Hai-Tang

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Hai-Tang
Le Chemin du déshonneur
Directed by Richard Eichberg
Jean Kemm
Written by Monckton Hoffe
Pierre Maudru
Ludwig Wolff
Produced byRichard Eichberg
Starring Anna May Wong
Marcel Vibert
Robert Ancelin
Cinematography Heinrich Gärtner
Bruno Mondi
Music by Hans May
Production
companies
Release date
  • September 1930 (1930-09)
Running time
80 minutes
CountriesGermany
United Kingdom
Language French

Hai-Tang, also known as Le Chemin du déshonneur (The Road to Dishonour) is a 1930 British-German drama film directed by Richard Eichberg and Jean Kemm and starring Anna May Wong, Marcel Vibert and Robert Ancelin. [1] It was made at Elstree Studios.

Contents

Multiple-language versions

Like many other films of the early talkie era before dubbing became more widespread, the film was shot in multiple-language versions, each with a different cast. Three versions of the film were made so they could be screened throughout Europe and the colonial world, such as in Mozambique, Australia and South Africa. [2] This was Wong's first sound film billed as the star, [3] [4] [Note 1] and in all three versions she appeared as the female lead.

An English-language version ( The Flame of Love/The Road to Dishonour) and a German-language version ( Hai-Tang: Der Weg zur Schande ) of the film were made with different casts [Note 2] except for Wong, who spoke her part in three different languages. The French-language version was sometimes referred to as L’Amour, maître des choses in French film magazines). [5] Confusingly, all three versions are often referred to simply as Hai-Tang. [6]

Synopsis

In the Russian Empire, a young officer and a powerful Grand Duke both fall in love with a Chinese woman.

Cast

Notes

    1. Wong acted in one of several vignettes in the earlier 1930 musical film review Elstree Calling .
    2. Ley On played Hai-Tang's brother Wang-Hu in all three versions. Mona Goya played the role of Yvette in the French and English-language versions.

    References

    1. St. Pierre p.83
    2. Lim 2019, p. 34.
    3. Hodges 2004, p. 88.
    4. Lim 2019, p. 83.
    5. Lim 2019, p. 107.
    6. Chan 2003, p. 217.

    Sources

    See also