SLIGHT SPOILERS Finally I get to see one of those early Chinese-themed dramas with Hollywood actors made up like Orientals. I'm not talking about a blockbuster like The Good Earth or Dragon Seed, but one of the early sound potboilers. When The Hatchet Man begins, I'm a little leery. A lengthy printed prologue spells out the story premise. I suspect while reading it that this is OK because the cultural norms to be depicted are alien and unfamiliar to a 1932 American movie audience. Edward G. Robinson, always superb, is fine as always; at first I can't recognize Loretta Young though, while on the other hand, Leslie Fenton doesn't initially strike me as Chinese. I'm wondering if the movie is going to be a lot of stereotyped bunk, full of coincidences and contrivance.
Before long, it soon wins me over, getting better and than better still. The Hatchet Man approaches racial dynamics with more insight than expected. Director William Wellman applies intelligence, handling this thriller's more lurid aspects with needed detachment, as in less worthy hands it could've all gone melodramatically out of control. It's pre-Code, so I'm not really surprised that drug use is important to setting up the film's climax, and that one figure, formerly an assassin, is unpunished at fade out. Meanwhile, good character actors handle themselves convincingly (except for Charles Middleton, who is too much like Charles Middleton, and there is still the question of Fenton's casting, although he performs well). Also, I'm starting to come around to the realization that Loretta Young's acting range is limited,something her doll-like beauty has been distracting me from noticing through numerous films of this period.
But the corker is the clever, shocking, coolly ironic surprise ending. People, you have got to see this. Few movies have ever ended with such a jolt!
Before long, it soon wins me over, getting better and than better still. The Hatchet Man approaches racial dynamics with more insight than expected. Director William Wellman applies intelligence, handling this thriller's more lurid aspects with needed detachment, as in less worthy hands it could've all gone melodramatically out of control. It's pre-Code, so I'm not really surprised that drug use is important to setting up the film's climax, and that one figure, formerly an assassin, is unpunished at fade out. Meanwhile, good character actors handle themselves convincingly (except for Charles Middleton, who is too much like Charles Middleton, and there is still the question of Fenton's casting, although he performs well). Also, I'm starting to come around to the realization that Loretta Young's acting range is limited,something her doll-like beauty has been distracting me from noticing through numerous films of this period.
But the corker is the clever, shocking, coolly ironic surprise ending. People, you have got to see this. Few movies have ever ended with such a jolt!