The Bitter Tea of General Yen | |
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Directed by | Frank Capra |
Screenplay by | Edward Paramore |
Based on | The Bitter Tea of General Yen 1930 novel by Grace Zaring Stone |
Produced by | Walter Wanger |
Starring | |
Cinematography | Joseph Walker |
Edited by | Edward Curtiss |
Music by | W. Frank Harling |
Color process | Black and white |
Production company | |
Distributed by | Columbia Pictures |
Release date |
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Running time | 87 minutes |
Country | United States |
Language | English |
The Bitter Tea of General Yen is a 1933 American pre-Code drama war film directed by Frank Capra and starring Barbara Stanwyck, and featuring Nils Asther and Walter Connolly. Based on the 1930 novel of the same name by Grace Zaring Stone, the film is about an American missionary in Shanghai during the Chinese Civil War who gets caught in a battle while trying to save a group of orphans. Knocked unconscious, she is saved by a Chinese general warlord who brings her to his palace. When the general falls in love with the naive young woman, she fights her attraction to the powerful general and resists his flirtation, yet remains at his side when his fortune turns.
The Bitter Tea of General Yen was the first film to play at Radio City Music Hall upon its opening on January 6, 1933. It was also one of the first films to deal openly with interracial sexual attraction. [1] The film was a box office failure upon its release and has since been overshadowed by Capra's later efforts. In recent years, the film has grown in critical opinion. In 2000, the film was chosen by film critic Derek Malcolm as one of the hundred best films in The Century of Films.
In the late 1920s in Shanghai during the Chinese Civil War, as throngs of refugees flee the rainswept city, a couple of elderly Christian missionaries welcome guests to their home for the wedding of Dr. Robert Strike, a fellow missionary, and Megan Davis, his childhood sweetheart whom he has not seen in three years. Some of the missionaries have a cynical view of the Chinese people they have come to save. Shortly after Megan arrives, her fiancé Bob rushes in and postpones the wedding so he can rescue a group of orphans who are in danger from the spreading civil war. Megan insists on accompanying him on his mission.
On the way they stop at the headquarters of General Yen, a powerful Chinese warlord who controls the Shanghai region. While Megan waits in the car, Bob pleads with the general for a safe passage pass so he can save the orphans. Contemptuous of Bob's missionary zeal, General Yen gives him a worthless paper that describes Bob's foolishness. Bob and Megan reach St. Andrews orphanage safely, but the pass only makes the soldiers laugh and steal their car when they try to leave with the children. The missionaries and children eventually reach the train station, but in the chaos, Bob and Megan are both knocked unconscious and are separated.
Sometime later, Megan regains consciousness in the private troop train of General Yen, attended by his concubine, Mah-Li. When they arrive at the general's summer palace, they are greeted by a man, Jones, Yen's American financial advisor, who tells him that he has succeeded in raising six million dollars, hidden in a nearby boxcar, for General Yen's war chest. Megan is shocked by the brutality of the executions conducted outside her window. Fascinated and attracted by the young beautiful missionary, the general has his men move the executions out of earshot and assures her that he will send her back to Shanghai as soon as it is safe.
One evening, Megan drifts off to sleep and has an unsettling erotic dream about the general coming to her rescue and kissing her passionately. Soon after, she accepts the general's invitation to dinner. While they are dining, the general learns that his concubine Mah-Li has betrayed him with Captain Li, one of his soldiers. Later, after General Yen arrests Mah-Li for being a spy, Megan tries to intervene, appealing to his better nature. The general challenges her to prove her Christian ideals by forfeiting her own life if Mah-Li proves unfaithful again. Megan naively accepts and ends up unwittingly helping Mah-Li betray the general by passing information to his enemies about the location of his hidden fortune.
With the information provided by Mah-Li, the general's enemies steal his fortune, leaving him financially ruined and deserted by his soldiers and servants. General Yen is unable to take Megan's life—it is too precious to him. When she leaves his room in tears, he prepares a cup of poisoned tea for himself. Megan returns, dressed in the fine Chinese garments he gave her. She waits on him in the gentle manner of a concubine. When she says she could never leave him, he only smiles, then drinks the poisoned tea.
Sometime later, Megan and Jones are on a boat headed back to Shanghai. While discussing the beauty and tragedy of the general's life, Jones comforts Megan by saying that one day she will be with him again in another life.
The film is based on Grace Zaring Stone's 1930 novel of the same name. Stone wrote the book while living in China while her husband, Captain Ellis Stone, commanded the USS Isabel as it patrolled the Yangtze River. The novel is not about a romance between Megan and General Yen but rather concerns a philosophical contest between Megan's Christian worldview and Yen's "elegant, educated, wise, unsentimental" philosophy. The novel's Megan claims she wants to understand Yen. But when Megan pleads for Yen to spare Mah-Li and save his soul, Yen accuses Megan to wanting to change him. Screenwriter Edward Paramore jettisoned the philosophical nature of the hit novel and replaced it with a tale about a sheltered white woman who succumbs to the sensual nature of an exotic Asian. [2]
Director Frank Capra bluntly informed Columbia Pictures' head Harry Cohn that he wanted to win an Academy Award nomination. Cohn told him that only "arty" films were nominated. Capra cast about for a novel that fit the genre, and chose Stone's The Bitter Tea of General Yen. [3]
The film is one of the few Capra films which uses directorial flair and photographic tricks. [4] Capra had the film shot with a silk stocking over the lens to give the picture a diffused, romantic look. When a clearer image of an individual was needed, a cigarette was used to burn a hole in the stocking. [3] Unlike most Capra films, it contains a surrealistic dream sequence and a notable (for being so unusual for Capra) scene in which an optical printer is used to superimpose images of riots over Megan's face to make her emotional confusion seem more palpable. [4]
Capra believed The Bitter Tea of General Yen was a "women's picture". He asked 65 stenographers at the studio to vote for their favorite actor, and by a three-to-one margin they chose Nils Asther for the lead in the film. [5] For the role of Megan Davis, Capra cast Barbara Stanwyck. Capra considered her an outstanding actress, [6] and Bitter Tea was the fourth film they did together. [7] Capra also chose Stanwyck, she says, because he believed she needed to be glamorous after having played penniless or dowdy characters in all her prior films. [8] Capra refused to rehearse Stanwyck. Having worked with her before, he believed she delivered her best performance on the first take. Therefore, Capra rehearsed his other cast together first, then had Stanwyck step in and do her scene with them before the camera. [6] Stanwyck's wardrobe was designed by Robert Kalloch and Edward Stevenson. [9]
With a budget of $1 million, [10] the film had one of the smallest budgets Capra ever worked with. [4]
In his memoir, Capra recalls that "it was chosen as the film to open Radio City Music Hall." [11] It was scheduled for a two-week run but the theater yanked it after eight days and $80,000 in grosses, despite the certainty of a loss on its rental fee. Stanwyck blamed its poor box-office showing on racist backlash. [12]
The New York Times reviewer Mordaunt Hall said it was "a handsomely mounted affair with conspicuously good portrayals by Nils Asther and Walter Connolly...It is a story that is scarcely plausible but which has the saving grace of being fairly entertaining." [13] According to Time magazine, "Stanwyck is satisfactory ... but the most noteworthy female member of the cast is Toshia Mori, a sloe-eyed Japanese girl." [14]
Upon release, the British Board of Censors required cuts before they approved the film. When Columbia Pictures sought to reissue the film in 1950, the Production Code Administration was adamant that its characterizations of Americans and Chinese and a scene in which the heroine offered herself to the general were both "very questionable", and the film was not rereleased. [15]
The film has produced different viewpoints in recent years. Kevin Lee, writing in Senses of Cinema , notes that with changes in racial and sexual conventions, film scholars have objected to its Orientalism and white actors portraying Asian characters. Lee grants these objections but argues that for "those who are willing to plough beyond these surface reactions, what's left is a film that weaves an elaborate web out of competing cultural perceptions, social and religious values, and sexual desires." What Lee finds of values is that the film "risks offence for the sake of constructing a dialogue, one fraught with so many perils in the realms of politics, religion, cultures and sex, that it would not be worth it if it weren’t necessary." [16]
Barbara Stanwyck was an American actress, model and dancer. A stage, film, and television star, during her 60-year professional career she was known for her strong, realistic screen presence and versatility. She was a favorite of directors, including Cecil B. DeMille, Fritz Lang, and Frank Capra, and made 85 films in 38 years before turning to television.
Lost Horizon is a 1937 American adventure drama fantasy film directed by Frank Capra. The screenplay by Robert Riskin is based on the 1933 novel of the same name by James Hilton.
The following is an overview of 1933 in film, including significant events, a list of films released, and notable births and deaths.
Adeline Yen Mah (馬嚴君玲) is a Chinese-American author and physician. She grew up in Tianjin, Shanghai and Hong Kong, and is known for her autobiography Falling Leaves. She is married to Professor Robert A. Mah, with whom she has a daughter, and a son from a previous marriage.
Meet John Doe is a 1941 American comedy drama film directed and produced by Frank Capra, written by Robert Riskin, and starring Gary Cooper, Barbara Stanwyck and Edward Arnold. The film is about a "grassroots" political campaign created unwittingly by a newspaper columnist with the involvement of a hired homeless man and pursued by the paper's wealthy owner. It became a box-office hit and was nominated for an Academy Award for Best Story. It was ranked No. 49 in AFI's 100 Years ... 100 Cheers. In 1969, the film entered the public domain in the United States because the claimants did not renew its copyright registration in the 28th year after publication. It was the first of two features Capra made for Warner Brothers, after he left Columbia Pictures, the other being Arsenic and Old Lace (1944).
Nils Anton Alfhild Asther was a Swedish actor active in Hollywood from 1926 to the mid-1950s, known as "the male Greta Garbo". Between 1916 and 1963 he appeared in over seventy feature films, sixteen of which were produced in the silent era. He is mainly remembered today for two silent films – The Single Standard and Wild Orchids – he made with fellow Swede Greta Garbo, and his portrayal of the title character in the controversial pre-Code Frank Capra film The Bitter Tea of General Yen.
Toshia Mori was an American actress who had a brief Hollywood film career during the late 1920s and 1930s. Born as Toshiye Ichioka in Kyoto, Mori moved to the United States when she was 10.
The Miracle Woman is a 1931 American pre-Code drama film directed by Frank Capra and starring Barbara Stanwyck, David Manners, and Sam Hardy. Based on the play Bless You Sister by John Meehan and Robert Riskin, the film is about a clergyman’s daughter who becomes disillusioned by the mistreatment of her dying father by his church. Having grown cynical about religion, she teams up with a con man and performs fake miracles for profit. The love and trust of a blind veteran, however, restores her faith in God and her fellow man. The Miracle Woman was the second of five film collaborations between Capra and Stanwyck. Produced and distributed by Columbia Pictures, the film was reportedly inspired by the life of Aimee Semple McPherson.
Barbara Stanwyck was a prolific American actress and dancer who appeared in a total of 95 theatrically released full-length motion pictures. Orphaned before she was old enough to attend school, she became fascinated by the burgeoning film industry, and actress Pearl White in particular, whom she would mimic on the playgrounds. "Pearl White was my goddess, and her courage, her grace, and her triumphs lifted me out of this world."
So Big is a 1932 pre-Code American drama film directed by William A. Wellman and starring Barbara Stanwyck. The screenplay by J. Grubb Alexander and Robert Lord is based on the 1924 Pulitzer Prize-winning novel of the same name, by Edna Ferber.
Forbidden is a 1932 American pre-Code melodrama film directed by Frank Capra and starring Barbara Stanwyck, Adolphe Menjou, and Ralph Bellamy. An original story inspired by the 1931 novel Back Street by Fannie Hurst, with a screenplay by Jo Swerling, the film is about a young librarian who falls in love with a married man while on a sea cruise.
There's Always Tomorrow is a 1956 American romantic melodrama film directed by Douglas Sirk and starring Barbara Stanwyck, Fred MacMurray and Joan Bennett. The screenplay by Bernard C. Schoenfeld was adapted from the novel of the same name by Ursula Parrott. The plot concerns a man's unhappiness with his domestic life and romantic relationship with a former employee. The film was produced by Ross Hunter for Universal Pictures, which had also produced the 1934 adaptation of Parrott's novel. It was released in the United States on January 8, 1956.
B.F.'s Daughter is a 1948 drama film directed by Robert Z. Leonard and starring Barbara Stanwyck and Van Heflin. It was adapted from John P. Marquand's 1946 novel of the same name, about a prominent couple whose marital tensions come to a boiling point during World War II. The book was controversial for its treatment of social conflicts and adultery, but the film is a sanitized and fairly conventional love story.
Ladies of Leisure is a 1930 American pre-Code romantic drama film directed by Frank Capra and starring Barbara Stanwyck and Ralph Graves. The screenplay by Jo Swerling is based on the 1924 play Ladies of the Evening by Milton Herbert Gropper, which ran for 159 performances on Broadway.
Wild Orchids is a 1929 American synchronized sound drama film from Metro-Goldwyn-Mayer directed by Sidney Franklin and starring Greta Garbo, Lewis Stone and Nils Asther. Only these three stars received cast credit. While the film has no audible dialog, it was released with a synchronized musical score with sound effects using both the sound-on-disc and sound-on-film process. The plot is very similar to Garbo's later sound film, The Painted Veil (1934).
Flying Blind is a 1941 American action comedy film directed by Frank McDonald and distributed by Paramount Pictures. The film was the second movie from Pine-Thomas Productions. That company's first three films formed an unofficial "aviation trilogy"; all starred Richard Arlen.
His Brother's Wife is a 1936 American romantic drama film directed by W. S. Van Dyke and starring Barbara Stanwyck and Robert Taylor. Written by Leon Gordon and John Meehan, based on a story by George Auerbach, the film is about a scientist preparing to leave for the jungles of South America to work on a cure for spotted fever. Wanting to have some fun before his trip, he goes to a gambling club where he meets and falls in love with a beautiful model while falling deep into debt. When he turns to his brother for help, his brother agrees to cover the debt, but only if he leaves without her. While the scientist is away, his brother and the model get married.
The Night of January 16th is a 1941 American crime drama film directed by William Clemens, based on a 1934 play of the same name by Ayn Rand. The story follows Steve Van Ruyle and Kit Lane as they investigate the apparent murder of Lane's boss, in an attempt to clear her as a suspect.
The Prisoners of Shanghai is a 1927 German silent drama film directed by Géza von Bolváry and Augusto Genina and starring Carmen Boni, Jack Trevor, and Bernhard Goetzke. The film's sets were designed by the art director István Szirontai Lhotka. It focuses on similar themes to the subsequent Hollywood films Shanghai Express (1932) and The Bitter Tea of General Yen (1933).
The Man Who Lost Himself is a 1941 American comedy film directed by Edward Ludwig and starring Brian Aherne, Kay Francis and Nils Asther. Aherne plays a man who encounters his exact double and is later mistaken for the other man who is now dead. The film is based on the novel of the same name by Henry De Vere Stacpoole. The novel was also previously adapted to film in 1920. The new version shifts the setting from London of the original to New York, although it features several British actors.