Directed by Chester M. Franklin and written by Frances Marion. Filmed in 2-strip Technicolor. An adaptation of the opera MADAME BUTTERFLY, it tells the story of Lotus Flower (Anna May Wong), a young Chinese woman who finds a mysterious American stranger, Allen (Kenneth Harlan) washed up on the shore. The two fall in love and marry "Chinese fashion", but her "husband" has to leave for business and winds up marrying his sweetheart from back home. Meanwhile, Lotus Flower has Allen's son and raises him alone, pining for Allen to come back and waiting for him to return
Interracial romance was a theme that was seldom touched on in early cinema, and when it was there was always a tragic outcome. This is shown in such films as BROKEN BLOSSOMS and various previous adaptations of MADAME BUTTERFLY, the musical SHOW BOAT, and others. It's interesting to watch a depiction of this theme as filtered through the sensibilities of the past. THE TOLL OF THE SEA depicts the negative viewpoints of society towards such romances, via the gossiping Chinese girls and the American businessmen who discourage Allen from taking Lotus Flower to America with him. (Interestingly, the one who was most sympathetic to Lotus Flower's plight was Allen's American wife.) The overriding message is that such relationships were doomed to fail because of racial differences and societal disapproval. The audience could enjoy the passion between the two leads, but they knew that tragedy was around the corner.
However, the nuanced acting in this film elevates it above maudlin melodrama. Anna May Wong is captivatingly expressive and subtle, admirably capturing Lotus Flower's intense joy and her restrained despair. Her screen presence here is comparable to that of Lillian Gish in Griffith's best films. I found Kenneth Harlan a little too subdued at times, but he displays his character's reticence effectively when confronted with tough decisions, and his performance is fine overall. Beatrice Bentley stars as Allen's wife, and she has a wonderful rapport with Anna May Wong, especially in the scene where Lotus Flower gives her son to Elsie so that she may raise him. Both actresses beautifully and realistically convey the feelings of loss and sadness at the injustice that Lotus Flower has suffered.
This film is most noted for featuring an early form of Technicolor. The two-strip process used at this time produces vivid, dreamy images, some with a soft-focus feel. The film could be shown through standard projectors. It makes liberal use of close-ups on the lovely Anna May Wong, and wonderfully captures the seascapes, rocky shores, and gardens of the story's setting. The end of the film, however, is missing, so during the process of restoration a new 2 strip Technicolor film was made of the ocean, and titles were created from Frances Marion's scenario.
All in all, THE TOLL OF THE SEA is a classic of silent cinema. SCORE: 9/10
Interracial romance was a theme that was seldom touched on in early cinema, and when it was there was always a tragic outcome. This is shown in such films as BROKEN BLOSSOMS and various previous adaptations of MADAME BUTTERFLY, the musical SHOW BOAT, and others. It's interesting to watch a depiction of this theme as filtered through the sensibilities of the past. THE TOLL OF THE SEA depicts the negative viewpoints of society towards such romances, via the gossiping Chinese girls and the American businessmen who discourage Allen from taking Lotus Flower to America with him. (Interestingly, the one who was most sympathetic to Lotus Flower's plight was Allen's American wife.) The overriding message is that such relationships were doomed to fail because of racial differences and societal disapproval. The audience could enjoy the passion between the two leads, but they knew that tragedy was around the corner.
However, the nuanced acting in this film elevates it above maudlin melodrama. Anna May Wong is captivatingly expressive and subtle, admirably capturing Lotus Flower's intense joy and her restrained despair. Her screen presence here is comparable to that of Lillian Gish in Griffith's best films. I found Kenneth Harlan a little too subdued at times, but he displays his character's reticence effectively when confronted with tough decisions, and his performance is fine overall. Beatrice Bentley stars as Allen's wife, and she has a wonderful rapport with Anna May Wong, especially in the scene where Lotus Flower gives her son to Elsie so that she may raise him. Both actresses beautifully and realistically convey the feelings of loss and sadness at the injustice that Lotus Flower has suffered.
This film is most noted for featuring an early form of Technicolor. The two-strip process used at this time produces vivid, dreamy images, some with a soft-focus feel. The film could be shown through standard projectors. It makes liberal use of close-ups on the lovely Anna May Wong, and wonderfully captures the seascapes, rocky shores, and gardens of the story's setting. The end of the film, however, is missing, so during the process of restoration a new 2 strip Technicolor film was made of the ocean, and titles were created from Frances Marion's scenario.
All in all, THE TOLL OF THE SEA is a classic of silent cinema. SCORE: 9/10