Doctor at Large

The Mask of Fu Manchu (Charles Brabin, 1932)

Came to the shocking discovery that I had not seen Boris Karloff's turn as the diabolical Dr. Fu Manchu before. It could be because I might have mixed Karloff with another of his roles where he's caked up in highly problematic, ethnic make-up, like his private dick Mr. Wong, or more worryingly, the shite I tend to watch has given me brainrot and given me early dementia. My earliest introduction to the character of Fu Manchu were the Harry Allan Towers productions, starring none other than the legendary Christopher Lee as the moustachioed fiend. Loved the first two entries, but they got increasingly worse afterwards. Now, after seeing Karloff's portrayal of the evil genius in Charles Brabin's The Mask of Fu Manchu (1932), I'm kicking myself even more for the confusion, as it's the most outrageous pre-Hays Code films I might have watched thus far.

"I'm a Doctor of Philosophy from Edingburgh. I'm a Doctor of Law from Christ's College. I'm a Doctor of Medicine from Harvard. My friends out of courtesy call me Doctor."

The character of Dr. Fu Manchu was the creation of English author Arthur Henry Ward, under the unfathomably badass pseudonym Sax Rohmer. The Yellow Peril, a racially charged example of fear-mongering propaganda from the early 20th century, which implied violent retribution towards Western Imperialism, would appoint Fu Manchu as the chief architect of an epic race war. The mastermind would become the archetypal Bond villain well before Ian Flemming even put pen to paper. The success and popularity of Rohmer's books would result in numerous adaptations, ranging from radio programmes, episodic serials, and prior features such as The Mysterious Doctor Fu Manchu (1929). Metro-Goldwyn-Mayer studios would deliver the biggest budget and most mainstream effort yet, and it would star the great Boris Karloff, hot from his iconic role in Frankenstein (1931).

"May the curse of the gods descend upon him and is forever who dares enter herein! I don't like to mar the beauty of these doors, but I have my orders, it's got to be done. Mack, give me the axe!

The plot to The Mask of Fu Manchu concerns a British archaeological expedition searching for the tomb of the legendary Genghis Khan. They aren't the only ones looking for the conqueror's final resting place, however. The diabolical doctor seeks to possess both the scimitar and mask of Genghis Khan in order to prove to the horde armies of the East that he is the reincarnation of the ancient ruler. With both these artifacts in his taloned grasps, he'll be able to wage an epic war against the White race. With the news of the dastardly villain abducting, the expedition's leader, Sir Lionel Barton (Lawrence Grant), by Fu Manchu's goons (disguised as Egyptian mummies), British Intelligence agent Nayland Smith (Lewis Stone), arch nemesis of the fiendish mastermind, is dispatched in finding the legendary artifacts with the team and stop Fu Manchu.

 "I have brought you here for great tidings. I am the most unfortunate of men; I have no son to follow me. Therefore, in shame, I ask you to receive a message from my ugly and insignificant daughter."

Not unlike Steven Spielberg's Indiana Jones films, Fu Manchu's devilish torture chambers bring a horror element to what's otherwise a straight laced adventure tale. From being tied to a seesaw above an alligator pit, and to being caught in the middle of metal spikes, these ingeniously sadistic sequences make up for some of the film's obvious plot holes. Sir Lionel Barton's refusal to reveal the location of Genghis Khan's tomb results in him being strapped beneath a giant bell. Karloff utters with sadistic glee to the unfortunate captive, "Seems harmless, doesn't it? Just a bell ringing. But the percussion and the repercussion of sound ringing against your eardrums will soften and destroy them until the sound is magnified a thousand times. You can't move, you can't sleep. You will be frantic with thirst. You will be unspeakably foul. But here you will lie, day after day, until you tell." After what feels like an eternity of torturous campanology to poor old Sir Lionel, the sadistic doctor offers water to the unfortunate archaeologist. It's filled with salt, however. The rotter!

"He is not entirely unhandsome, is he my father?"

"For a White man, no!"

A great rapport exists between Karloff's Fu Manchu and his daughter Fah Lo Suee (Myrna Loy). Both play complete sadists experiencing joy whilst their victims suffer in agonising pain. When the film's rugged hero Terrence Granville (Charles Starrett) presents a fake scimitar to Fu Manchu, he is stripped of his shirt, hung from the ceiling and whipped to orgasmic ecstasy of Fah Lo Suee. Both Karloff and Loy were constantly receiving new dialogue to learn, even whilst in the make-up chair. This would subsequently result in their performances coming across as tongue-in-cheek, attempting to outdo each other. Their shared scenes are some of the highlights of the film. After Terrence's torture, Fah Lo Suee is caught by her father going to kiss the unconscious do-gooder. His hilarious response to her question over Terrence's attractiveness, hints at Fu Manchu possibly being attracted to him too.

"You will think as I think! See as I see! And do as I command!"

Constantly, the film visually impresses with its copious eye catching sets and exotic costumes. Despite how much it reeks of a mere exploitation film, The Mask of Fu Manchu is a surprisingly breathtaking film to look at. Both Karloff and Loy seem to be dressed in a different, patterned silk robe in every scene they're in. At one point, Karloff wears a ridiculous fruit-looking hat that's more fitting for Carmen Miranda, whilst delivering a speech full of hate to an army of Asian and Middle -Eastern fanatics. Favourite set design is the room where Terrence is humiliatingly wearing an adult diaper and strapped to an operating table. It's a vast room with Fu Manchu in surgical garments, administering a mind control drug to him. Standing on pedestals are black subordinates in loincloths resembling Oscar awards. This looks like it belongs in a science fiction set in the future. The sci-fi aesthetic can also be witnessed in another sparse room, featuring the previously mentioned giant metallic spikes. Further evidence, is the room which houses a powerful death ray, turning out to be ever so handy for the final moments in the film.

"Kill the White man and take his women!"

Undoubtedly, the most glaring issue in The Mask of Fu Manchu is its racist content. Ninety years later, it's equally as uncomfortable for lefty pearl-clutchers as it once was for authoritarian conservatives in the past. Horseshoe Theory in full effect. For this humble blogger, one who's watched a veritable smorgasbord of depraved films, and frequented the metaphorical Wild West of early 2000s Rap message boards, The Mask of Fu Manchu is a treasure trove of derogatory stereotyping and blissful ignorance, which could never realistically be replicated today (in the First World at least). Sure, Karloff in garish prosthetic make-up looks like an offensive caricature of an Asian; and yes, both Asian and other non-White racial stereotypes are also featured in the film. However, there's also a strong anti-White sentiment in the film that would even have Netflix execs deeming it extreme, even for them, which at the very least, balances the scales for me. In true racial equality, it offends everyone equally. And even if it didn't, it still wouldn't compel me into spewing some obligatory defensive apology like some over on Letterboxd. I found The Mask of Fu Manchu entertaining and funny.

The Mask of Fu Manchu is an outrageous, yet amusing gem from the pre-Code era. Like one of Fu Manchu's concoctions, the fact that it's over ninety years old and still a potent mix of sex, sadism and racism, makes it cinematic gold for me. A very strong recommendation from me.