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What is interesting about this article is that in was done in 1931 on Anna May Wong’s return to Hollywood and the interviewer quoted her extensively.  The facts of the newspaper story were what was being written about her background 75 years ago. 

The documentary done by Elaine Mae Woo explains the actual background of the California girl.  In no way should we ever think that the newspaper story is a true history, it is only what the person writing it wants us to know and is important for us to know want was said during her lifetime.

 Read with a questioning eye

 Marilyn

"Looking-for-Mabel"

How Miss Frosted Yellow Willows Came Back to Hollywood --- a Star

Anna May Wong, American-born daughter of Chinese parents who ran a Chinatown laundry in Los Angeles, got a start in the movies through Lon Chaney and Marshall Neilan, but she had to win success in Germany, England and on Broadway, before she could get real recognition at home.

The Little Chinese girl has become the toast of Hollywood – but she had to go to Europe to attain this position.

Anna May Wong is this girl, the Anna May Wong who spent her early years living above her father laundry, whose only farewells when she left for Germany were from her family and who returned to Hollywood a few weeks ago to be greeted by a throng of film folk, reporters and photographers.

To understand Anna May, you must go back many years to the marriage of her mother and father.

 Her father lived in Sunning, Canton China.  And her mother came from northern China near Peiping.  Immediately after their marriage, they migrated to Los Angeles, where Wong expected to follow in the footsteps of his ancestors in the quest of knowledge.

A series of unforeseen circumstances, however, forced him to give up his pursuit of knowledge and seek a means of livelihood a few years after their arrival.  It didn’t take Wong long to discover that America offers the Chinese but three alternatives in the matter of earning a living.  He could become a day laborer, household servant or laundryman.

 Wong chose the latter.  He found a big house several miles from the Los Angeles Chinatown, remodeled two rooms as a laundry and fixed up the rest of the house as living quarters for his family.  It was in this house that Anna May, the third child, was born and lived during the colorful days of her childhood and subsequent rise to screen fame.

 There are seven Wong’ children, all of whom shortly after their births were given appropriate English names to simplify their contact with the outside world - - - that is, all except the eldest daughter, who preferred her Chinese name Ying.  Anna May at birth was christened Frosted Yellow Willows.  The other children are James, Mary, Frank, Roger and Richard.

 Anna May herself is a typical American girl from a standpoint of independence, education and self-confidence.  But she is inordinately proud of her Chinese heritage.  And she is proud of the way she was brought up in her sheltered Chinese home, according to many of the Chinese customs.

 True to these traditions and codes, Mr. and Mrs. Wong raised their children to be implicitly obedient, courteous, unselfish and studious.  At home, they wore the beautiful silken robes of the land they never had seen, but their school wardrobes were made of gingham and serge.

 Anna May remembers her school days as a long episode of serious work and constant study.  She attended the Los Angeles public schools daily.

 Bur she never was permitted to play with her American friends after school hours.  Instead, she had to run home after school, exchange her English textbooks for Chinese volumes and rush off to a three-four session in a Chinese private school.

 Many times Anna May and her sisters objected to the strenuous study and work forced upon them.  Why should they learn to read, write and speak Chinese?  What good would it do them?  Their father merely replied that it was his wish that his children should know the language of their ancestors.

 “I am very glad now that father insisted upon us studying Chinese,” the charming actress says.  “Had I not done so I would have missed much that is beautiful in life.  I now know the wisdom and philosophy of my people through the knowledge of their language.  Father knew what was ahead of us.  How wise he was!”

 Vacations never were favored by the head of the Wong family.  As a result, the children always attended summer school.  Consequently when Anna May entered high school she was the youngest student in that institution - - - and, you might say, the smartest.

 Piano study was added to her list of high school subjects at this time, leaving her little time to dwell upon her secret longing to become an actress.

 This longing was of several years duration, dating back to a Chinese New Year’s celebration when she was six years old and her father took his family to their first picture show.

 “To this day I can remember in detail the six pictures that were shown that night for five cents per person,” declares Miss Wong.  “Pearl White was in a serial; Eddie Polo was in another picture.  There was a Keystone cop comedy and a melodrama that gave me nightmares for a week afterwards.

 During her third year in high school, Anna May suffered a nervous breakdown.  The family’s Chinese physician prescribed rest under the sun, true to the traditions of his people, who believe that the sun will cure many ailments.  For weeks afterward Anna May haunted the beaches and parks in search of health.

 But she tired of spending long hours doing nothing but sitting.  So she asked her cousin, James Wong a film actor, to take her with him to the studio.  This James consented to do, always taking her with him whenever he had a location call so that she could remain in the fresh air.  That was before the studios became so particular about having visitors around.

 While visiting on the set during the time James was making a western picture at Universal, Anna May met a handsome man with an ingratiating smile.  Several times a day he would wander over to where she was sitting and engage her in a conversation for a few moments at a time.

 The man was Marshall Neilan, at that time one of Hollywood’s best directors.  It was largely through him that Anna May’s life took a sudden turn and she found herself a screen actress, far better known within a very short time than her cousin, James.

 There was some consternation in the Wong household when Anna May came home one night and told of an offer she had received from Neilan to play a role in a picture, “Dinty,” which he was about to start.

 Wong and his wife sat up that night long after the children had retired, discussing the proposition from all angles.    They knew that she would abide by their decision if they objected to her taking the role.  But would it be quite fair to rob their daughter of such an opportunity?  The following morning Wong called his daughter and said:

  “I haven’t much faith in these things called moving pictures.  Yet the most honored professional men in all China are actors.  If you will take your sister with you as a chaperon and get home every night in time for our evening meal you may accept the offer.”

 Little did he realize when he made that statement that within a few years his daughter’s name would be dancing in electric lights the world over.

 When Anna May first stepped in front of the cameras, her fears were unbounded.  But she soon was made to feel at ease by the kindness of Neilan and her fellow players: Wesley Barry, Marjorie Daw, Pat O’Malley and Noah Berry.

 “Dinty” placed the young Chinese girl well on the road to success.  No sooner had it been released, than she was deluged with offers from casting directors in every studio.  For more than a year, she was kept constantly busy and her salary continued to grow.

 She easily was earning enough to take her family from their laundry house quarters, but they preferred to stay there, and Anna May stayed with them.

 Then she signed a contract with a motion picture company operating in San Francisco.  The company was unable to raise the necessary money for their production, but they refused to release Miss Wong until the termination of her contract one year later.  Thus, she was kept off the screen entirely for one year.

 One year is a long time in the film business, where everyone forgets quickly.  Anna May returned to Hollywood eager to don grease paint and get to work again.

Studio executives and directors welcomed her back with open arms - - - but they didn’t offer her any jobs.  For 12 months, she worked in only three films – two comedies and an excellent role in “Mr. Wu” with Lou Chaney.

It was Chaney who kept her from getting out of the business entirely at that time.  Success had come to the young girl easily and she was wholely unprepared for this sudden change.  It was only Chaney’s encouragement that gave her the strength to stick it out when everything looked so dark.

 “You’re bound to get a break one of these told her.

And she did.

One morning the postman left a large and impressive looking envelope at the Wong home.  It was addressed to Anna May and she opened it wonderingly.  A contract to appear in a picture for the Echbert Film Company of Berlin was enclosed.

 To the Chinese actress this was a way out – a way to escape the heartaches so well known in Hollywood.  She mailed her acceptance the next day and three weeks later, accompanied by her elder sister, Ying, she waved goodby to her family from the rear platform of an eastbound train.

 They were the only ones at the station to see her off. How different from the reception to be accorded her upon her return four years later!

 The first days in Germany of these two Los Angeles born Chinese girls were filled with amusing incidents.  They didn’t know a single word of German and as a result experienced considerable difficulties with everyone with whom they came into contact.

 An original story entitled “Tsong” had been written for Anna May’s initial picture, which went into production only a few days after her arrival.

 “The first day on the set I was puzzled by the small leather books that everyone on the set except my sister and myself was carrying,” says Anna May.  “Then I discovered that they were English-German dictionaries which the people there hoped would enable them to converse with us more easily.  However, I decided that it would be easier for one person to learn German that for an entire company to master English.  So I hired a tutor and within a week I could take direction in German - - - if plenty of gestures were thrown in for good measure.”

 “Tsong” started Miss Wong on a climb which she hasn’t yet finished.  She was a sensation throughout Europe.  British International Films sent for her to play in “Piccadilly” under the direction of e.A. DuPond, and following that she returned to Berlin to make “The Pavement Butterfly.”

 Then she made her debut on the legitimate stage in “Circle of Chalk.”  London praised the little Chinese girl to the skies.  After that she began a triumphant personal appearance tour which took her all over Europe.

 Anna May had been away fromn home for three years, and decided to take a long enough vacation to traverse the 6000 miles of water and land that separated her from her family.  Upon her arrival in New York she was met by an insistent producer who finally persuaded her to play the leading role in the stage production “On the Spot,”

 It was while she still was appearing in “On the Spot,” that Anna May learned that Hollywood’s movie producers hadn’t forgotten all about her.  Paramount offered her a long-term contract and bought a Sax Rohmer story, “Daughter of the American screen.  Further than that, studio executives persuaded Sessue Hayakawa, Japanese film star, to return to this country to play with her.

 It was several months after she signed her contract before Anna May could complete her stage engagements.  Then she took the first train for home.  And what a home-coming!

 The family, which four years before had gathered at the same station to bid her goodby, all were on hand again, with the exception of her mother, who had died in the meantime.  And in addition were hosts of friends, film celebrities and newspapermen.

 Her departure had meant nothing to Hollywood.  But her return home was a big event.  Such is the glory of success to Hollywood.

_____________________________________________________

By Dan Thomas

(© 1931, by Every Week Magazine – Printed in U.S.A.)

Wellesley College celebrates

Elaine Mae Woo film screening "Anna May Wong - Frosted Yellow Willows: Her Life, Times and Legend"

April 8, 2008 7pm Pendleton West 212
Reception at 6pm - Pendleton Atrium

Filmmaker/producer/biographer Elaine Mae Woo will debut her much anticipated biographical documentary of  historic Asian American film star, Anna May Wong: "Anna May Wong: Frosted Yellow Willows: Her Life, Times, and Legend" (50 minutes). Note: This film is narrated by another historic film star in Asian/American cinema, Nancy Kwan.

Born in Los Angeles in 1905, the daughter of a laundryman,
Anna May Wong defined the role of the "Dragon Lady," and
defied cultural and legal barriers to achieve success in silent
and talking pictures. She was the first Asian American
woman to reach international stardom and no other
American actress of Asian descent has yet to rival her
acclaim. Her film career began during the silent era and
includes such landmark works as one of the earliest
Technicolor Motion Picture Corporation films, "The Toll of the
Sea" (1922), Douglas Fairbank's infamous "The Thief of
Bagdad" (1924), and E.A. Dupont's "Piccadilly" (1929). Her
extensive body of film work also includes Joseph Von
Sternberg's "Shanghai Express" (1932) and starring with
Lana Turner in "Portrait in Black" (1960).

In spite of Wong's extensive and compelling historical role in
Hollywood and international film (she made over 50 films in
total), the significance of her legacy has only been of recent
interest to scholars. As such, Elaine Mae Woo's biographical
documentary represents a stunning intervention and
excavation of Wong's life and career.

"Anna May Wong -

Frosted Yellow Willows:

Her Life, Times and Legend"

 - Screening and director's talk with Elaine Mae Woo

Thursday, April 3

Anna May Wong:

Frosted Yellow Willows

SAN FRANCISCO INTERNATIONAL ASIAN AMERICAN FILM FESTIVAL

(SFIAAFF) 2008

SUN 3/16 6:00pm  ~*~ TUE 3/18 9:15pm

Directed By: Elaine Mae Woo
Producers: Elaine Mae Woo, Kathy Mazza, Ed Manwell
Writers: Elaine Mae Woo, Jean Lau
Editors: Stephen Burch, Stephen Waichulis
Sound: Jon Oh
Music: Jon C. Mirsalis
USA | 2007 | 50 min | Video
www.anna-may-wong.com

Sultry, strong-minded and endlessly complex, Anna May Wong (1905-1961) was that rare and true global star: a fashion icon, international celebrity and one of the most influential actresses of the 20th Century. To review her filmography is to view cinema history, from her starring role in the first Technicolor film The Toll of the Sea, to her legendary train ride opposite Marlene Dietrich in Shanghai Express.
Ten years in the making, Elaine Mae Woo’s revealing documentary—the first film to explore Wong’s fascinating and tumultuous personal life—offers a rare look into the world of the woman who “died a thousand deaths” (often to prevent her from consummating interracial love on-screen), defined the role of the dragon lady, and yet brought nuance to the limited roles offered her as an Asian American actress in Hollywood.
Narrated by actress Nancy Kwan, who rose to stardom a generation after Wong, and constructed of many never-before-seen photographs and film clips, the film chronicles the different eras of her life, from her youth in Los Angeles, to her years in Europe (where she starred in such masterpieces as Piccadilly and Pavement Butterfly), to her political activism in support of China during World War II. Wong passed away unexpectedly in 1961, shortly after she was cast in Flower Drum Song, that groundbreaking Asian American film which would usher in a new generation of stars and sensibilities—a film which she sadly never appeared in, yet which could not have been made without her.  Screens with Long Story Short (52mins).  - Chi-hui Yang
SUN 3/16 6:00pm $11.00 Sundance Kabuki 4
TUE 3/18 9:15pm $11.00 Sundance Kabuki 4                    
For ticketing information, please phone 415-865-1588 or email boxoffice@asianamericanmedia.org
Sponsored by:
KQED

Anna May Wong

Frosted Yellow Willows

Wednesday - February 20 - 12-2PM

At

City College of San Francisco

The documentary “Anna May Wong” Frosted Yellow Willows: Her Life Times and Legend will be screened at the Diego Rivera Theatre on the campus of the City College of San Francisco.

Free and open to the public.

This Beautiful and gracefully revealing Documentary is the created by Elaine Mae Woo, who will be available for questions and answers following the screening with a reception to follow in celebration of the Lunar New Year.

 Frosted Yellow Willows is the story of Anna May Wong, the first Asian-American film star. She appeared in over 60 films and her very name conjured the exotic scents of the orient and fantasies of faraway lands. Her body slinked and shimmied while her hands hypnotized her eager audiences. She sang and danced on stages throughout Europe and the United States, performed on radio programs, and starred in her own television series. This documentary film recalls her long career, in the context of the anti-Chinese bias of the time, and will introduce modern audiences to an artist who overcame cultural struggles and personal tragedies to pursue her dreams of Hollywood stardom.

Sponsors: Cinema Department, Theatre Department and Women's
Studies, CCSF Friends of the Library, APASS, Asian Studies, Asian American Studies

Event Information Call: Suzanne Lo 415.267.6505

Elaine Mae Woo tells the story of Anna May Wong in London

What a Joyful New Year!

Anna May Wong ~ Frosted Yellow Willows at the BFI - Southbank BFI-Southbank Sat 9 Feb 15:30 NFT1 Anna May Wong - Frosted Yellow Willows... The story of Wong's rise from humble beginnings to international film stardom. With disarming sensuality and commanding presence, Wong defined the role of the 'Dragon Lady'. Narrated by Nancy Kwan, this is a story about a Chinese-American woman who endured hardships and heartaches to become an international film star. From humble beginnings in a Chinese laundry, she went on to star in such pictures as Toll of the Sea (1922), Piccadilly (1929) and von Sternberg's Shanghai Express (1932). Directed by Elaine Mae Woo (running time 50 mins.) Producers Ed Manwell and Elaine Mae Woo will introduce the documentary. http://www.bfi.org.uk/whatson/bfi_southbank/events/anna_may_wong_frosted_yellow_willows

Anna May Wong ~ Frosted Yellow Willows: Her Life, Times and Legend

Directed by: Elaine Mae Woo

In the early 1990s, a well known director at a reception following the screening of a Kurosawa film brought Anna May Wong to Elaine Mae Woo's attention. Elaine admitted that she new nothing about Anna. The director shook his head, said a couple of words and then walked away. It was at this point, that Elaine swore that she would learn about Anna before she would ever see this director again. This is how the making of "Anna May Wong ~Frosted Yellow Willows: Her Life, Times and Legend" began. Nearly ten years in the making, this biographical documentary film is finally being presented to the public. Interviews were conducted with members of Anna's family, childhood friends and people who worked with her. Without the support of individuals: Nancy Kwan, Kevin Brownlow, A. C. Lyles, Judy Yung, Philip Leibfried, Leonard Maltin, Law Kar, many other film historians, archives, academic institutions and devoted "Anna..." admirers, this film would never have been made.

With disarming sensuality and commanding presence, Anna May Wong defined the role of the exotic Asian woman in early Hollywood cinema. “Anna May Wong: Frosted Yellow Willows: Her Life, Times, and Legend” tells the story of a Chinese-American woman who endured many hardships and heartaches to become an international star of film, stage and television. At the young age of 16, she was handpicked to star in Technicolor’s two-color picture, “The Toll of the Sea” (1922). She caught the eye of Douglas Fairbanks, Sr. who would cast her as the seductive Mongol slave in his ambitious epic, “The Thief of Bagdad” (1924). She bewitched silent moviegoers with the mixture of sweetness, vulnerability, and sultriness that she infused into her characters. As the silent era transitioned to talking-pictures, Anna’s characters also transformed. In “Shanghai Express” (1932), Anna displayed keen wit and intelligence that challenged the star power of Marlene Dietrich. Anna never stopped searching for challenging film roles in Hollywood and abroad. She performed on stage and “one-woman” performance throughout England and Europe. During World War II, she used her fame to promote the China War Relief efforts. She entertained American and Allied troops, sold war-bonds, and donated her furs and jewelry. By the end of the war, the public had grown weary of Asian-themed films and even Hollywood had little need of Anna. In 1951, Anna retreated to television beginning with her own television show. Now, after many years of relative obscurity, a younger generation has begun to discover her.

Forms: Documentary
Genres: Educational, Independent, Period/Historical, Silent Film
Niches: Asian American, Women

Friday 8 February 2008, 19:00-20:30 UK film premiere Anna May Wong: Frosted Yellow Willows - Her life, times and legend with an introduction by director Elaine Mae Woo Ondaatje Wing Theatre This film is the story of a pioneering Chinese-American actress who endured many hardships to become an international film star. From humble beginnings in a Chinese laundry, she went on to star in films such as Technicolor's Toll Of The Sea (1922), E.A. Dupont's Piccadilly (1929) and Josef von Sternberg's Shanghai Express (1932) with Marlene Dietrich. Never one to rest on her laurels, Anna would utilize her fame to aid her country and the country of her ancestors during times of war. Her body of work establishes her as a true pioneer of early cinema. A photograph of Ann May Wong by Edward Steichen is included in the Vanity Fair Portraits exhibition, which opens at the National Portrait Gallery on 14 February 2008. £5/£3 concessions Book online   2008-02-08 LinkChinese UK Anna May Wong documentary premiere in London   Anna May Wong (黄柳霜), a thrid generation Chinese-Amercian, was the most admired Asian actor in western cinema, starring in a number of films both in Hollywood and Europe, from 1920s to 1960s. A new documentary about her, Frosted Yellow Willows - Anna May Wong, Her Life, Times and Legend, made by Elaine Mae Woo (胡美金), will be shown at National Portrait Gallery on Friday 8th Feb (020-7312 2463) and at BFI Southbank on Saturday 9th Feb (020-7928 3232). BFI Southbank will also show two of Anna May Wong's films, Piccadilly, and Pavement Butterfly. Mattew Sweet writes about Anna Way Wong’s life on the Guardian: Snakes, salves and seduction: In 1933, Doris Mackie of Film Weekly magazine visited Ealing studios to observe the shooting of a sweaty tropical melodrama called Tiger Bay, and found its star railing against cinema in general and Hollywood in particular. “Why is it that the screen Chinese is nearly always the villain?” asked Wong. “And so crude a villain. Murderous, treacherous, a snake in the grass. We are not like that. How should we be, with a civilisation that is so many times older than that of the west?” From LinkChinese UK News News source: Anna May Wong documentary premiere in London (LinkChinese UK) News tag: Anna May Wong Frosted Yellow Willows Related titles: Anna May Wong - Frosted Yellow Willow. Her Life, Times and Legend (2007)

Re: Frosted Yellow Willows - I got my chance to see it tonight

From Cheryl

Sat Feb 9, 2008 10:55 am

I was there too, I agree with what you say about the audience. I thought
there were some hostile elements there...even when they were agreeing
with each other regarding the race issues of bygone times and today.
I did snigger at that Warner Oland clip though; Anna made him look very
silly!

Yes a fine film! Very interesting!

Cheryl

From Donna Hill

Sat Feb 9, 2008 11:34 am 

Frosted Yellow Willows will be screening during the SF Asian Film Festival in March. I do not know the scheduled date, as yet, but I will be in attendance to support Elaine and also to learn more about an actress I've long admired.

Donna Hill

From Graceann Macleod

Sat Feb 9, 2008

I finally got to see
the film tonight at the National Portrait Gallery, and it was fantastic,
for all the reasons already stated. I was extremely frustrated with the
audience, however, and I'll post that portion of my review:

The audience had an unfortunate number of troglodytes who sniggered
inanely during the film clips ("oh look how quaint and old timey it is -
weren't old movies funny?") and then asked insulting questions of Elaine
in the Q&A "What exactly are you trying to say with this film? I deeply
admire Miss Wong and you made her look weak and the film to look
defensive." (I actually turned to the woman next to me and said, "was she
watching the same film?")

When it was time to leave, I made my way down to Elaine to give her hugs
and congratulations on an excellent film. She is so gracious and
elegant, and so patient with people who don't deserve it.

Tonight she gave two gifts to the National Portrait Gallery - the
original map of the UK from Anna May Wong's 1935 UK tour (those who saw
the film will remember it from there), and one of the very limited
number of posters from the documentary itself. The curator of
photography accepted the gifts gratefully and happily, and made a little
speech.

When the film comes to your town, if it does, be sure to check it out.
Well worth your time and effort. If you're in London, it is being
screened again here at the end of April (I don't know where yet) and I
intend to go see it again. I'm hoping that my husband will be able to
join me, and also for a better behaved audience.

Graceann

Re: Anna May Wong ~ Frosted Yellow Willows: Her Life, Times

Posted by: "Bruce Calvert" silentfilm@verizon.net   silent_film

Wed Jan 30, 2008 6:46 am (PST)

information contact: marthawong8@sbcglobal.net

http://www.utexas.edu/cola/centers/aas/events/2008/january/

Anna May Wong: Frosted Yellow Willows premiere

This is from the 2007 – Pordenone program and for information on the documentary http://www.anna-may-wong.com/

“ANNA MAY WONG – FROSTED YELLOW WILLOWS: HER LIFE, TIMES AND LEGEND (Woo Neiman Productions, US 2007)

Elaine Mae Woo spent some ten years making this biographical documentary, interviewing members of Anna May Wong’s family, childhood friends, and Hollywood colleagues.  With her disarming sensuality and commanding presence, Anna May Wong (1905-1961) defined the image of the “Dragon Lady”.  Narrated by Nancy Kwan, the documentary tells the story of a Chinese-American woman who endured many hardships and heartaches to become an international film star. From humble beginnings and a first job in a Chinese laundry, she entered films at 14, and went on to star in pictures including the early Technicicolor The Toll of the Sea (1922), Douglas Fairbanks’ The Thief of Bagdad (1924) Herbert Brenon’s Peter Pan (1924), E.A. Dupont’s Piccadilly(1929), and Josef von Sternberg’s Shanghai Express (1932).  Later she used her fame to aid both her country and ancestral country during World War II.  Her body of work firmly establishes her in the pantheon of silent film stars – David Robinson”