Old Hollywood movies have a distinct naive charm to them that grants filmmakers significant license. "Blood Alley," from 1955 is such a movie. Hollywood couldn't make this movie today, but not only for the obvious reasons of yellow-face, racism, and sexism. Today, this movie couldn't be made because Hollywood is increasingly reliant on international markets. Recently, "2012" has been a great success here in the mainland, largely because of its positive portrayal of China. But "Blood Alley," a major release from the beginning of the Cold War, is a curious anti-communist movie that could never make it to China, an emerging market Hollywood takes very seriously.
The movie itself is simple: an old China hand Merchant Marine (John Wayne) is busted from Chinese prison and brought to a village where he pays for his freedom by captaining a ferry of villages in a daring escape to Hong Kong. Somehow Lauren Bacall's Cathy Grainger, a woman who lives in the village with her absent, drunk father, manages to fall in love with him. I should add that she falls in love with Wayne's character, Wilder, despite his assertion that he's got "dames all up and down the coast" and a strange incident in which he slaps her in order to make her angry so he can then inform her of her father's death. Oh, old Hollywood!
While the movie is kind of banal, the curious way it flips classic depictions from communist propaganda on their heads, even if the film may not have done this intentionally, is notable. In Shanghai, there is a fascinating gallery of old propaganda posters that I've had occasion to visit twice. 60 years after "Red China's" founding, 50 plus years after this film's release, and 30 years beyond it's initial opening economic reforms, we have more insight into the early years of the PRC via such galleries. The reversal of depictions of various characters in these works of propaganda make "Blood Alley" a more interesting film, retrospectively, than it should be.
First and foremost in the film are Wilder and Grainger, Westerners come to China who become heroes to the people. In 1955, propaganda would have a typical Chinese villager believe that Westerners were greedy, hideous cretins. While Wilder's anti-communist sentiments may have originated in the selfish motivation of lost business and imprisonment, by the end of the movie he has come to side with the villagers, the "bleeding heart of China."
Likewise, the portrayal of the Feng family, villainized as the village's communists, are desperate, selfish people. While the other villagers, fleeing communism for capitalist Hong Kong form a tight, supportive community, the communist Fengs stay apart and indeed try to poison the villagers. The family's patriarch is obese and wears fine garments while other carry him across mud. In any Chinese film, Feng is an archetypal "capitalist roader." The Chinese soldiers, rather than being valiant, strong heroes, are also awful: one attempts to rape Grainger.
The film is commendable for its mostly human portrayal of the villagers and for not giving Wayne a little Oriental plum blossom girl in pigtails and a flowered qipao (at least on screen). However, Susu the maid speaks in awful pidgin (we get it, she likee likee very much) and several Chinese characters are played by white actors. As intentionally bad as Susu's English is, every other character in the movie's Chinese is unintentionally just as bad. This movie is worth watching just to see John Wayne take Mandarin Chinese behind the shed and give it the Old Yeller treatment.
For me, as a China person, this film was an interesting watch and a fun way to spend an evening. But most people will probably pay more attention to Wayne's and Bacall's lack of chemistry and treat it like the middling, goofy old Hollywood action film it is.