Anna May Wong

Anna May Wong

Who Was Anna May Wong?

Anna May Wong was a pioneering Asian American actress who achieved significant success in both Hollywood and Europe during her career, which spanned from the silent film era through to television. She starred in notable films such as Piccadilly (1929), Daughter of the Dragon (1931), and Shanghai Express (1932). Despite facing systemic limitations imposed by white producers and audiences—often being relegated to smaller roles that adhered to prevailing Asian stereotypes—Wong managed to leave a lasting impact on the characters she portrayed. Her career encompassed a diverse range of performances, including silent films, talkies, theater, and television. Wong passed away at the age of 56 in 1961, leaving behind a legacy as an iconic figure in Asian American cinema who navigated significant challenges and paved the way for future generations of performers.

Early Life and Family

Wong was born Wong Liu Tsong in Los Angeles, California, on January 3, 1905. Her parents, Wong Sam Sing and Lee Gon Toy, were second-generation Chinese Americans. Wong’s grandparents had arrived in California prior to the restrictions on immigration from China that were enacted at the end of the 19th century.

As the second of seven children in her family, Wong grew up in a household that operated a laundry business, living in close proximity to their workplace. Her childhood was marked by numerous hours spent assisting in the laundry or delivering clothes to clients.

Wong attended an integrated elementary school alongside her older sister, where they encountered persistent racism from their peers. Reflecting on this difficult period, Wong described her experience as “one of torture.” In response, her parents transferred the sisters to the Chinese Mission School, which catered exclusively to Chinese American students.

Career Beginnings

Wong’s early life experiences ignited her fascination with the film industry, particularly as she observed Hollywood productions being filmed in Chinatown. Her enthusiasm earned her the nickname “the curious Chinese child.” Despite her father’s disapproval, Wong aspired to pursue acting. She adopted the stage name Anna May Wong and began her career at the age of 14 as an extra in The Red Lantern (1919).

In 1921, Wong left high school to focus on her acting career. By 17, she had secured a starring role in The Toll of the Sea (1922), which was inspired by Madame Butterfly and notable for being one of the first Technicolor films. Her performance in the film garnered attention, and she continued to rise in prominence with a supporting role alongside Douglas Fairbanks in The Thief of Bagdad (1924), where she portrayed a Mongol slave girl and spy.

In the same year, Wong established her own production company, The Anna May Wong Productions. Unfortunately, this venture soon collapsed due to the actions of a deceitful business partner. Despite this setback, Wong persisted in her pursuit of acting opportunities.

However, Wong often felt constrained by the Hollywood system. It was a common practice for white actors to portray Asian characters through “yellowface,” which not only marginalized Wong but also limited the roles available to her. She poignantly noted, “Rather than real Chinese, producers prefer Hungarians, Mexicans, American Indians for Chinese roles.”

Moreover, the studios’ adherence to anti-miscegenation laws prohibited interracial kisses on screen, further restricting Wong’s potential for leading roles that involved romantic interactions with white actors. Consequently, she found herself typecast in smaller parts, frequently depicted as either a subservient figure or a cunning “dragon lady.” The narratives surrounding her characters often culminated in tragic ends, emphasizing themes of sacrifice or retribution.

Move to Europe

Faced with limitations in Hollywood, Anna May Wong made the bold decision to relocate to Europe in 1928, where she sought to advance her career in Germany and England. Her performance in Piccadilly (1929), which would become her final silent film, garnered critical acclaim. Wong subsequently embraced the emerging world of sound films, showcasing her linguistic versatility by performing in French, English, and German in various versions of The Flame of Love (1930).

During her time in Europe, Wong starred alongside Laurence Olivier in the 1929 play A Circle of Chalk in London and showcased her talents as a playwright with the musical Tschun-Tshi in Vienna. Additionally, her background as a model allowed her to emerge as a fashion trendsetter during this period.

Return to America

Wong returned to the United States in 1930, where she enjoyed a successful run on Broadway in the play On the Spot. However, her return was marked by a unique challenge faced by few of her white counterparts. Despite being born in the U.S., Wong was compelled to obtain a certificate of identity from the Immigration and Naturalization Service due to the Chinese Exclusion Act and its amendments, a requirement for her to re-enter the country after traveling abroad.

Later, Wong signed with Paramount Studios. In Daughter of the Dragon (1931), she portrayed another stereotype, though she was recognized as the headline star. The film Shanghai Express (1932), which featured Wong alongside Marlene Dietrich—a friend from her European days—was a higher-quality production. Nevertheless, Wong continued to struggle for substantial roles, often relegated to melodramatic B movies. In a 1933 interview, she expressed her frustration: “Why is it that the screen Chinese is nearly always the villain of the piece, and so cruel a villain—murderous, treacherous, a snake in the grass? We are not like that. How should we be, with a civilization that’s so many times older than that of the West? We have our own virtues. We have our rigid code of behavior, of honor. Why do they never show these on the screen?”

When casting began for the film adaptation of The Good Earth (1935), based on Pearl S. Buck’s novel about a rural Chinese family, Wong hoped to portray the lead role of O-Lan. Despite her screen tests, the studio did not consider her a serious candidate. Instead, Wong was offered the role of Lotus, a conniving concubine, which she ultimately declined, stating, “You’re asking me—with Chinese blood—to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters.” The role she desired was eventually awarded to the white actress Luise Rainer, who went on to win an Academy Award for her performance.

Trip to China

Following her disappointment with the casting for The Good Earth, Wong took a hiatus from Hollywood and traveled to China in 1936. During this visit, she encountered criticism for her portrayals of Chinese stereotypes on screen. In response, she remarked, “It’s a pretty sad situation to be rejected by Chinese because I’m ‘too American’ and by American producers because they prefer other races to act Chinese parts.” However, this journey provided Wong with a deeper understanding of Chinese culture, which she documented in articles for The New York Herald Tribune and The Los Angeles Times.

Later Career

Daughter of Shanghai (1937) marked a positive turning point for Wong, featuring a Korean American male lead—a departure from her typical roles. Throughout World War II, she appeared in Bombs Over Burma (1942) and Lady from Chungking (1942), while also raising funds to support China during its conflict with Japan.

Wong retired from acting in 1942 but continued to make occasional film and television appearances. Notably, in 1951, she became the first Asian American to star in a television series, The Gallery of Madame Liu-Tsong, in which she played an amateur investigator with a day job as an art dealer. Her final film roles included a small part in Portrait in Black (1960) as Lana Turner’s maid and a later appearance in The Savage Innocents (1961). Wong had hoped to return to the spotlight in the Hollywood adaptation of the musical Flower Drum Song, but she sadly passed away before production commenced.

Personal Life

Wong remained unmarried throughout her life. There were persistent rumors about her romantic associations with both Marlene Dietrich and other white men; however, the societal laws and prejudices of her time meant these relationships could not lead to marriage.

Death and Legacy

Anna May Wong passed away on February 3, 1961, in Santa Monica, California, at the age of 56, due to a heart attack, having suffered from liver disease for several years prior to her death.

Her life and career have been explored in the documentary Anna May Wong: In Her Own Words, while Searching for Anna May Wong examined whether she would face similar career obstacles today. Additionally, the television series Hollywood featured Wong as a character, albeit with a fictionalized storyline.

Wong’s contributions to film have been recognized with a star on the Hollywood Walk of Fame. She has been the subject of several biographies, including Anna May Wong: From Laundryman’s Daughter to Hollywood Legend and Perpetually Cool: The Many Lives of Anna May Wong.