Anna May Wong was a pioneering Hollywood actress that emerged during the silent film era. She entered the film industry during a time of racial segregation when minorities were relegated to stereotypical roles. Nevertheless, Wong rose as a fashion icon and a standout performer in several silent films.
But after receiving few opportunities in America, Wong opted to take projects in Europe and she made several documentaries about China. Wong’s prominence made her the first Chinese-American Hollywood star and paved the way for positive Asian-American presentation. With 60 films in her slate, here are her 10 best works during her lifetime.
Mary Of The Movies (1923) - 7.0
Mary of the Movies is a semi-autobiographical comedy based on the life of Marion Mack, the actress who co-starred with Buster Keaton in the comedy classic The General. Mack plays Mary, a country girl who goes to Hollywood to become a movie star. Her luck pays off when her resemblance to an actress leads her to a large movie role.
Wong had an uncredited cameo as herself as one of the stars Mary meets. Her presence is a result of the recognition of her film, The Toll of the Sea.
Peter Pan (1924) - 7.0
Believe it or not, the first adaptation of J. M. Barrie’s literary classic, Peter Pan, is a silent film from 1924 and it set the template for future adaptations of Barrie’s iconic work. In the film, the mischievous boy Peter Pan brings the Darling children to Neverland, where they encounter different creatures and face off against Captain Hook.
While the film is praised for its innovative use of special effects (particularly with Tinker Bell), it featured the Chinese-American Anna May Wong as the Native American, Tiger Lily. Despite its offensiveness in modern times, Wong at least played her convincingly.
The Crimson City (1928) - 7.1
During her time, Anna May Wong was always stereotypically cast as the “Dragon Lady” or “Madame Butterfly-type” supporting roles. One such example is her role of Su in the silent interracial drama, The Crimson City. The film is about an Asian woman named Onoto (Myrna Loy) who falls in love with her rescuer, Gregory Kent (John Miljan).
One of the problems with racial representation in movies at that time is that main Asian characters were generally played by Caucasian actors donning horrific yellowface, while Asian actors took stereotypical supporting roles. Regardless, Wong made Su authentic.
Impact (1949) - 7.1
From silent films, Wong made a seamless transition to talkies. One of them was one of her last film projects, the black-and-white film noir, Impact. Starring Brian Donlevy and Ella Raines, the story is about the industrialist Walter Williams (Donlevy) who goes into hiding after his wife Irene intends to kill him by her lover.
The film is practically a B movie with its melodramatic plot and its pulpy twists, but it hits its targets well. In Wong’s case, her role as housekeeper Su Lin is razor-sharp, if not predictable.
Lilies Of The Field (1924) - 7.2
Here is a rare one. Lilies of the Field is a 1924 silent drama about a woman named Mildred (Corinne Griffith) who does not realize her husband, Walter (Crauford Kent), is cheating on her. She also delves into a debauchery-filled affair that results in Walter wanting to divorce her and take custody of their child.
Today, this silent film is considered to be a lost film, with only its trailer stored in the Library of Congress. Yet, it featured another uncredited cameo role from rising star, Anna May Wong.
Piccadilly (1929) - 7.2
By 1928, tired of being typecasted and denied lead Asian roles, Wong moved to Europe to find more acceptable film projects. The first of them is Piccadilly, a British film about a lowly dishwasher, Shosho, who was given the opportunity to be a nightclub’s main act, leading her to a life of puzzling deceptions.
As Shosho, Wong presented her character with expressive gravitas and irresistible allure. Her outfits were considered taboo at that time, but they helped her get recognized as a towering presence and a talent to behold.
The Fortieth Door (1924) - 7.3
Another lost film, The Fortieth Door is an adventure serial centering on an Egyptian archeological excavation, where an heiress named Aimee (Allene Ray) is caught in a tension between two parties, one of which includes the dashing hero Jack Ryder (Bruce Gordon). More thrills ensue.
At its time, the film was noted for its accuracy in depicting Egyptian historical sites, from the tomb interiors to the technicalities of Egyptology. For this round, Wong starred as Zira, one of the Egyptian affiliates who guided Jack and Aimee to the tombs.
Shanghai Express (1932) - 7.3
Released during the transitional years to talkies, Shanghai Express features Marlene Dietrich as Shanghai Lily, a mysterious but infamous figure who boards a train from Peking to Shanghai. Also aboard the train is her old flame, Captain Donald “Doc” Harvey (Clive Brook), who leads her back to her untangled past.
The film uses film noir elements to a humanistic drama about redemption. And with its innovative cinematography, every scene is dripping with artistry. While this is a star vehicle for Dietrich, Wong as Lily’s companion, Hui Fei, is also brilliant.
Dinty (1920) - 7.4
Dinty is Anna May Wong’s second film project and, again, she had an uncredited role as Half Moon. Film-wise, the story is about a newsboy named Dinty (Wesley Barry) who struggles to care for his ill mother. In the process, he deals with tension amongst other boys from the streets and drug smugglers from Chinatown.
Balancing comedic and dramatic stakes, Dinty focuses on Barry’s act. On the character side of things, the ethnic mix of the child gangs set the template for the series Our Gang and the film Little Annie Rooney.
The Thief Of Bagdad (1924) - 7.7
Finally, this is, arguably, Anna May Wong’s most famous project. The Thief of Bagdad is a silent swashbuckling adventure featuring Douglas Fairbanks as Ahmed, the titular thief who challenges a Mongol monarch in several exploits for the hand of a lovely princess. Ahmed must use his wits to obtain victory.
Over a period of swashbuckling serials, The Thief of Bagdad has proven to be essential for its intricate set-pieces, seamless special effects and effective use of its cast. Speaking of, Wong starred as a Mongol slave who catches Ahmed, but guides him in his exploits. This is truly a masterpiece.