A screening of a silent film, especially one that’s fairly obscure, is always an occasion to rejoice, because it’s (usually) more than just a film screening, but a live experience. Multi-instrumentalist Stephen Horne didn’t disappoint either, seamlessly integrating piano, accordion and a few other exotic instruments — hinting at the pseudo-orientalist intrigue — into his score. It’s also wonderful to see the talented Anna May Wong on the big screen, still best known perhaps for her turn in the same year’s Piccadilly, but she is a luminous on-screen presence, and an underrepresented face in the pantheon of cinema. Wong doesn’t disappoint in the title role, as a lowly nightclub dancer in some vague Eastern city (Istanbul was suggested) who finds herself early on being attacked by a group of ruffians and saved by surly Jack (Heinrich George), a man seemingly on the down-and-out. Soon, Song forms an affection for Jack as they go into work together… for it turns out he is a knife-thrower! This is, however, where the film’s great weakness is exposed, for the script is full of this kind of scarcely believable whimsy, as it introduces a long-lost love for Jack in the form of the haughty ballerina Gloria (Mary Kid), her boyfriend, a rich impresario, and a plot line about Jack losing his eyesight after a heist gone wrong — although this does at least lead to some tension when he’s doing his knife act. By the time the impresario has promoted Song to lead dancer at his swanky club (shades of Piccadilly) and is asking her to choose between him and the cruelly-abusive Jack (who still pines for Gloria), the relationship drama has all become a bit ‘whatever’ for this viewer, but at least Anna May’s star still shines bright.
Director Richard Eichberg; Writers Helen Gosewish and Adolf Lantz (based on the novel by Karl Vollmöller); Cinematographer Heinrich Gärtner; Starring Anna May Wong, Heinrich George, Mary Kid; Length 94 minutes.
Seen at Regent Street Cinema, London, Sunday 15 November 2015.