Shosho becomes a bloody valentine for Valentine, her affair one of betrayal to his wife and to her race as she finds financial and sexual gratification from a wealthy white man. It’s a tale of miscegenation in an era of institutional racism as both protagonists suffer the consequences of desire outside of socially accepted boundaries (though Shosho definitely gets worse than she deserved). Valentine is a wealthy, morally forthright nightclub owner who is married to Mabel, the main attraction of his club Piccadilly. When Mabel’s dancing partner (but not romantic interest) is fired for his indecent behavior towards Mabel, the dancing duo becomes a solo act that cannot financially support the club. Thanks to a grumpy customer and a dirty plate (Charles Laughton who fucking steals this minor scene!), Valentine descends into the bowels of the club searching for blame. He happens upon the scullery where a Chinese woman dances for her coworkers, her lithe body dressed in tattered cloth and torn stockings, yet her beauty undimmed. Thus begins the affair as Valentine becomes entranced by her exotic beauty and gradually, oh so slowly, their time together leads to more intimate contact. I hesitate to say this is a tragic love story as Valentine doesn’t profess love but infatuation, stalking the social boundaries of what is allowed and what lust demands. He isn’t cruel to Shosho or Mabel, even when his spouse suspects his ruse, and the violent third act turns on two confessions, neither entirely truthful. Shosho never seems to be in love either, yet curious as to his affections and also seeking financial stability and furthering her career. She’s not cruel or exploitative but is a bit indifferent to her cohort Jim’s emotional suffering.
Shosho’s companion is Jim, a Chinese man who follows her like a shadow though he is never shown any intimacy by her, only casual demands and friendship. Is Jim her jealous brother or jilted lover? It’s never explained or intimated. His dying declaration is taken for granted by the Inquest but I’m skeptical. When Mabel shows up and confronts Shosho with a pistol, the ensuing murder is left ambiguous: Mabel claims she fainted and doesn’t remember pulling the trigger and Jim says he found the pistol in Shosho’s apartment and shot her after an argument about her affair. So, who’s lying? This RASHOMON-like ending hinges upon intent to deceive and what is gained: Mabel lies to gain her freedom and Jim lies to save face yet sees no need to live after his paramour is dead. Jim lies about Mabel’s presence so when that deception is uncovered, he knows her word will carry favor with the court over a poor immigrant's testimony so, his fate already decided by a racist legal system, he takes ownership of Shosho’s death and kills himself. Why not? His family and friends may think that more noble, his “saving” Shosho from the paws of a white man! So, my interpretation is that Mabel did indeed kill her (we see her draw the gun, Shosho reach for a dagger as Shosho obscures her face with a veil before a cut to dark screen), faints and wakes up running away into the streets. To believe Jim killed her we need to accept this happening and Shosho going back to sleep and being awakened by Jim sometime later...with the pistol laying in plain view on the floor! Wouldn’t Shosho have picked it up? Wouldn’t she also have been traumatized by the encounter instead of pleasantly falling asleep like nothing happened? Jim’s story also involves strangulation, but the inquest fails to mention any other injury to her corpse. Interesting.
Dupont’s direction is skillful as he doesn’t allow the actors to overact into histrionics, instead focusing upon their subtle facial gestures, posture or body language like the slight tilt of a head. DP Werner Brandes' perfect use of low-key lighting makes this seem like an early film noir! And then there’s Anna May Wong, arguably the most beautiful actress of the era (I think she outshines Marlene Dietrich in SHANGHAI EXPRESS) whose face dominates the screen with her alluring and sultry eyes and a smile that enlightens as well as entices. This is her film even though she doesn’t appear until about halfway through the first act. She bridges stereotype as she becomes a woman (not “just” a mysterious Chinese woman trope) with the same wants and sexual desires as Mabel yet continues to retain her own heritage. It’s to Valentine’s credit he never asks her to forsake her ethnicity, and to hers that she doesn’t offer.
PICCADILLY is a film that depicts a tragic relationship amid the social mores of its time that isn't brave enough to end any other way but with her death...not his. Hell, the white couple is never even punished by the law. Yet it was courageous enough to reveal these double-standards and allow Anna May Wong to dominate the screen.
Final Grade: (B+)
