We do not know with certainty why this lovely and touching adaptation of Madame Butterfly became what is generally regarded as America's first feature length color film. Technicolor's founder, Herbert Kalmus, was involved in the production of The Toll Of The Sea (TTOTS). But how it happened that this particular movie with a well known storyline and mostly unremarkable settings became the vehicle for achieving its landmark status is now difficult to determine. Perhaps it came about because of Anna May Wong's exotic costumes or remarkably expressive face. She was one of the outstanding beauties of her time, and was only 17 when she worked on TTOTS. In any event, we should be eternally grateful that Wong's stunning appearance at the beginning of her career has been preserved for later audiences to appreciate.
TTOTS is also important in documenting the remarkable maturity of Wong's acting ability while she was still only a teenager. She clearly overshadows the other principals in the film by demonstrating how to create an authentic character notwithstanding the highly melodramatic nature of the plot, and its familiar resemblance to the well known Puccini opera. We are left with only sadness in realizing what Wong might have done with roles that were even better suited to her talents but she was denied because of prevailing racism. It is well known that she sought out the female leading part in The Good Earth (that ultimately went to Caucasian Luise Rainer)--and also the subordinate one of Paul Muni's concubine (eventually played by Caucasian Tillie Losch)--only to be rejected as being "too Chinese." A similar fate befell her attempt to win the part of Mrs. Hammond in The Letter--given at director William Wyler's request to Caucasian Gale Sondergaard.
That Anna May Wong was prohibited by blatant racism from developing into the actor she could have been, notwithstanding her extraordinary glamour and ability as demonstrated in TTOTS, is one of the most tragic episodes in Hollywood history.
TTOTS is also important in documenting the remarkable maturity of Wong's acting ability while she was still only a teenager. She clearly overshadows the other principals in the film by demonstrating how to create an authentic character notwithstanding the highly melodramatic nature of the plot, and its familiar resemblance to the well known Puccini opera. We are left with only sadness in realizing what Wong might have done with roles that were even better suited to her talents but she was denied because of prevailing racism. It is well known that she sought out the female leading part in The Good Earth (that ultimately went to Caucasian Luise Rainer)--and also the subordinate one of Paul Muni's concubine (eventually played by Caucasian Tillie Losch)--only to be rejected as being "too Chinese." A similar fate befell her attempt to win the part of Mrs. Hammond in The Letter--given at director William Wyler's request to Caucasian Gale Sondergaard.
That Anna May Wong was prohibited by blatant racism from developing into the actor she could have been, notwithstanding her extraordinary glamour and ability as demonstrated in TTOTS, is one of the most tragic episodes in Hollywood history.