In this newspaper drama, a female reporter and a newsreel cameraman are both assigned to cover the Sino-Japanese war. They meet on the boat ride over and decide to team up. They are further assisted by a Chinese cameraman. The three of them manage to expose of spy ring operating out of the Shanghai office of the woman's newspaper.
01-24-1939
59 min
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Elizabeth Mary Furness (January 3, 1916 – April 2, 1994) was an American actress, consumer advocate, and current affairs commentator. She began her professional career as a model before being noticed by a talent scout and being signed to a film contract in 1932 by RKO Studios. Her first film role was as the "Thirteenth Woman" in the film Thirteen Women (1932) but her scenes were deleted before the film's release.
Over the next few years, she appeared in several RKO films, and became a popular actress. Among her film successes were Magnificent Obsession (1935) and the Fred Astaire and Ginger Rogers film Swing Time (1936). By the end of the decade, she had appeared in over forty films, but during the 1940s, she found it difficult to secure acting roles. In 1948, Furness was performing in the television series Studio One, which was broadcast live. She filled in for an actor to promote Westinghouse products during the advertisement break, and impressed the company with her easy and professional manner. They offered her a contract to promote their products and she thus became closely associated with them.
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Keye Luke (Chinese: 陸錫麒, Cantonese: Luk Shek Kee; June 18, 1904 – January 12, 1991) was a Chinese-American actor. He was known for playing Lee Chan, the "Number One Son" in the Charlie Chan films, the original Kato in the 1939–1941 Green Hornet film serials, Brak in the 1960s Space Ghost cartoons, Master Po in the television series Kung Fu, and Mr. Wing in the Gremlins films. He was the first Chinese-American contract player signed by RKO, Universal Pictures and Metro-Goldwyn-Mayer and was one of the most prominent Asian actors of American cinema in the mid-twentieth century.
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Edward Russell Hicks (June 4, 1895 – June 1, 1957) was an American film actor.
Born in 1895 in Baltimore, Maryland, Hicks appeared in nearly 300 films between 1915 and 1956. His first appearance was an uncredited role in The Birth of a Nation (1915). He often appeared as a smooth-talking confidence man, as in the W.C. Fields film The Bank Dick (1940). Distinguished, suave and a consummate actor, Hicks played a variety of judges, corrupt officials, businessmen and attorneys, working in a variety of mediums almost until his death. Hicks appeared once in the syndicated western television series The Cisco Kid as an uncle of the Gail Davis character, whom he threatens to disinherit if she marries a known gangster.
He died in Los Angeles, California, from a heart attack.
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Edward Alyn Warren (June 2, 1874 – January 22, 1940) was an American actor. He appeared in 99 films between 1915 and 1940. In some early silent films he was credited as Fred Warren or E. A. Warren. He was born in Richmond, Virginia and died in Woodland Hills, Los Angeles.
Richard Loo (October 1, 1903 – November 20, 1983) was an American film actor who was one of the most familiar Asian character actors in American films of the 1930s and 1940s. He appeared in more than 120 films between 1931 and 1982.
Chinese by ancestry and Hawaiian by birth, Loo spent his youth in Hawaii, then moved to California as a teenager. He graduated from the University of California at Berkeley and began a career in business.
The stock market crash of 1929 and the subsequent economic depression forced Loo to start over. He became involved with amateur, then professional, theater companies and in 1931 made his first film. Like most Asian actors in non-Asian countries, he played primarily small, stereotypical roles, though he rose quickly to familiarity, if not fame, in a number of films.
His stern features led him to be a favorite movie villain, and the outbreak of World War II gave him greater prominence in roles as vicious Japanese soldiers in such successful pictures as The Purple Heart (1944) and God Is My Co-Pilot (1945). Loo was most often typecast as the Japanese enemy pilot, spy or interrogator during World War II. In the film The Purple Heart he plays a Japanese Imperial Army general who commits suicide because he cannot break down the American prisoners. According to his daughter, Beverly Jane Loo, he didn't mind being typecast as a villain in these movies as he felt very patriotic about playing those parts.
In 1944 he appeared as a Chinese army lieutenant opposite Gregory Peck in The Keys of the Kingdom. He had a rare heroic role as a war-weary Japanese-American soldier in Samuel Fuller's Korean War classic The Steel Helmet (1951), but he spent much of the latter part of his career performing stock roles in films and minor television roles.
In 1974 he appeared as the Thai billionaire tycoon Hai Fat in the James Bond film The Man with the Golden Gun, opposite Roger Moore and Christopher Lee.
Loo was also a teacher of Shaolin monks in three episodes of the 1972–1975 hit TV series Kung Fu and made a further three appearances as a different character. His last acting appearance was in The Incredible Hulk TV series in 1981, but he continued to act in Toyota commercials into 1982.
Loo died of a cerebral hemorrhage on November 20, 1983, age 80.
[biography (excerpted) from Wikipedia]
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Philip Ahn (born Pil Lip Ahn (안필립), March 29, 1905 – February 28, 1978) was a Korean American actor. He was the first Korean American film actor to receive a star on the Hollywood Walk of Fame. Ahn's first film was A Scream in the Night in 1935. He appeared in the Bing Crosby film Anything Goes, though director Lewis Milestone had initially rejected him because his English was too good for the part. His first credited roles came in 1936 in The General Died at Dawn and Stowaway, opposite Shirley Temple. He starred opposite Anna May Wong in Daughter of Shanghai (1937) and King of Chinatown (1937).
During World War II, Ahn often played Japanese villains in war films. Mistakenly thought to be Japanese, he received several death threats. He enlisted in the United States Army, having served in the Special Services as an entertainer. He was discharged early because of an injured ankle and returned to making films.
Ahn appeared in Love Is a Many-Splendored Thing, Around the World in Eighty Days, Thoroughly Modern Millie and Paradise, Hawaiian Style, with Elvis Presley. He got to play Korean characters in Korean War movies such as Battle Circus (1953) and Battle Hymn (1956). In 1952, Ahn made his television debut on the Schlitz Playhouse, a series he would make three additional appearances on. Ahn would also be cast in four episodes of ABC's Adventures in Paradise, four episodes of the ABC/Warner Brothers crime drama Hawaiian Eye, and the CBS crime drama Hawaii Five-O. He made three appearances each on Crossroads, Bonanza, and M*A*S*H. He would also appear in two television movies.
Ahn's most notable television role was as "Master Kan" on the television series Kung Fu. A Presbyterian, Ahn felt that the Taoist homilies his character quoted did not contradict his own religious faith.
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Lester Dorr (born Harry Lester Dorr; May 8, 1893 - August 25, 1980) was an American actor who between 1917 and 1975 appeared in well over 500 productions on stage, in feature films and shorts, and in televised plays and weekly series. His extensive filmography attests to his versatility as a supporting actor and reliability as a bit player. Although Dorr's screen roles are at times credited, the great majority of his work is uncredited. Dorr was cast in more than 250 films in just the 1930s alone.
Dorr continued to appear regularly in studio productions throughout the 1940s, but with reduced frequency when compared to the preceding decade; nevertheless, he still added more than 140 Hollywood films to his résumé in that decade. His work on the big screen decreased even further in the 1950s as acting opportunities increased on television. He was, though, cast in at least 45 feature films and shorts during the 1950s. By the late 1940s and early 1950s, programming in the rapidly expanding medium of television attracted the talents of many experienced personnel in the film industry, including Dorr.
As with his film career, Dorr’s 15 years of being cast in television series consisted predominantly of brief appearances on screen and portraying characters who had relatively few lines. Yet, his characterizations on television, like in films, were highly diverse and can be seen in at least 84 episodes of Westerns, crime and detective series, courtroom and hospital dramas, adventure programs, and sitcoms of the period.
