Filmed in 1935, CHARLIE CHAN IN Egypt is the eighth film in the 20th Century Fox series. It is also a pivotal film in the series--and at the same time one of the most problematic.
A French museum has funded an archaeological expedition with the clear understanding that all finds are to become property of the museum. The expedition is successful, uncovering the tomb of a high priest named Ahmeti. But when items that should be delivered to the museum begin to show up on the international market, the museum dispatches Charlie Chan... and murder is there to meet him.
Earlier Chan films were grounded in reality; no matter how odd in plot or detail, they had a certain sense of possibility. Egypt, however, introduces a note of fantasy. The exotic nature of the setting is heightened in the sets and costumes; Egyptian gods and goddesses and the findings from the tomb offer a touch of the occult as well. And the plot requires the use of two drugs that do not seem to have any real-life counterpart, most notably the marijuana-like "mapuchari." These ideas would prove extremely influential for later Chan films, and mysticism, the supernatural, the occult, and "mystery" drugs would become a common feature of many future films in the series.
At the same time, Egypt is problematic due to the presence of actor Lincoln Perry--better known to audiences by the stage name Stepin Fetchit. An African-American, Perry developed the character in the 1920s; it became an audience favorite in the 1930s, and he would play the character throughout the decade and well into the 1940s, making (and due to gambling problems, loosing) a fortune in the process. Seen today, however, Stepin Fetchit tends to leave viewers utterly aghast. The character is incredibly stereotypical: a lazy, cowardly, foot-dragging, speech-slurring, and very stupid black man.
In many respects, Stepin Fetchit is an example of "dialect comedy" that was popular in America for some one hundred years or more, and as a specific character he might be considered a holdover from the minstrel tradition, which remained popular in the United States right up until World War II. Even so, and in spite of the fact that the character was both created and performed by a black man, it was essentially racist humor, and no amount of context can ever make it wholly acceptable. There are occasional moments in the film in which Perry's artistry is very evident--but this, if anything, makes the performance all the more disconcerting.
Still, and perhaps as much because of Perry's performance as anything else, CHARLIE CHAN IN Egypt is a fascinating little film. It offers an unexpected view of what most audiences considered acceptable in 1935, it has considerable style, and it also has a very young Rita Hayworth (appearing under her real name as Rita Cansino) in the small role of an Egyptian servant. Even at this early date the director and cinematographers seemed to recognize her potential, and she is allowed more close-ups than a bit player ought to have!
Given the issues surrounding this film, I find it hard to recommend to any one other than Chan film fans. Unfortunately, even they will have a hard time finding it; it is not presently available on VHS or DVD, and accusations of racism make it particularly difficult to find on television.
Gary F. Taylor, aka GFT, Amazon Reviewer
A French museum has funded an archaeological expedition with the clear understanding that all finds are to become property of the museum. The expedition is successful, uncovering the tomb of a high priest named Ahmeti. But when items that should be delivered to the museum begin to show up on the international market, the museum dispatches Charlie Chan... and murder is there to meet him.
Earlier Chan films were grounded in reality; no matter how odd in plot or detail, they had a certain sense of possibility. Egypt, however, introduces a note of fantasy. The exotic nature of the setting is heightened in the sets and costumes; Egyptian gods and goddesses and the findings from the tomb offer a touch of the occult as well. And the plot requires the use of two drugs that do not seem to have any real-life counterpart, most notably the marijuana-like "mapuchari." These ideas would prove extremely influential for later Chan films, and mysticism, the supernatural, the occult, and "mystery" drugs would become a common feature of many future films in the series.
At the same time, Egypt is problematic due to the presence of actor Lincoln Perry--better known to audiences by the stage name Stepin Fetchit. An African-American, Perry developed the character in the 1920s; it became an audience favorite in the 1930s, and he would play the character throughout the decade and well into the 1940s, making (and due to gambling problems, loosing) a fortune in the process. Seen today, however, Stepin Fetchit tends to leave viewers utterly aghast. The character is incredibly stereotypical: a lazy, cowardly, foot-dragging, speech-slurring, and very stupid black man.
In many respects, Stepin Fetchit is an example of "dialect comedy" that was popular in America for some one hundred years or more, and as a specific character he might be considered a holdover from the minstrel tradition, which remained popular in the United States right up until World War II. Even so, and in spite of the fact that the character was both created and performed by a black man, it was essentially racist humor, and no amount of context can ever make it wholly acceptable. There are occasional moments in the film in which Perry's artistry is very evident--but this, if anything, makes the performance all the more disconcerting.
Still, and perhaps as much because of Perry's performance as anything else, CHARLIE CHAN IN Egypt is a fascinating little film. It offers an unexpected view of what most audiences considered acceptable in 1935, it has considerable style, and it also has a very young Rita Hayworth (appearing under her real name as Rita Cansino) in the small role of an Egyptian servant. Even at this early date the director and cinematographers seemed to recognize her potential, and she is allowed more close-ups than a bit player ought to have!
Given the issues surrounding this film, I find it hard to recommend to any one other than Chan film fans. Unfortunately, even they will have a hard time finding it; it is not presently available on VHS or DVD, and accusations of racism make it particularly difficult to find on television.
Gary F. Taylor, aka GFT, Amazon Reviewer