Chu Chin Chow (1934) User Reviews

Where the background music eclipses nearly everything else.

[loza-1 · 7/10 · 20 November 2016]

Chu Chin Chow was a well-known stage musical that started during the First World War years and lasted through the twenties and the thirties. Then mention of it suddenly stopped and was heard of no more. Of the songs used in the musical, only the Shoemaker's Song was catchy enough to survive outside the musical, and was covered by all kinds of musicians from trad jazz bands to Paul Robeson.

As others have said, the musical is set in Baghdad and is a variant of Ali Baba and the Forty Thieves. The costumes are exaggerated, with grotesque turbans and fezzes.

What is unusual for a British film is that the background music is almost non-stop. Often the background music has nothing to do with what is happening in the scene, and is thus more like Muzak in a supermarket or an elevator. This was sometimes done in early thirties films by First National/Warner Brothers. This is the first time I have encountered this in a British film.

The orchestration is adventurous and the higher pitches feature unusual instruments. These include domras that tremolo in the string section, and - soloing in the woodwind - are a sopranino recorder, and even an ocarina, to accentuate clownishness. As big jars, each containing a thief, are rolled into a pit, we hear the timpani making a thunderous noise - inappropriate due to the size of the jars, but unbelievably effective.

With one exception, the singers are not very good. The exception is the Australian basso profondo, Malcolm McEacharn, who is billed as "Jetsam," because he was a member of the Flotsam and Jetsam duo. An exceptionally rich and powerful voice that can reach down, down, down to depths that a basso cantate like myself can only dream about.

I have never seen anything quite like this in a British film of the period.

CHU-CHIN-CHOW (Walter Forde, 1934) ***; ALI BABA NIGHTS {Re-Edited U.S. Version} **1/2

[Bunuel1976 · 7/10 · 3 January 2008]

I knew of this Oriental musical adventure (produced by the pioneering Michael Balcon and already filmed as a Silent), but wasn't aware that it was directly inspired by the Arabian Nights fable of Ali Baba And The Forty Thieves (in spite of its being retitled ALI BABA NIGHTS; more on this later). The current title is rather misleading, as it gives one the impression of being set in China – and especially since the character of Chu-Chin-Chow himself, a Chinese merchant, is only a minor one. Besides, being a British film from the early Talkie era, I fully expected it to be a stodgy affair – merely "a curiosity", as Leslie Halliwell called it. However, I found it an enthralling and highly enjoyable piece of work – and still pretty much a unique entertainment after all these years.

Incidentally, prior to viewing the film I re-read DVD Savant's review (if anything to ascertain myself that it was fitting Christmas fare) – I was quite intrigued by Glenn Erickson's comments (sharing his view of the ornate sets as being a particular standout), but also ended up disagreeing with his opinion about the static quality of the cinematography…as I actually felt that Max Greene's camera was reasonably mobile throughout. Being undeniably archaic by today's standards, the songs, Busby Berkeley-ish dance numbers, and the comedy and romance elements are all a matter of taste – in fact, they constitute the film's main source of longueurs, if still intrinsically charming ingredients of the whole package. On the other hand, it turned out to be surprisingly bloodthirsty for what was essentially popular entertainment! The plot has been opened up from the traditional story, while also making Ali Baba a coward – but this is the still the most satisfying version I've watched, certainly the most fascinating (for various reasons).

The villain is played by Fritz Kortner (looking like a flabbier, less handsome version of Douglas Fairbanks at times and a Wallace Beery-lookalike at others, but with a voice sounding uncannily like that of Otto Preminger!), gives an entertainingly ripe performance – witness his orgasmic thirsting for Ali Baba's blood as he lays out his plans for the final assault (he's even made to don a number of clever disguises throughout). The formidable Anna May Wong has a relatively small role but is quite impressive nonetheless. George Robey's Ali Baba, then, is accompanied by a comically somnolent theme tune every time he appears; I'd only seen his brief performance in Laurence Olivier's Shakespearian adaptation of HENRY V (1944), but I can see how the actor's amiable brand of fooling would be lapped up by audiences of the time – incidentally, I need to pick up his DON QUIXOTE (1933) on DVD, a film directed by German émigré G.W. Pabst (with whom Kortner himself had made the seminal PANDORA'S BOX [1929]). Lovely Pearl Argyle isn't the typically bland damsel-in-distress, but rather a resourceful heroine; Dennis Hoey (Inspector Lestrade of the modernized Basil Rathbone-Nigel Bruce Sherlock Holmes series) is Kortner's second-in-command; Francis L. Sullivan is very amusing as the perennially bored Caliph, who's then overjoyed when Abu Hasan's plans are foiled in his presence – thinking that it was all part of the evening's entertainment as prepared by Ali Baba!; Malcolm McEachern – billed simply as Jetsam! – is the burly majordomo with a baritone voice who acts as Chorus throughout.

Curiously enough, a full 19 years later it was re-issued in the U.S. by Robert Lippert in a much shorter version (reduced from 102 minutes to 76!) retitled ALI BABA NIGHTS – this version is available on Disc 2 of VCI's surprising 3-Disc Set of CHU-CHIN-CHOW, and accompanied by the Popeye ALI BABA short I viewed recently. Ironically, this re-edit is presented in a better-looking print than the 'original' – but the image has been zoomed-in somewhat; many of the songs have been dropped (making the few that remain feel somewhat incongruous), though not the various dances; the romantic subplots are diminished, and so is the role of Robey's elderly wife and plump lover; ditto the allusion during the final banquet to The Caliph's vindictive treatment of disappointing hosts; some of the edits, however, are clumsily done – especially the death scene of Robey's brother, which is interrupted half-way through!

One last word: Fritz Kortner followed this with another exotic melodrama, the even better-regarded ABDUL THE DAMNED (1935) – which has been thoughtfully included by VCI in this set (see below for my comments about that film).

A lavish production

[Paularoc · 6/10 · 3 September 2015]

This movie is adapted from the incredibly popular British musical stage show that had over two thousand performance on the London stage. It's based on the Ali Baba and Forty Thieves story. The sets are lavish and highly stylized and a large number of extras are used - the production values in this movie are stunning. The uncut 102 minute version is available from VCI Entertainment - it's a very good print. For me, the major reasons for seeing this film are that it is of such historical importance and that it features Anna May Wong. It was nice seeing her in such a prestigious film. That said, some of the acting was overdone and not really suitable for film, although undoubtedly fine for the stage. It's purely a matter of taste but I didn't find the story interesting or the music memorable or enjoyable. I think the movie is too long and slow going. I probably should have watched the 78 minute version - which VCI includes with the uncut version set.

An Enjoyable Old-Fashioned Mix

[Snow Leopard · 12 December 2005]

With an enjoyable old-fashioned mix of humor, melodrama, musical, and pageantry, this adaptation of the stage show "Chu Chin Chow" is still well worth seeing. It does a good job for its time of blending everything together with a consistent pace and without any dull stretches. It makes good use of the Arabian Nights' story setting, while not taking itself too seriously.

The plot is based on the well-known story of Ali Baba contending with Abu Hasan and his cave full of thieves and cutthroats. George Robey as Ali Baba and Fritz Kortner as Hasan both seem to be having a good time, and they give pleasantly exaggerated performances, slightly over-emphasizing their expressions and their characters' traits.

But the star of the cast is Anna May Wong, who plays a slave girl who spies on behalf of Hasan. The role offers little challenge for someone of Wong's considerable acting talents, but it gives her a chance to grab numerous scenes. She gives her character a formidable presence and a very attractive appearance that make her the center of attention when she is on the screen.

Overall, it's nothing to take seriously, but it is very good escapist entertainment for those who enjoy the movies of the era. There was also an American release, "Ali Baba Nights", which cut out the musical numbers and some other material, giving it a quicker pace but a less lavish style, without quite as much atmosphere.

Breakthrough Film for Anna May Wong - Chu Chin Chow

[arthur_tafero · 7/10 · 23 March 2022]

This was a breakthrough film for the talented Anna May Wong. Previous to this film, she was typecast as an oriental vamp, and generally relegated to secondary roles. In this film and "The Goddess", she takes on leading roles with aplomb.

This is a musical version of Ali Baba and the Forty Thieves, which has been done several times before and since by various directors and actors. This one is much better than average, as Wong makes it so. Add a star if you like musicals.

Any Time's Viewing Time

[Spondonman · 9/10 · 17 September 2007]

This one works in all departments – a 1930's British film of a British stage musical that ran from 1916 to 1920 – the sheer artistry involved in this production disguised the staidly primitive techniques. And the production is breathtaking at times – it shows just what can be achieved with a little money but plenty of intelligence. George Robey, three decades past his Prime Minister Of Mirth heyday was perfect in the main role of Ali Baba. Just in case you ever wonder: even when young he never had a singing voice, it was his down to Earth silliness playing with words that endeared him to British Music Hall audiences.

It's the story of Ali Baba and the Forty Thieves and his sudden rise to wealth and power, from the finding of their cave and robbing the robbers of their treasures. The magnificent Chu Chin Chow of the title and his coterie travelling to Baghdad are reduced to dust in double quick time, leading to the imposture by Abu Hasan and his Thieves at the court of Kasim Baba. The sets are astounding, probably gossamer but believable. Fritz Kortner as Head Thief is suitably savage, and Anna May Wong (again playing the treacherous insider, as in Fairbanks' Thief Of Bagdad) as his … slave is in a difficult position for the entire film. Along the way are some lovely songs: The Cobblers Song, the incredibly romantic Corraline (sung in the sparkling "moonlight" to every camera angle imaginable), I Love Thee So (languid and atmospheric photography) but especially the gorgeous Any Time's Kissing Time. Robey and Thelma Tuson gave it their all and succeeded in creating the most delicious idiotic/romantic 2 minutes in film history – just look at the slaves laughing in the background!

It's one of the best British films from the decade even so I don't expect UK TV to ever show it again, but it's one I trot out on video to watch every few years with no loss of enjoyment. It might have been better in Technicolor because a lot of people who might have liked it today could be put off by the black and white photography. But if you can sink into the first 10 minutes or so you'll find a little gem worth the taking.

Very enjoyable

[eddie-56 · 8/10 · 21 December 2005]

This film would have been shown in New Zealand when I was about 7 or 8 I'm now 78. There are some films from that era that stand out in my mind and this is one of them. I must have seen thousands of films since, 95% now forgotten but I always remembered Chu Chin Chow and have waited for it in vain on TCM. Checked it out on Amazon and there it was on DVD, it arrived this morning and I have watched it in full. I'm not disappointed. It is hard to believe that this was a British production because it is way up there with the best of the Americans of the era. George Robey is great and Anna May Wong a gem. It is a DVD I'll watch more than once.

Musical Version Of Ali Baba & The Forty Thieves

[Cinebug · 10/10 · 26 August 2001]

CHU CHIN CHOW (1934) is one of the best films from Anna May Wong's British period. Disappointed that her career had been stuck in a succession of oriental vamp roles, she went to Europe and accepted an invitation from E. A. Dupont (director of VARIETY with Emil Jannings) to do PICCADILLY.

First filmed in 1925 with Betty Blythe, CHU CHIN CHOW is the Arabian Nights story of Ali Baba And The Forty Thieves, with musical numbers as you might expect to see them in a British music hall of the era---------including some pre-Busby Berkeley choreography. It was London's longest running musical and is given an elaborate screen adaptation. The production boasts sumptuous sets and lush cinematography, meant to suggest the Western view of the mysterious orient, and has a lavishness usually missing from the films of depression era Britain. The choreography, while interesting as a record of the time period, gave Busby Berkeley few sleepless nights.

An international cast, with wildly varying accents, lent CHU CHIN CHOW an odd otherworldly flavor, which fit nicely with the Arabian Nights fantasy. Besides the very beautiful and American Anna May Wong, the role of Ali Baba is played by comedian George Robey, known in Great Britain as "the Prime Minister of Mirth."

Austrian born Fritz Kortner brought a malicious enthusiasm to the role of Abu Hassan, the bandit chief. Kortner plays the part with his usual over-the-top expressionist style-------almost as if he were a very wicked little boy----------cruel and murderous one moment, cuddly and boyish the next. It was only in his American films that he approached a role with anything like restraint. He had been something of a popular curiosity in Europe for staging "eccentric" versions of Shakespeare. His right hand man in the film is Dennis Hoey, best known to American audiences as the baffled and long-suffering Inspector Lestrade opposite Basil Rathbone's Sherlock Holmes.

Pearl Argyle, one of the most beautiful leading ladies in British films, has the romantic lead of Marjanah, but is best known for her appearance as Katherine Cabal opposite Raymond Massey in THINGS TO COME. The part of Abdullah, the singer with the very low voice, is the famous Mr. Jetsam (Malcolm McEachern), the deeper half of the popular singing duo of Flotsam and Jetsam.

Most amusing of all, though, is Francis L. Sullivan, who specialized in comically pompous and officious types, playing the Caliph toward the end of the film. The famous story told about him is from the early days when British television was still live. He was reputedly playing a passenger on a plane in flight, but had evidently forgotten his lines. On camera, he blithely ad-libbed to the passenger next to him, "Excuse me, this is my stop" and left the set. But whatever his eccentricities, he and his broad girth gave an immensely enjoyable performance in one of the most fondly remembered British films of the 30's.

Jay F.

Energetic, Fun and Anna May Wong

[boblipton · 9/10 · 21 April 2018]

Michael Balcon certainly pulled out all the stops for his production. Originally conceived by Oscar Ashe as a combination of Christmas pantomime and operetta, based on the success of KISMET, it had become the West End's biggest wartime hit, as soldiers on leave flocked to see it -- with the censors reading the mail to and from their girlfriends, I imagine some of them felt the closest they could come to discussing what their plans would be "Get some tickets for the show and a hotel room since it will be too late to return home after. Bert said he and his girl had a great time."

In any case, the show not only played for over 2,000 performances, it toured for decades. The movie had to compete with that, so director Walter Forde had enormous sets built. Cinematographer Mutz Greenbaum keeps his camera moving constantly, and a great cast, including George Robey as Ali Baba, Fritz Kortner, Anna May Wong, Francis L. Sullivan, and Frank Cochrane reprising his role of "the Cobbler" from the original stage show, keep things hopping.

There are lots of complaints about British musicals, but considering MGM was about to enter on a series of stolid and very successful operettas starring Jeanette MacDonald and Nelson Eddy the following year, this lively example of the genre is a lot of fun.

Me likee!

[ptb-8 · 8/10 · 6 April 2004]

Sumptuous British Gainsborough Pictures production with a huge budget for its day ($500K) plays a lot like a cross between THE THIEF OF BAGHDAD and KISMET all bumbling through meters of silk and pearls on their way to a Gilbert and Sullivan convention.

Anna Mae Wong is just so beautiful and this very funny - delicious- farce is a pleasure to watch. Often referred to as an antique musical in that creaky British manner of 30s films - it is actually a lot better than that and viewers will find the whole concoction quite intoxicating. I am sure it did influence Hollywood and had Selznick known it was possible to make such a lavish fantasy musical I am sure he would have made in color too. Instead he made THE GARDEN OF ALLAH which this gives more than a veiled nod towards. Of course if Howard Hughes press-ganged RKO onto it we would have got ...huh? we did? oh yes...THE SON OF SINBAD. Chu Chin is good Chow. Enjoy!

Britfilm with GUTS!!

[lambchopnixon · 10/10 · 6 July 2004]

Think of Michael Powell/the Korda brothers' Thief of Bagdad but better, even! An Arabian nights adventure but no stops for spectacle, rather a seamless story and an unrestrained telling almost unprecedented in British film. The sets are wonderful, there are songs popping up in the least expected places, the direction has a verve rarely seen elsewhere in British film and the story is adapted with guts and no fear that restraint (any) must be employed, as it usually is, it seems neccesarily, in British film. It's a film which goes all the way in all departments, astonishing for any age let alone for 1934, just a year after Korda's Private Lives of Henry VIII had opened things up a bit for Britfilm.

One of the all-time greats of British film but never released on VHS.

[lambchopnixon · 10/10 · 7 September 2004]

The sets are wonderful, there are songs popping up in the least expected places, the direction has a verve rarely seen elsewhere in British film and the story is adapted with guts and no fear that restraint (any) must be employed as it usually is, it seems necessarily, in British film. It's a film which goes all the way in all departments, astonishing for any age let alone for 1934, just a year after Korda's Private Lives of Henry VIII had opened things up a bit for Britfilm. It is an Arabian Nights fable, a better fantasy film even than Michael Powells (and others) Thief of Bagdad. WHY IS THIS FILM UNAVAILABLE ON VHS???? NOW THAT SOME LACK OF RESTRAINT IS ALLOWED AND POWELL AND PRESSBURGER CAN BE RECOGNISED AS GREATS, WHAT ABOUT THIS ONE WHERE ALL RESTRAINT IS THROWN OFF??

The old tale still thrills-- Anna May even more so.

[AnnieLola · 9/10 · 10 April 2022]

Like most British musical productions of the time, this can be a tad quaint; it's more semi-operetta than musical and lacks much in the way of memorable songs you'd find yourself humming afterward. Of course the music was nearly twenty years old when CCC made it to the sound screen and much of it didn't age well. But what the heck-- just go with it. "Ali Baba" is a good yarn, and this expands on it entertainingly. Dear old George Robey injects a light-hearted element into a sometimes dark and brutal tale. The sets and cinematography leave little to be desired except possibly color. This was such a sumptuous spectacle onstage that I'd be willing to set aside my objections to colorization in this instance. But one can imagine the color!

The original story (set in Persia) had only the one slave-girl, the formidable Marjanah, who out of devotion to her master singlehandedly killed off the thieves and their chief. Working this with two slave girls, one good and one bad, is a pretty good device, since a nice virtuous slave-girl doesn't go about performing mass murder, while a ruthless bad slave-girl is capable of just about anything. Lots of ruthless people in this opus, and Fritz Kortner's odious Abu Hassan is an especially nasty piece of work.

Pearl Argyle makes a winsome and courageous slave-girl Marjanah, beloved of Ali Baba's son Nur-al-Din (John Garrick), who regales her with excruciating love ballads. Much is made of the barrier of class distinctions standing in the way of their union. Supposedly only the Caliph has authority to 'free' her and make her available for marriage, when as family property a female slave could be handily made a wife-- in fact slaves were preferred, since they were so much more submissive than free-born women. But Marjanah was the property of Ali Baba's wealthy merchant brother Kasim Baba, who was not a generous man. Luckily that obstacle is removed...

Things heat up when Anna May appears. As Zahrat, also a slave in the household of Kasim Baba, at first she seems the expected go-to girl for Treacherous Oriental Temptress; however, there's more to her than just slinking about looking inscrutable. She gets in some real acting, and even half of a song: the haunting "Cleopatra's Nile", to charm robber chief Abu Hasan. Alas, she should have been dubbed-- and I suspect that's why the second verse is lost in the scene's fade-out (to see what you're missing, go to YouTube and search on "Cleopatra's Nile" "Chu Chin Chow" for a gorgeous version, remastered in 2005). Zahrat has had the misfortune to fall in love with that villainous creep of a bandit (go figure), a heartless monster if ever there was one. But even she has her limits!

Sydney Fairbrother has the thankless role of Ali Baba's shrewish wife Mahbubah, whose disposition is however much improved by their sudden affluence after hubby raids the treasure cave. She'd probably always dreamed of a pet monkey! 'Mahbubah', by the way, isn't Arabic, but a Hindi or Urdu name meaning 'Beloved'. It's easy to see how she became an embittered hag, since she, her husband and son are kept in rags and no doubt worked like slaves by Kasim Baba, who cares for nothing but accumulating more riches. Doesn't even give them a place to live. But Ali Baba is cheerful nonetheless, for he is obviously a fool, and it takes wiser heads and bolder hearts to save him from a dreadful fate.

As Kasim's plump and indolent wife Alcolom, Thelma Tuson comes into her own when Ali Baba virtually inherits her from his rash and ill-tempered brother. Her delightful giggle launches their musical tête-à-tête-- and after all, quoth Ali Baba, "what can Mahbubah say? Hath not the Prophet ordained that a man shall marry four wives?" As he points out, Alcolom, being of such ample proportions, will be equal to three. Poor Mahbubah! But perhaps she too will become fat and jolly in time.

Francis Sullivan's bloodthirsty Caliph seems a bit bland and could have at least used more makeup; the Visier is a more impressive presence. But they serve their purpose in the story, so one needn't quibble. The lavish banquet mounted by Ali Baba to please the Caliph makes a fitting climax to the story, with dancing girls in (rather western) frilled chiffon and Anna May as the star dancer, in an Egyptian-styled costume. Zahrat ensures that the blasé Caliph finds this entertainment stimulating!

Curiously, the Asian actor who portrays Mandarin trader Chu Chin Chow is not mentioned in the credits, although this is the TITLE ROLE. Tsk! Surely he could have been included, even if his character is early on eliminated and then impersonated by the bandit chief. Perhaps someone can identify him.

Anna May Wong!

[fchase-72474 · 8/10 · 18 June 2017]

Here we go again: she's smarter, more tenacious, and of course more beautiful than anyone else. And boy, is she rugged too! This film is apparently a historically famous effort, but comes up short because there's not enough of the real star. We'll just have to take what we can get and be happy. (By the way, they've got the "Open O Sesame" bit all wrong--as Popeye showed us it's really "Open Sez Me!" And there's even a song about olive oil--but the wrong kind--they sing about the stuff you use for food, not the real Olive Oyl.)