The Face of Fu Manchu (1965)

Pretty Good

best movie i've ever seen.

By the time the dramatic fireworks start popping off, each one feels earned.

True to its essence, the characters remain on the same line and manage to entertain the viewer, each highlighting their own distinctive qualities or touches.

Christopher Lee is Fu Manchu, an oriental megalomaniac searching for a poison made from the black hill poppy grown in Tibet, in this drama (not a comedy, like the namesakes with Peter Sellers) set in prewar Britain. Its an adaption of a series of cheap newspaper stand novels of the "yellow peril" variety written before WW2, which were themselves, like the similar "Sexton Blake" novels, inspired by a Sherlock Holmes story by Conan Doyle.There's a nice vintage car chase, although in an early scene contemporary postwar vehicles (including an Austin A30) are shown in a street. A scientist, apparently wealthy and owning a telephone, lives in what looks like a very shabby and derelict house – possibly a house due for demolition used by the film crew. The mistakes seem odd, as the car chase appears quite expensive and despite being a "second movie at the drive-in" its been made into colour (although by a rather poor process with a lack of blue).

There's a long winded list of Fu Manchu films going back to the 1920s up until 1980, but director Don Sharp and producer/writer Harry Alan Towers' 1965 matinée crime mystery adventure "The Face of Fu Manchu" starring Nigel Green and Christopher Lee in the title role happened to be my first encounter of the callous mastermind Fu Manchu. Quite a low-budget fare, but what makes it a fun outing is Sharp's precisely lean direction makes good use of the detailed location work and moves at a cracking pace (since the chase between nemesis's is a race against the clock) blending together the unpredictable nature of the unfolding narrative/tough action rather well, while upfront actor Nigel Green gives a stellar performance as the persistent detective Nayland Smith of Scotland Yard. Green breathes confidence, and the hearty script ably compels and allows for the strong performances. Lee fits in the calculative role of Manchu and the likes of Tsai Chin and Howard Marion Crawford are durable in their roles. The venturesome tone is bathed in a comic book frame, but I found the music score to be intrusively cued and the conclusion to be somewhat anticlimactic to the actual build-up.

Bought this film for 5 bucks so I was expecting to be disappointed. Pleasantly surprised however!! I recommend that if you watch this film you should view Fu Manchu as the hero and Smith the villain, they're both as mad as hatters anyway! And Manchu as the hero makes the film much more entertaining and watchable! You'll find yourself rooting for him! Don't believe me? Try it!! Christopher Lee is a weird choice to play a Chinese criminal mastermind (or is he a genius?) but considering the era the film was made, who else could they have cast? An actual Chinese? Not bloody likely!!! We're British!!!

Hit and run independent film financier Harry Alan Towers made his bid for the big time in 1965. Spending more money than he ever had (or would) again, scouting attractive international locations, hiring respected craftsmen and actors and launching a multi-million dollar publicity campaign to promote his pet project. "The Face of Fu Manchu", the unlikely recipient of all this attention, represents a plateau to which Towers would never aspire again.After publicly purchasing the pulp adventure novels of Sax Rohmer, Towers signed horror film icon Christopher Lee to a six-picture deal as the title menace. As director, Towers hired Don Sharp, maker of numerous elegant, effective horror films and probably the most talented director to put his name on a Towers contract. Writing the script himself under his nom de cinema Peter Welbeck, Towers ignored the plots of all the Rohmer novels and concocted his own. The film wisely retains the period setting of early-twentieth century London (which required shooting in Dublin, for the sake of authenticity), but alters the deductive tone of the books in favor of action sequences in the style of the James Bond films, which were then in their first flush of international success.The finished film is beautiful to see, filmed in technicolor and cinemascope, it truly looks more expensive than it is. Encouraged, Towers launched an expensive international publicity campaign whose most notable stunt was wallpapering election-year New York City with oversized "Fu Manchu For Mayor" postersIn the end, "Face" failed to return enough money to justify the huge outlay spent in making and promoting it. The film seemed to please no one: fans of the series were outraged by the James Bondian gunplay, fights and car chases, while Bond fans were alienated by the period trappings (1920s cars just don't go that fast!). More likely, this type of film just did not have the potential to reach the mainstream audience needed to make it a success.Although Towers continued the series, the films would steadily decline in quality, from the high point of "Face" to the home-movie calibre of the final entry, "Castle of Fu Manchu".