soviet Union to a Jewish family.Her mother, Elvira, is a physics teacher and drug store manager, and her father, Mark Kunis, is a mechanical engineer and cab company executive. She also has an older brother. Her family moved to Los Angeles, California, in 1991.Despite reports to the contrary, Kunis did not learn English from watching The Price Is Right. In Los Angeles, she attended Hubert Howe Bancroft Middle School. She was mostly taught by an on-set tutor for her high school years while taping That '70s Show. When not on the set, she attended Fairfax Senior High School. She briefly attended Loyola Marymount University in Los Angeles, California.

At age nine, Kunis took acting classes after school at the Beverly Hills Studios, where she met her first and current manager Susan Curtis. She began appearing in print-ads, catalogues, and TV commercials for children's products like Lisa Frank products, Mattel's Barbie, and Payless Shoes. She also modeled for a Guess girls' clothing campaign. Her first TV role was as the young Hope Williams on an episode of the popular soap opera Days of our Lives. She had a minor role on 7th Heaven as Lucy's nemesis and supporting roles in Santa with Muscles, Honey, We Shrunk Ourselves, and the Angelina Jolie film Gia, as Gia Carangi's younger self, prior to her breakthrough role on That '70s Show.

Kunis was cast as Jackie Burkhart in the television series That '70s Show in 1998. During the auditions, all people auditioning for the roles in the show were required to be at least 18 years old, so Kunis told the casting staff at the audition that she was going to be 18 "on her birthday" not specifying to which birthday she was referring. She was actually 14 at the time of the audition and after receiving the part, she was able to continue in the role despite having misled the directors. She had been considered the best fit for the character and was thought to have been creative in her way of gaining the audition despite her age.

Kunis went in to the casting of an animated television sitcom called Family Guy created by Seth MacFarlane for the Fox Broadcasting Company. The series plot centers on a family called the Griffins, a dysfunctional family. The series starred MacFarlane, Alex Borstein, Seth Green and Mike Henry. She auditioned for the character Meg Griffin, Peter and Lois Griffin's unpopular teenage daughter, who is frequently the butt of the family's jokes. Kunis won the role after auditions and a slight rewrite of the character, in part due to her performance on That '70s Show.[11] MacFarlane called Kunis back after her first audition, instructing her to speak slower, and then told her to come back another time and enunciate more. Once she claimed that she had it under control, MacFarlane hired her.

Kunis described her character as "the scapegoat." She further explained, "Meg gets picked on a lot. But it's funny. It's like the middle child. She is constantly in the state of being an awkward 14-year-old, when you're kind of going through puberty and what-not. She's just in perpetual mode of humiliation. And it's fun." She replaced Lacey Chabert, who voiced Meg Griffin for the first production season (15 episodes).

Kunis was nominated for an Annie Award in the category of Voice Acting in an Animated Television Production in 2007. She also voiced Meg in the Family Guy Videogame.

She appeared in Get Over It opposite Kirsten Dunst. She starred in the straight-to-DVD horror film American Psycho 2 alongside William Shatner which was a sequel to the 2000 film American Psycho starring Christian Bale. She appeared in After Sex alongside Zoe Saldana as well as in Boot Camp and Moving McAllister alongside Jon Heder. Kunis' breakout movie performance was in the role of Rachel Jansen in the 2008 movie Forgetting Sarah Marshall. The performance won her rave reviews and a Teen Choice Award nomination. Also in 2008, she starred alongside Mark Wahlberg in the action movie Max Payne, portraying character Mona Sax. The film is based on the popular video game of the same name. In December 2008, Kunis was featured in Gap's "Shine Your Own Star" Christmas campaign with other celebrities such as Jennifer Hudson, Jason Bateman, Mary-Louise Parker, Jon Heder, and others.

In 2009, she starred alongside Ben Affleck and Jason Bateman in the comedy Extract. She stars alongside Denzel Washington in the action film The Book of Eli. She has also been confirmed to join the comedy Date Night starring Tina Fey and Steve Carell. She will also play Lilly, Natalie Portman's rival, in Darren Aronofsky's upcoming Black Swan in late 2010.

Kunis was ranked #54 in Stuff's "102 Sexiest Women in the World" (2002); Maxim named her #47 on its 2006 Hot 100 list.[17] In 2008, she was ranked #81 on the Maxim Hot 100 list. She was also ranked #81 on the FHM U.S 100 Sexiest Women in the World 2008, although she is unranked in other FHM magazines from different nations. She is ranked #5 on Maxim's 2009 Hot 100 list. Kunis was also accredited to be one of the "most attractive geeks" in 2008 by Wired.com due to her much-publicized affinity for World of Warcraft.

Toy and Wing: Turning On the Heat

Lately I've been trying to track down the movie appearances of various Forbidden City performers. Needless to say, they are few and far between, and often not what they promise to be.

Noel Toy, the most famous exotic dancer of the Chinese nightclub era, is the headline act at a San Francisco strip club in the Betty Grable movie How To Be Very, Very Popular (1955). I wasn't exactly surprised when I read in the movie synopsis that she plays the murder victim who sets the plot in motion, but I was pretty disappointed when I finally saw the movie. Can you believe that she doesn't even get to dance before she gets killed?!

Chinese Skyroom owner Andy Wong and exotic dancer Barbara Yung are listed as appearing in the Frank Sinatra film Pal Joey (1957), but when I watched the movie, they were nowhere to be seen, at least not on the DVD.

Dance team Jadin Wong and Li Sun allegedly appear in Around the World (1944), a musical comedy showcasing Kay Kiser and his band as they trot the globe entertaining U.S. troops. When the band stops in Chungking, you'd think it would be the perfect opportunity for Jadin Wong and Li Sun to strut their steps — but what the eff?! Where did they go?

Is this some kind of conspiracy? In a color-blind industry, some of these talented folks could have been stars. But in Hollywood, they simply disappeared.

Lucky for us, there are two performers who, by comparison, are well represented on celluloid: Dorothy Toy and Paul Wing. I won't bother telling their story, since it's readily available elsewhere.

You can read about Dorothy in Aging Artfully by Amy Gorman (available here on Google Books).

And don't miss this wonderful documentary made by Rick Quan (the first Chinese American sports anchor in the United States and a familiar face on Bay Area television for more than 20 years).

Okay, enough sour grapes. Let's enjoy the sizzling Toy and Wing in the musical short Deviled Ham (1937).


* The entire film is available here.

Take a Tumble with Anna May


Now you can fall in love over and over again with the eminently photogenic Anna May Wong at Anna May, a new tumblr recently set up by Rebecca of Anna May Wong Daily.

I absolutely adore these "photo-cartoons" of Anna May. If anyone knows anything about who made them and where they were published, do let me know.

Hong Kong Cowgirl: Betty Loh Tih


Since I got such a good response for the photos of Li Lihua decked out in her cowgirl duds, I've decided to feature some other Hong Kong cowgirls. Starting things off is Miss Betty Loh Tih, best known as a "Classical Beauty". But as you can see in this pinup from Southern Screen No. 8 (July 1958), she makes quite a fetching — and formidable looking — gunslinger.

Betty sported this outfit in Li Han-hsiang's The Magic Touch (1958) in a sequence where she appears in the dream of suitor King Hu (back in the days before he became a wuxia auteur). In another one of his dreams, she appears as sexy senorita!

Socko: San Francisco's Chinese Nightclubs

Here are three reviews from Billboard magazine of San Francisco's top Chinese nightclubs during the 1940s. They provide a great snapshot of that era.

You'll notice that Walton Biggerstaff is credited for the productions at all three clubs. He also trained many of the dancers back then. I'll have more to share about him later.

I was also surprised to see a few names that I'd never come across before, like Chinese Skyroom "showstopper" Roberta Wing and cavorting trumpet player Prince Gum Low. Just more proof that, in spite the wealth of material presented in Arthur Dong's documentary and Trina Robbins' new book, there are still more stories waiting to be told.

And of course, who can resist the enticing promise of the Wongettes and their "snappy cake-walk routine"! More about them later, as well.

Well, without further ado, please give a hand for the talented Asian American performers of "The Golden Age of Chinese Nightclubs"...



Kubla Khan,
San Francisco

Talent Policy: Dance band and floorshows at 7:30, 9:30 and 12. Owner, Eddie Pond. Prices: $1.50 minimum. Dinner from $2.50.

Whole Show: good; features Chinese acts and dance line; well received.

Best Job: FRANCES CHUN, thrush with deep qualities; on order of Frances Langford; "juke box medley" outstanding; socko.

Other Acts: JADIN and LI-SUN, dancers; individual stylists; flair for comedy; work well together. MAE LEE, singer; does semi-classics and light opera; clear, pleasing soprano; good hand. PRINCESS LOO HING, fem magician; works alone; tricks standard. ELEANOR YOUNG, Chinese Carmen Miranda; graceful, good voice; sells okay. KUBLA DANCERS (6), pretty group in several Walton Biggerstaff produced numbers; gowned gorgeously.

Band: BILL OETKE'S RUMBEROS (8) play a snappy show and hip-shaky numbers. Owner Eddie Pond emcees. Business capacity.

Edward Murphy

Billboard, August 11, 1945



Chinese Skyroom,
San Francisco

Talent Policy: Dancing and Floorshows at 8, 10 and 12. Owner-manager, Andy Wong; production, Walton Biggerstaff. Prices: $1.50 minimum; no cover.

Strictly a Chinese line-up. The Six Wongettes get things started with a snappy cake-walk routine. Gals are fresh-looking and put plenty of punch in their dancing. Costumes are abbreviated but gorgeous. Mirth spot in show handled by Prince Kim Low [Prince Gum Low], who literally blows himself blue in the face with satirical trumpet solos. Paunchy, yet light on his feet, the prince cavorts with the patrons. Gets hearty laughs.

Sweetly lyrical is Beatrice Tom, a cute lark who does well with Embraceable You and I've Got the World on a String. Has good microphone poise. A shot of the sensational is Ah Wing, magician, who baffles with a fire-eating act and ekes gasps from ringsiders by poking a flaming fire-stick down his gullet.

Kim and Jessica Wong put a touch of the Oriental in a rumba number. Makes for good entertainment. Plenty of hand-clapping. Showstopper, however, is Roberta Wing, petite vocalist with a style all her own. Has plenty of verve and a catchy lilt to her voice. Especially good in Tampico and Rosemary. Begged off after taking five encores.

Finale is a madhouse, with the entire troupe milling around to Begin the Beguine. Suave Sammy Tong emcess. Don Ferrara's ork (6) backs up show effectively.

Billboard, April 20, 1946



Forbidden City,
San Francisco
(Saturday, December 28)

Talent Policy: Floorshows at 8, 10 and 12. Owner-operator, Charlie Low; manager, Frank Huie. Prices: $1.50 minimum.

Clicks could be heard all over the room as Charlie Low unfolded his new Chinese Gay '90s with all-Chinese talent. Produced by Walton Biggerstaff, the revue is fast moving, picturesque and is drawing oodles of clientele in a sagging market.

Opened with the Forbidden City Debutantes (8) and Bobby Wong in a medley. Girls, in old-fashioned gowns, and boys in loud, striped suits, danced thru the medley for a good mitt. Larry Ching soloed oldies and was rewarded with a solid hand.

Three boys and three girls got top reception for their Floradora sextet bit in which they mixed old waltz songs and dance numbers. Low, who emceed the show, then brought on Ching for more oldies, and he encored with Daisy, Old Gray Bonnet, and When You Wore a Tulip. Much applause.

Comedy highlight was Toy Yat Mar, ordinarily the fem chirp star, who appeared with two chorines garbed in ballet costumes to do a Belles of the Ballet number. Good for three encores. The Mei Lings followed with a graceful Merry Widow and a fast Cuddle Up. Miss Mar then came on again in a brace of Sophie Tuckerish tunes.

A French can-can closed. Henry Abramson's ork (7) did an okay job on show and dancing. Room was full.

Edward Murphy

Billboard, January 18, 1947

* Forbidden City matchbook courtesy of Johnny Dollar's Vault.

oh, california.


[[Alice]] in Wonderland


i mean, i can't wait.

Butterfly.


just looking at the same thing differently.

Celestial Avenue: The Tao of Asiaphilia

I recently managed to get my hands on the screener for a wonderful short film called Celestial Avenue (2009) that is currently making the festival rounds. Directed by Colin and Cameron Cairnes, it's a loving poke at Asiaphilia that reminded me of the equally charming Augustin, King of Kung-Fu (1999), which Maggie Cheung made when she moved to France.

I was quite surprised to see that Celestial Avenue was rated so poorly on IMDB. Out of 25 reviewers, 19 gave it a 1. Yikes! I'm not sure how anyone could hate it that much. Maybe it stirred up some violent PC reaction. At the other end of the scale, two gave it an 8, one gave it a 9, and three gave it a 10. I guess you either love it or you hate it. Well, I have no problem placing myself in the minority on this one. As a gweilo who watches mostly Chinese films — including unsubtitled Cantonese films from the 1960s that I can't understand! — I'm certainly accustomed to feeling out of touch with the majority.

Just for the record, Celestial Avenue has won a Silver Award from the Australian Cinematographers Society (the film is beautifully shot) and a Grand Prize for Best Short at the Rhode Island International Film Festival. And I was just informed by director Colin Cairnes that the film has also won the Madman Award for Best Australian Film at Sydney's Flickerfest.

Anyway, I don't want to spoil the story in case you do get a chance to see it. Let me just quote the PR synopsis to give you an idea of what Celestial Avenue is about.

Kath has been looking for love in all the wrong places. Then, she finds herself in Chinatown. In the middle of a less than successful blind date, she overhears the soulful Cantonese singing of kitchen-hand, Ah Gong. Kath is intrigued. But is there more to Ah Gong than meets the eye?

CELESTIAL AVENUE is an offbeat tale – part karaoke video, part cross-cultural comedy – about love, personal reinvention and startled pigeon.

This weekend the film is playing at Slamdance, so check it out if you're in Park City. Otherwise, look for it at your local film festival and keep your fingers crossed that it will be available for online viewing sometime in the not so distant future. Until then, here's the trailer.

Eating My Hair for Free[[dom]]


dream//time. sleep well, comrades. wake up rested [[try]] . enjoy your dreamland--learn something about yourself from the symbols in that strange//strange s.o.m.

i've been having the most mundane dreams lately. dreams of cleaning up a pile of things.in.the.corner. dreams of completing an assignment. dreams of text messaging my sister about the weather--i mean, really, does it get more boring?

i hope tonight i will fly. or maybe i will be cooking a traditional spanish dinner in the nude with both of my hands tied behind my back, because did i mention, i have been taken hostage by capone himself and the only way to gain my freedom is to cook this magnificent meal using only my feet and teeth all before the clock strikes 10.36pm, which of course only gives me 15min, so i use a lifeline, or phoneafriend, whatever you wanna call it and i end up talking to that guy who has the slapchop and he's slapslapping my troubles away with the slapchop, and we end up slapchopping my cuffs off and i shimmy down the latticework on my five story apt building, narrowly escaping being seen by my ex-lover who lives downstairs, and i climb into the nearest dumpster and find marykate olsen sitting in there eating her hair, so, of course, i join her.

In My Life--I Picture Myself Hitting A Baseball


When it rains, it pours. I know college kids always whine.bitch.moan about how they have soooo much reading to do...but really...I have sooooo much reading to do! I am in four upper-division Art History and Literature courses--I feel like that says it all. I am reading a play every two days, a novel every week, verbose chapters on art history and criticism, as well as keeping up with contemporary art by way of forums, blogs, sites and press releases. Now, all of that is enough to keep a girl busy for most of the day, but also consider that I am interning at a Contemporary Arts Forum and working as a personal assistant to a wonderfully, wise woman. I can easily go entire days without speaking to anyone and I find it hard to fall asleep because of my consistent caffeine intake. Ah, deep breaths. I just wanted to let you know why I've found it hard to write on here for the past two weeks. I'll try to be a little more intentional about this and let you know what's going on...

xoxoo

Li Lihua: Hong Kong Cowgirl


Here's some cool Hong Kong Americana from Oldflames and myself (top and bottom respectively). These photos were probably taken sometime in late 1957, when Li Lihua was in the U.S. shooting her first and last Hollywood film, China Doll (1958). The Empress of Hong Kong cinema certainly makes a plucky cowgirl. Too bad her American debut was a World War II film and not a Western!

Lotus Liu: Almost a Star


A couple of weeks ago I wrote about the real Chinese players who appeared alongside the yellowface leads of The Good Earth (1937) and promised that I would profile some of these forgotten actors.

First up is Lotus Liu. Her story is a little sad. She was actually chosen to play Lotus, one of the film's featured roles, but in the end lost the part to a white actress. Let's follow her promising, but ill-fated, trajectory to stardom before it finally missed its mark.

LOTUS LIU OF SHANGHAI
GETS SCREEN START
Young Unknown Only Chinese-Born Lead
in "Good Earth"


By BARBARA MILLER

— HOLLYWOOD

Shanghai, which gave the world — and Hollywood — the impudent Lyda Roberti, has produced another potential prodigy.

Her name is Lotus Liu and she will play Lotus, the Soochow sing-song girl and home-wrecker, in Metro-Goldwyn-Mayer's "The Good Earth". The 19-year-old unknown is the only China-born principal in a cast headed by Paul Muni (Austria) and Luise Rainer (Germany).

Unlike Roberti, product of Shanghai's famous cabaret system, Lotus comes to Hollywood with a French convent, English school background. Her father is Chinese, her mother American.

Seen on a Bus

Oriental in appearance, pleasantly English in accent, Lotus is strictly American in aspirations. Arriving here two years ago as a student, she probably would be fluttering masculine hearts on Southern California campuses if M-G-M's astute Billy Grady hadn't glimpsed her one afternoon on a bus.

Waiting for a bus does have its compensations after all. For since then, everything has been easy for Lotus. Though the studio tested thousands of girls for the part — American and European, as well as Chinese and Eurasian — her youth and vitality won the battle.

It's a break of a lifetime, this part, and Lotus knows it. Talking nineteen to the dozen, the other afternoon on the "Good Earth" set, she looked like one of the better college freshman in her military-minded gray suit and absurd scarlet handkerchief perched on her black curls. But her ambitions are adult. China's famous passiveness is conspicuously absent.

Father Not Told

Lotus is living in Beverly Hills, with her mother and two brothers. But her father, long in the service of the national government of China, is in Nanking. He hasn't been informed of his daughter's good fortune.

"You know how things are in China," she reminded me, wrinkling her pretty nose. After we had reminisced about our last meeting — on a windy Nanking road corner the day the Liu family left Shanghai for California — she continued, "It's so different being in pictures here. And government people are so conservative."

Originally the Nanking government didn't care a great deal for the Buck masterpiece. The poverty of China's peasantry is not the angle the younger, foreign-educated officials strive to present to the world. And the story of Wang Lung and his stolid, homely wife is the story of the soil: of mud huts and famine and marauding war lords sickeningly familiar outside the treaty ports.

Deleted by Experts

The film version, however, has been operated on by experts — for something like three years. Removal or modification of all episodes dealing with opium traffic, famine and banditry so pleased the powers at Nanking that the ill-fated George Hill and his technical experts shot exteriors all over China two years ago.

But the character of the predatory Lotus escaped unscathed, according to the girl who will play the part. Lotus is her real name. And she has a sister called Blossom.

"I'm just a so-and-so," she explained, with a characteristic shrug of her slim shoulders. "I get into Wang Lung's house as his second wife and live there in luxury. I even snatch his poor wife's favorite pearl earrings. But when the lord and master discovers that I'm getting too fond of his good-looking young son he rises up in his wrath and shouts "Go!" And that — I'm afraid — is the end of poor Lotus."

Such an ignominious end is all very well for Lotus, the Soochow charmer, a quaint little figure in her short silk jacket and baggy trousers, lotus flowers in her hair. But for Lotus Liu — with an American mother, a Chinese father and her own ideas of getting on in the world — it's only the beginning.

San Antonio Express, May 10, 1936

More like the beginning of the end: it was soon reported in The San Antonio Light (June 20, 1936) that Lotus Liu was being replaced by Sidney Fox, best remembered today for her role as the damsel in distress in Murders in the Rue Morgue (1932). But then, just two weeks later (July 1, 1936), the paper followed up with the news that Lotus was back again for the role.

After signing Lotus Liu (an Eurasian beauty) for the role of Lotus in the picture, the powers-that-be suddenly had a brain storm and decided that Sidney Fox would make a better Lotus than a real Chinese girl so Miss Liu was out and Miss Fox was in. At least, temporarily. After two weeks of testing, Miss Fox was found unsatisfactory for the role and now Miss Liu is right back again and this time — she'll stay."

Well, no — not this time. Lotus was replaced once again by a white actress. This time it was Austrian dancer Tilly Losch, who ended up shooting the role. And here's the real kicker: according to one source I've found (Award-Winning Films of the 1930s by John Reid), Lotus Liu dubbed the lines for thick-accented Tilly Losch. Talk about sucks!

Alas, the "break of a lifetime" for this "potential prodigy" just disappeared into thin air. Nevertheless, even though Lotus Liu lost her chance to star in The Good Earth, she does appear briefly in the film. She's not listed in the cast credits on IMDB or the TCM movie database, but thanks to the Chinese Digest article (which I transcribed in my previous post), I was clued in to her 10 seconds of fame.

Here she is folks, making the absolute most of her meager screen time — the charming Miss Lotus Liu!

Sage


for those of you who are blind or unable to deduce: [[advice given to you will be well worth following]].

it's rain-rain-raining on the slick bricks outside the glass doors. in the vicinity a low fog horn bellows and the chit-chattering of the golden girls-persuasion distracts me from my present tasks: writing and reading, reading and writing. the need for a space heater is paramount. i will commandeer one and place it at my feet where its heat waves can lick my toes.

sluuuurp.

Remembering Fang Ying (1950-2010)


Sixties actress Fang Ying passed away on Wednesday. While I've never followed her the way I have her fellow Shaw stars, I've always thought there was something special about her. I'm not sure how to describe it: she had the spunky innocence of Li Ching and the cool sophistication of Lily Ho — but in a way that was so understated and natural it was completely disarming.

While Fang Ying rose to fame in Shaw's huangmei opera films, I will always associate her with veteran director Yueh Feng's superb social melodrama Auntie Lan (1967), in which she plays a young woman who struggles with being a single mother after her fiance dies in a plane crash. She also starred in a movie that is tops on my list of still unavailable Shaw films that I'm dying to see: the tantalizing Trapeze Girl (1967).


Fang Ying in Trapeze Girl

One of Shaw's "Seven Fairies", the first crop of starlets from its actor training school, Fang Ying was — along with Allyson Chang Yen — the first to disappear from the silver screen. She married in 1968 and made a few more films before retiring in 1970.

In the mid-80s, however, Fang Ying returned to the movie business, this time as an art director and costume designer. She was nominated for Best Art Direction at the 10th Annual Hong Kong Film Awards for Kawashima Yoshiko (1990) but gets a special award from me for her work on two of my favorite films: Deception (1989), a stylish thriller about workplace blackmail spun out of control; and Naked Killer (1992), a lurid girls-with-guns film inspired by Shaw's erotic wuxia classic Intimate Confessions of a Chinese Courtesan (1972).


Pauline Wong, Brigitte Lin, and Elizabeth Lee in Deception


Carrie Ng, Simon Yam, and Chingmy Yau in Naked Killer

Let me end with this brief tribute with a wonderful clip from Auntie Lan showing off Fang Ying's unaffected charm.

Fists Up


i'm in an eternal struggle with myself.

Thinking.


i've been thinking a lot about the past, you know transcending space and time, diving into little pockets of memories from years and years ago--or sometimes just yesterday. i miss traveling immensely.

corinna--i love you so much and i wish you and john lived closer to me.

Cathay Hey-Hey!

Here's the article from Collier's (February 28, 1942) which accompanied that deliciously lurid photo of Joy Ching I posted last weekend.

There's a nice bit about singer Li Tei Ming, Charlie Low's second wife and also one of the reasons he opened Forbidden City. The description of her singing "Loch Lomond" ("a swing version with Congo rhythms, with an accent partly Scots-Pacific Coast and partly 'Way Down South Cantonese") really drives home the connection between the Chinese American nightclub performers of the 1940s and vaudevillians of the early century like Lee Tung Foo.

It's also interesting to read that "in some of the clubs half the patronage is Chinese". This goes against the general impression I've gotten that the audiences were mainly non-Asian tourists and servicemen.

Finally, let me add my two cents about the oft-repeated assertion, mentioned below, that the reason clubs such as Forbidden City hired all-white bands was because Chinese American musicians just couldn't play Western music. Well, I recently learned that by the 1930s Chinatown already had two dance orchestras: the Chinatown Knights and the Cathayans. In fact, Andy Wong, who opened the Chinese Sky Room, used to be a trumpeter in the Chinatown Knights. Evidently he once hired some of his fellow band members to play at his club, and guess what — they were picketed by the local musician's union, which excluded Chinese Americans from membership at the time. Now, that puts the issue in a new light, doesn't it?


CATHAY HEY-HEY!
BY JIM MARSHALL

It took seventy-five years to break down Chinatown's ban against its daughters dancing and singing for the barbaric whites — but now look at them.


It was a bit confusing until you got the hang of it. This pretty American girl — Li Tei Ming — who was pure Chinese and a philosophy major from the University of Washington, was singing Loch Lomond, a swing version with Congo rhythms, with an accent partly Scots-Pacific Coast and partly 'Way Down South Cantonese.

"By birth and sentiment I'm an American," explained Miss Li, just to clear everything up, "but professionally I'm Chinese, and I can also sing Loch Lomond with an Irish brogue, a Cockney accent or in the South American way."

This made everything as plain as your Grandaunt Emma, but things went haywire again when a Chinese waiter, speaking Spanish with a Texas drawl, came around and served a long Cuban drink to a tiny, gray-haired, feet-bound Chinese woman in a long, black Mandarin gown, who spoke nothing but the Cantonese singsong.... All this was in a night club called the Forbidden City, on Sutter Street in San Francisco, and was part of a scenario titled The Triump of American Folkways over Orientalism.

Until recently the Chinese in America held out pretty well against the mad customs of the Americans. Although, as the years passed, more and more "Chinese" were born here and educated in American schools, the stern family rule of the Orient held sway. The children learned Cantonese and were not allowed to have much truck with the barbaric whites, most of whom couldn't trace back their ancestors more than three generations. Then along came the war, and we became China's ally against the common enemy, and things changed.

It Used to Be Different

Up to three years ago San Francisco's Chinatown — the biggest Chinese city in the Western Hemisphere — maintained its customs and dignities almost untouched by the West. It was — and still is — under the iron rule of the Six Companies, which mete out justice and keep order so well that the appearance of a Chinese in a city court has always been a rarity.

The Chinese had their own theaters and amusements but, as a concession to the tourist trade, maintained occasional tong wars and trick opium dens, many of the former being dreamed up in dull nights in the police-station press room. A tong, actually, is just the Celestial version of the Rotary, or Elks or Moose, but tradition insists that any gunnery or hatcheting in Chinatown is a tong war and that's all there is to it.

There was a lot of critical chatter around the Six Companies headquarters in 1936 when a rebel named Charley Low opened a cocktail bar on Grant Avenue. No Chinese girl was allowed inside, and at first no Chinese came. Tourists did, though, so many of them that in 1938 Charley had Confucius twirling in his grave at the opening of the first Chinese night club on the American plan.

It was tough going, because the ban against Chinese girls in such barbarous places still held and, to top that, no one ever has been able to assemble half a dozen Chinese into a band capable of playing Western music. The boys from South China just can't get those Congo rhythms. Bands in Chinese clubs are white, to this day.

When Charley did succeed in getting a dozen girls as dancers and singers, it still was hard to teach them American dance steps — although they were all American-born and educated. A Chinese-girl dance line still is far behind the Rockettes, but since it is becoming increasingly hard for Americans to discover any rhythm in today's music, nobody minds much.

At first, only tourists patronized Chinese night clubs, expecting to whiff opium smoke and maybe see a hatchet or two flying. All they saw was Miss Joy Ching (Home Economics, University of Chicago) doing a strip tease as The Girl in the Gilded Cage; and Miss Mary "Butch" Ong dancing along with the Misses Ruby Chew, Rose Chan, Ruth Lee, Minnie Yuke, Eleanor Wong and Faye Ying, who were being the Chinese Floradora Sextet at the moment.

Too New for Sophistication

After a while, the San Franciscans themselves began dropping around to Chinese night spots, and finally the older Chinese themselves peeked in to see what was going on and became regulars. In some of the clubs half the patronage is Chinese.

Now, there are more than a hundred Chinese girl entertainers and waitresses in Chinatown's dozen clubs and bars, but many of the old Chinese families still forbid their daughters to appear in floor shows or mingle in cocktail lounges with people from outlandish places like Iowa and New York.

China changes slowly, and the night club idea still is so new that there is, among the girls, none of the hard-boiled sophistication that is the trademark of their white sisters in Eastern American cities. They're more like a bunch of college kids having a good time — and in fact, more than two thirds of them are graduates of Western universities.

The entertainment is happy-go-lucky, and astounded patrons are sometimes enthralled when the lad handling the spotlight lets go all holds and tries out a white searchlight on a fan dancer instead of the traditional misty blue. And Miss Ching, who poses almost n-k-d at times, has a very fine appendicitis scar two and one-eighth inches in length, and thinks nothing of it. No customer has ever complained.

Most of the entertainers are versatile and a favorite amusement of the line girls is translating American songs into Cantonese — in which language they become even more baffling than in the original. Li Tei Ming, who stars as a singer in the Forbidden City show, not only designed the club layout, but painted the murals.

Every Chinese entertainer imitates some American, and the club floors are crowded with Chinese Bing Crosbys, Chinese Sally Rands, Chinese Maxine Sullivans and Chinese Fred Astaires.

Success of the Chinese invasion of the entertainment field has resulted in the making of Chinese talkies in San Francisco. With the usual Oriental economy a Chinese director can take a thousand feet of negative and make nine hundred ninety-nine feet of movie out of it. The result appalls Hollywood, but wows Chinatown, where the kids gather around for autographs when Chinese stars, unknown to the West, attend premieres. And in Los Angeles, where a brand-new Chinatown has been built, there is going to be a theater for producing Chinese plays in English — or as much of an eight-hour Chinese drama as the white race can take at a gulp.

There's one Western custom no Chinese girl entertainer will surrender to, however. She won't bleach her hair. There are no Chinese blondes — and there never will be.

Splint_ure


being without a hand is quite complicated at first. like losing a friend or breaking up with a lover...it takes some getting used to. but, with all loss--smallorlarge, you do something--it hurts or doesn't feel right, so you try a different approach. trialanderrordarling...now i've learned to rip, tear, hold and carry things with my teeth. i also can text and drive with one hand, which is very illegal and totally dangerous. i am, however, tired of telling 'the story.' you know, 'omg, how'd it happen?!?! lolz rofl :/ ...'

i fell.

i'm going to see another doctor on wednesday, maybe a cast instead of a splint.

the other night i had a nightmare about doctors and men trying to grab my wrist. i woke up yelling and crying and realized it was because i had been lying on my own wrist and it was searing in pain.

idiot.

Joy Ching: Girl in the Gilded Cage


"Miss Joy Ching imparts an Oriental touch to an old American art form as The Girl in the Gilded Cage — a San Francisco Chinatown striptease."

The above photo and caption, from an article that appeared in Collier's (February 28, 1942), luridly answers the question asked a few days ago about what exactly tourists hoped to see inside San Francisco's famous Forbidden City nightclub.

Joy Ching appears to have been a replacement for Noel Toy, the "Chinese Sally Rand" who made Forbidden City a solvent business with her popular bubble dance.

Owner Charlie Low didn't have to be a genius to figure out what made folks flock to his club. When Noel Toy left Forbidden City for more lucrative pastures, Charlie knew he had to find another exotic dancer to keep the cash flowing.

Charlie Low Dreams Up "The Girl in the Gilded (Neon) Cage"

The nation's no. 1 Chinese night club, whose excitements have been extolled by Life, Pic, and other national mags, is doing one of those crazy, wonderful things again.

From the fertile brain of Boss and MC Charlie Low comes the new storm that will sweep over Forbidden City any day now: a tempting Chinese thrush in a bird-cage of golden neon.

Watch for the nude Miss Blossom Lee, "The Girl in the Gilded Cage".

In fact, if you don't keep your eye on Forbidden City all the time, you'll be missing night-club history in the making. Charlie Low has conceived more novel, sprightly, exciting entertainment ideas than any two other showmen in town...

The Coast, May 1941

Blossom Lee, soon to be known as Joy Ching, was partnered with Jack Mei Ling, one of Forbidden City's first, and longest staying, dancers. At various times, Jack performed as a duo with Jadin Wong and Jade Ling and also as a trio with Mary Mammon and Dorothy Sun. Not only did he choreograph the dances, but he also designed the costumes. As Anthony Lee writes in his fascinating book Picturing Chinatown, Jack developed a unique Orientalist camp style that allowed him to come out of the closet as a gay man on stage in his performances.



Customers Love (!) Charlie Low's (!) Caged Honey (!)

Her name was Betty Lee. Then it became Blossom Lee. Now it's Joy Ching. Under any name she's The Girl in the Gilded Cage. Under any name, too, she's un-Orientally lush with a wallop in nearly all of her dextrous extremities. And this, you may be sure, brings a twinkle to the eyes of customers... and a double twinkle into the eyes of smart Charlie Low, who's the Boss... and the guy who cooked up the Gilded Cage idea in the first place.

That's Joy in the picture above, after emerging from the Cage... in the act of being pursued by another bird, Jack Mei Ling.

The Coast, June 1941

An act like "The Girl in the Gilded Cage" is one example of how performers at Forbidden City used burlesque to confuse and overturn the definitions of "Chinese" and "American" in U.S. popular culture at the time. Besides its obvious visual reference to the crib prostitutes of old Chinatown, the act also references American vaudeville — the song "A Bird in a Gilded Cage" was an enormous hit in 1900. Add the humorous touch of the neon cage and Jack Mei Ling's camp aesthetic, and you've got a unique twist on the yellowface tradition.

The performers of Forbidden City and San Francisco's other "all-Chinese" nightclubs were more than a novelty. They may not have overturned the unequal representation of Asian Americans on the stage and screen, but they nevertheless found a way to express their talent and ambition.

Fractal Time


well, i fractured my wrist. posting will be lacking in words, but not in images.

Focus Pocus


i love schedules. they make me feel important. i like having a shit-ton to do and no time to do it. i feel like the pressure will kill me; it makes me feel alive.

Despite All My Rage I Am Still Just A Rat In A Cage


all your semblances and churlish behavior irritates me to no end. oh, and if jackie chan and steve carrell mated with paul bettany, that would be my father. the endish-type thing for now.

Please, Take Note.


"When our loneliness drives us away from ourselves and into the arms of companions in life, we are, in fact, driving ourselves in excruciating relationships, tiring friendships, and suffocating embraces...No friend or lover, no husband or wife, no community or commune will be able to put to rest our deepest cravings for unity and wholeness. And by burdening others with these divine expectations, of which we ourselves are often only partially aware, we might inhibit the expression of free friendship and love and evoke instead feelings of inadequacy and weakness" (29-30).

"Reaching Out" by Henri Nouwen

Mise en Oeuvre


For the past couple days I have been furiously writing for hours in a long-forgotten notebook that I found in the backseat of my car.

Here's a little something I wrote earlier today that I found particularly silly:

Leaves fall
Into an empty convertible.
Oh wait,
I made that up.
But they did fall near it.

Now you may think, hmm, that's not even that funny or particularly clever. Well, whatever. I don't really care, because I am learning to write for the sake of writing. Hopefully in some of the pages upon pages that I've written (and plan to write) I will find something worth coming back to and developing.

On that note, I came across an important passage about writing shitty pieces in order to find something worth saying:

'If you don't believe in God, it may help to remember this great line of Geneen Roth's: that awareness is learning to keep yourself company. And then learn to be more compassionate company, as if you were somebody you are fond of and wish to encourage. I doubt that you would read a close friend's early efforts and, in his or her presence, roll your eyes and snicker. I doubt that you would pantomime sticking your finger down your throat. I think you might say something along the lines of, "Good for you. We can work out some of the problems later, but for now, full steam ahead!"'

I think it's awfully important for me, and for anyone who is trying to figure out things through writing, to remember to be gracious. Most of the things I've written today cannot and will not be shared with anyone. When you're writing without restraint some terrible, terrible things have the tendency to emerge. Thoughts that you've pushed down so far that you've forgotten you ever had them. Gross inadequacies, failed attempts at love, the time you talked shit on your best friend because, well, you just did... Even though my thoughts are scattered and incoherent, I know that a few of my messy recollections will later capture my attention and hopefully inspire something worth reading.

Forbidden City: Behind the Curtain


"Chinese chorines make up for the floor show at the Forbidden City. This Oriental night club is less sinful than many tourists expect."

I love surprises. After seeing this photograph reproduced in Trina Robbins' new book, Forbidden City: The Golden Age of Chinese Nightclubs, I tracked down a copy of the magazine it came from (Holiday, July 1948) and found that the original photo was not black and white — as I expected — but full and living color!

Lumos. Nox.


having a pile of 'things' in the corner of my room is so annoying. i could leave them there for weeks, watching the mound slowly rise as discarded clothes, shoes, necklaces, paperwork and batteries add to its height. i'd like to say, scourgify!, and watch as my clothes were magicked into their proper cupboards and paperwork stacked itself neatly atop my desk. i am not, however, a witch. therefore this dilemma will depart unresolved.

Easy Virtues


Just like an amnesiac
Trying to get my senses back
(Oh, where did they go?)

Laughing with a mouth of blood
From a little spill I took
(Oh, what are you laughing at?)

See I traded my plot of land
For a plane to anywhere
(Oh, where do you go?)

And I can't see the future
But I know its got big plans for me
(Oh what does it see?)

All of my old friends aren't so friendly
All of my old haunts are now all haunting me

Holed up at the motel ritz
With a televangelist (Oh what did he say?)

At the bottom of a swimming pool
With all the water out of it
(How'd you get in there?)

I'm sending consolation prizes to my next of kin, allies
(Oh, they'll be so thrilled)

I can't see the future
But I know it's watching me
(wonder what it sees)

All of my old friends aren't so friendly
All of my old haunts are now all haunting me


Tell my sister that I miss her
Tell my brother that it gets much easier

Tell my sister that I miss her
Tell my brother that it gets much easier

All of my old friends aren't so friendly
And all of my old haunts are now all haunting me

All of my old friends aren't so friendly
And all of my old haunts are now all haunting me

laughing with a mouth of blood//st. vincet
photo//tim walker

Hair Raising.


sitting in my car--the only place i can truly find warmth these days--by the beach one night, i kept running my hands through my long, unruly hair and found that my fingers would get caught about half-way through each time. i did this repeatedly for about twenty minutes--i'm not exaggerating--and felt overwhelmingly convicted: i have to cut this off, i thought to myself. all of a sudden, i felt something move within me. hmm. i put my keys in the ignition, checked the rear view mirror, pulled out and found myself arriving at a Mobil gas station. i wandered in, eyes flashing, looking for something sharp. corn nuts. lighter fluid. orbit. nothing. i decided that using the restroom would suffice for the moment. also, i realized that asking the ESL gas attendant for a knife or scissors would illicit an unfavorable conversation, so i departed unarmed. back in the driver's seat i felt totally wild. i drove back to the beach and met a friend. fumbling to get my keys and phone out as fast as humanly possible, i got out of my car and ran toward him. i gave him a quick hug and said--do you have a knife? um, yeah, he said as he procured a pocket knife from his tight jeans' pocket. perfect. ummm, can you cut off my pony tail? i asked, motioning toward my 12 inch problem. uh, sure, he said. fantastic.

saw. saw. saw. hold on, it's almost done. saw. rip. tear. there's a little bit more. saw. snip. almost, almost. saw. ok. here you go.

i ran my fingers through my hair and they didn't get stuck.
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