"Ruggles of Red Gap" with Charles Laughton and Charlie Ruggles (1935)

This movie is a rare and delightful treat. Egbert Floud (played by Charlie Ruggles) is on a trip to Europe with his would be cultured wife, Effie (played by Mary Boland.) They are from Red Gap, somewhere out West in the United States. The movie begins with Lord Bumstead (played by Roland Young) waking up hungover after losing his butler, William Ruggles (played by Charles Laughton) in a game of poker with Egbert Floud.

Egbert is very uneasy with the idea of having a servant but his wife is insistent and so he finds himself with a "man servant", or "butler." When they arrive in Red Gap, Ruggles sees that he is now free from being cast as a servant at birth, leaving him with limitless choices, and so he begins to rebel.

Falling in love with a local widow, Mrs. Judson (played by Zasu Pitts) awakens in him the desire to be more, and he finally works up the courage to stand up for himself. This is the result of a remarkable discussion in a saloon, about "...just what did Lincoln say at Gettysburg?" The answer comes in the form of the best recitation of the Gettysburg Address; delivered by Charles Laughton; that I have ever heard. (This is fitting, as originally only the English reporters of the time thought the speech to be of any note. In America it was looked upon as a short, though passionate, disappointment. It was only years after Lincoln's death that his speech was fully appreciated here.)

What follows is one man's discovery of what it means to be equal and rise above his own beginnings. Embracing opportunity is something that Ruggles has never had the chance to experience. And though initially aghast at the idea of being something other than a butler, when the chance is laid before him, he is ready to seize the day and further his destiny. In short, he decides to "enter into trade." Egbert, who didn't want a "butler" in the first place, is only too eager to assist him.

Opening a restaurant in Red Gap causes a great stir, particularly due to the fact that Egberts' wife has already introduced Ruggles to everyone as an English Lord, rather than as a butler. When his former boss, Lord Bumstead, comes to take him home, he is met by a new Ruggles; one who is intent upon reaching his potential in this new country. And this has unintended consequences for Lord Bumstead as well, as he finds himself questioning the rigid autocracy of which he, himself, is also a product.

This wonderful and optimistic film is worth watching if for no other reason than to hear English spoken so well by Laughton. Loaded with some of the best character actors Hollywood has ever produced, this film has long been a favorite of mine. I first saw this one on "The Million Dollar Movie" on Channel 9 - WOR TV in New York as a kid. I was so glad to see that it has been transferred to DVD. It would be a shame to lose this gem of a film.

"The Rains Came" with Myrna Loy and Tyrone Power (1939)

When an Indian nobleman returns to his homeland after studying medicine in the United States, Rama Safti, played by Tyrone Power, seeks to use his training to make the life of his people better through his education and training. But things are not as easy as they appear to be in the fictional city of Ranchipur, which is undergoing a prolonged drought. The citizens there pray for relief in the form of rain.

Myrna Loy plays the part of Edwina Esketh, a young lady who finds herself stranded in India and quickly becomes the target of the affections of both Major Safti and Tom Ransome, played by George Brent, an aristocratic womanizer. Their friendship is further strained by the flirtatious Fern Simon, played by Brenda Joyce, the daughter of American missionaries.

As these relationships become entangled in a web of lies, deceit and mistrust, the monsoons arrive, along with a devastating earthquake. These events force all of the main characters to re-evaluate their own lives, as well as the society in which they live, bringing the movie to an astonishing conclusion about life, love and all that really matters.

Although there is not much “real” history in this film it is interesting to note that the character of Edwina is supposedly based on Edwina Mountbatten (wife to Lord Mountbatten, a known homo-sexual.) Lady Mountbatten was known to prefer "men of color", just as the character in the film does. In real life, Lady Mountbatten had a long term affair with a Jamaican cabaret singer. Pretty good movie, and as always, Myrna Loy is a pleasure to watch.

"It's a Mad, Mad, Mad, Mad World" with Everyone (1963)

This is one of those movies from when I was 8 years old that has lingered on the edge of my consciousness for years. It was written by William and Tania Rose, and directed by Stanley Kramer. The movie is a bit longer than I’d remembered, and of course it’s dated. There are a couple of scenes where I was expecting someone to pull out a cell phone, but then I regained my senses.

Briefly, the plot of the movie is simple. Several cars, traveling a winding road along the coast in Southern California, witness a car speeding. The car, driven by Jimmy Durante, goes over the cliff, ejecting Mr. Durante as it does. The drivers of the other cars,  played by the likes of Mickey Rooney, Ethel Merman, Sid Caesar, and Carl Reiner scramble down the cliff to render whatever assistance they can to the mortally injured Durante.

Just as he is drawing his last breath he relates the existence of $350,000 dollars (actually he says “G’s”) which are buried under the big “W” just South of San Diego in Mexico. After he dies two men arrive on the scene to investigate the accident. The inference is that they are the police. The two men seem overly concerned about what information the dying man passed on to the witnesses. For reasons of their own, the witnesses all deny knowing anything. They then seem anxious to resume their individual journeys, each going their own way.

But, before too long, it becomes apparent that they are all on a separate quest to recover the 350,000 “G’s” buried under the “big W”. Alliances form, and are broken, as each vie to be the first to win the race which they believe will make them rich.

Surprises abound in this comedy classic, which features almost everyone in Hollywood.  Spencer Tracy, Ethel Merman, Phil Silvers, the Three Stooges, Jack Benny, Don Knotts, Edward Everett Horton, William Demarest, Andy Devine, and even Eddie “Rochester” Andersen all make appearances in this wild tribute to the mad cap comedies of the 1930’s. If you have never seen this film, it is worth the time simply to see all of these legends on the screen together. Even Jerry Lewis makes an uncredited appearance as a cab driver in this delightful farce.  

The drumming for all of the music in this film is by Earl Palmer, the steady beat behind; and sometimes around; almost everything you have ever listened to. Mr. Palmer was a studio drummer for the likes of everyone you can imagine, such as  The Monkees, Fats Domino, Neil Young,  Frank Sinatra, and too many others to mention here. His career as a professional drummer lasted over 6 decades.  This review is for him, and by the way, Eddie Ray says "hello." I'll be reading up about, and have more to write about  this incredibly talented musician in the weeks to come.

Anton Karas - "The Third Man Theme"

I was looking to download the audio from the 78 RPM recording of "The Third Man Theme", from the movie of the same name, when I ran into this on the first shot. It runs about 1 minute longer than the commercially recorded version, but that's just a bonus as far as I'm concerned.

Not only does this song represent one of my favorite movies, it also reminds me of how I felt the first time I heard this record. And I heard it long before I saw the movie. My Mom and Dad had a lot of records. This was one of them; I can still see the blue label spinning at 78 RPM's and I remember the day my brother, or I, broke it.

Watching this little film of Mr. Karas playing sent me to Wikipedia, where I found the following information about him. He was always somewhat more of a mystery to me than "The Third Man" film itself, so I don't want to know too much about him. It would take away from the exotic sound of his zither playing, perhaps forever altering the way I view the film! I can't take that chance. So, I'll stick to basics.

He was born in Vienna of Hungarian and Czechoslovakian background and had 4 siblings.His father was a factory worker. Anton, his two brothers and sisters, all learned to play music, in spite of their relative poverty. At age 12 Anton found a zither in his grandmother's attic, and learned to play that. Through this humble beginning a legendary piece of music would someday emerge.

He began his apprenticeship as a tool and die maker at age of 14, but never stopped taking music lessons. From 1924 until 1925 he worked in a car factory, but economic conditions soon put an end to that, which drove him back to the University, and a career which would eventually lead to "The Third Man Theme."

From 1939–1945 he was employed by the Nazi's German Wehrmacht, working in anti-aircraft warfare, for a while stationed in Russia. But he never left his zither behind, taking it with him when he went to war. He reportedly went through several zithers during this period.

In 1948 Carol Reed was in Vienna to shoot "The Third Man" and after hearing Karas play at a cafe, he commissioned him to do the title track for the film. This was Karas' first attempt at composing music on his own. He went to London, living with Reed while writing the score. He hated every minute of it.

The success of the film score made Mr. Karas well off and he didn't do too much in the way of touring, beyond a few Command Performances for Royalty around Europe. But again, I don't want to know too much about the man. His fingers are more than capable of communicating all that I ever really need to know.

"Gilda" with Rita Hayworth and Glenn Ford

I went Christmas shopping yesterday and, as usual, the first thing I bought was a gift for me. "Gilda" is probably the most famous of all Rita Hayworth's films. The story is tight, and Glenn Ford is at his best in this gritty tale of expatriated Americans living in South America at the end of the Second World War. Johnny, played by Glenn Ford, is a drifter and gambler. One night, in Buenos Aires, he wins too much money using loaded dice in a crap game, almost getting killed in the bargain. That's when he meets his benefactor, a vaguely European man by the name of Mundson, played by George Macready, who owns a gambling casino. He invites Johnny to come visit him there.

When Johnny goes to the club he once again tries "his own luck" at the tables, only to be roughed up after winning way too much money once more. Using his wits, he manages to land a job in the casino, which he eventually runs for Munsdon. When the boss leaves for business, Johnny is alone with the casino, realizing for the first time, that his life has taken a turn for the better. But not for long.

When Mundson returns he brings his new bride with him, Gilda, played by Rita Hayworth. This is a shock to Johnny for two reasons; first, he and Mundson have agreed that gambling and women don't mix; and secondly, Johnny and Gilda have been former lovers, apparently having split up in some disastrous fashion. Mundson is not fully aware of this, though he suspects that something lies behind the mutual dislike that these two people have for one another. It doesn't take long for the simmering tensions to come to a head, as the domineering Mundson seemingly takes pleasure in watching Johnny and Gilda in their discomfort.

Mundson has more than the casino to worry about. He has become involved in a cartel, one which controls tungsten, a necessary element in the production of steel. When he double crosses the cartel, he is forced to flee, faking his own death to do so. But he has left behind both the casino and Gilda, plus some unfinished business with Johnny. What happens next will change Johnny and Gilda's lives forever.

Deftly directed by Charles Vidor, based on a story by E.A. Ellington, this is one of those old black and white films which are worth staying up late at night to watch on TV. In addition to the great plot, and acting, Ms. Hayworth puts in some credible dancing during the nightclub scenes, particularly while singing "Put the Blame On Mame", the films signature torch song, which was written by Doris Fisher, and lyricist Allan Roberts. The vocals are not Ms. Hayworth, they are actually sung by Anita Kert Ellis, one of Hollywood's celebrated "ghost singers".

Ms. Hayworth performs this song twice in the film; once during the nightclub scene, and then again, after hours, strumming a guitar while sitting with one of the club's other employees. Here is that scene;



And this is the fully orchestrated nightclub version of the song;

"Marlene" by Charlotte Chandler

This is a book that may very well not have been written. Marlene Dietrich had been retired since the late 1960’s, and with the exception of a few guest “spots” here and there, she was living in an apartment in Paris, one of her beloved cities, when the author, Ms. Chandler, was able to obtain permission to interview her, for this book, in the late 1970's.

If you have never read one of Ms. Chandler’s biographies you are missing a real treat. Her books on Mae West, Groucho Marx, Bette Davis and Joan Crawford, to name a few, are more than just biographies. They are personal insights into the stars themselves, in their own words, prompted by Ms. Chandler’s unique way of getting them to open up. And in this book, Marlene Dietrich does just that.

I have always been fascinated by Marlene Dietrich. To me she represented the gritty days prior to the Second World War, when Berlin was a bubbling cauldron of politics, art, music and sex. Who can forget seeing her dressed in a man’s tuxedo while singing to a cabaret full of cigarette smoke and finely dressed patrons? Not me. And yet, in spite of that outward bravado, the Marlene Dietrich known by her colleagues and friends, is surprisingly simple, and at the same time very complex.

From her early film roles in German cinema, to her heady days in Hollywood, and her service at the very front lines of World War Two, she was a most unusual woman.

When Ms. Dietrich was filming “Destry Rides Again”, a western with James Stewart, she became pregnant by him. He asked her what “she was going to do about it?” This was a tremendous insight into Mr. Stewart, who has always been one of my favorite actors. He couldn’t offer to marry her, she was already wed, but still, according to Ms. Dietrich, he should have at least asked. Not that she would have accepted. She was in an open marriage, one in which both parties accepted one another, as well as their mutual affairs.

Part of this book is a narrative by Douglas Fairbanks, Jr., with whom the iconic Ms. Dietrich had a five year relationship. He describes his surprise at meeting Ms. Dietrich’s husband, along with his lover, in London. It was all very civilized, but a bit strange, nonetheless. Some of the most interesting stories begin with Mr. Fairbanks; like the time Marlene Dietrich wanted to return to Germany to kill Adolph Hitler with a poisoned hair pin. Hitler was a big fan, and had even ordered her to return to Germany. In any case, she would have been searched before being left alone with him, but the hairpin would probably have worked. She knew that she would probably never get out of Germany again, but considered the risk worth taking in order to regain her native country. At the time that this story took place, Ms. Dietrich was having an affair with Joseph P. Kennedy, father of the future President. It strikes me as no co-incidence that the CIA, under John Kennedy, contemplated using a poison pin to kill Castro in Cuba.

An interesting aside here is that Ms. Dietrich would often be a guest in the Kennedy home, even as she was having an affair with the elder Mr. Kennedy. Years later, when JFK was in the White House, and Jackie was out of the country, she was invited to the Executive Mansion, where the President wasted no time in making his desires known. In Ms. Dietrich’s words, “He was even faster than his father.”

Douglas Fairbanks, Jr. was madly in love with her, and he recounts some of the most enjoyable stories in the book. They were both in love; he with her, and she with love itself. He did several nude sculptures of her, all of which he broke the heads off of, so the sculptures would not be exploited after her death.

At one point, as England stood poised on the edge of war with Germany, and at the same time that King Edward was about to abdicate the throne for the American divorcee Wallis-Simpson, Ms. Dietrich planned to seduce him to thwart his impending marriage. She couldn't stand to see him throw his royalty away for "that flat chested American woman."

When World War Two broke out she volunteered to work with Bette Davis and all the other Hollywood actresses in the USO, dancing with, and even cooking for the soldiers who passed through. But she felt she wasn’t doing enough, so she sold all of her belongings to join the war effort, going way past where Bob Hope would even go. She saw the death camps, and even had relatives in there. When told she was only allowed 56 pounds of luggage for the trip, she tossed away her gowns and makeup kit, electing to stuff the pockets of her flight suit with dime store fake fingernails, which she felt she could not do without, as they made her feel more feminine.

But there was another side to her that will surprise many people. She loved to cook, and clean the houses of her various lovers. Several are quoted as saying that she never looked more beautiful than when wearing a hairnet, frying eggs for breakfast.

When she elected to appear in the film “Judgment at Nuremberg”, in 1961 with Spencer Tracy, she was able to add authenticity and even some dialogue to her part, as well as the film. This was her last major film, but not the end of her career.

In the 1960’s she did a show in Las Vegas which is still spoken of today by those old enough to remember it. She appeared on stage, singing. Her voice was that of the classic chanteuse. Her musical director was a young Burt Bacharach, who even accompanied her on her tour of the Soviet Union. To quote Ms. Dietrich, “When Burt said; ‘Terrific baby, terrific;’ I could have died of happiness.”

This was a delightful book to read, filled with the stuff that legends are made of. And Ms. Dietrich was that; a legend; even in her own time. If you have never read one of Ms. Chandler’s books, “Marlene” is a great place to start.

"It Happened One Night" with Clark Gable and Claudette Colbert (1934)

During the Great Depression in the 1930's, a new genre of film made its appearance across the country. They were called "screwball" comedies, because the plots were slightly insane, and also, because like a good "screwball" in a baseball game, you were never really quite sure just where it was all going to end up. The other night I watched Frank Capra's "You Can't Take It With You" after quite a few years. I enjoyed it so much that I returned to the library for some more of Frank Capra's magical celluloid elixir. I came home with "It Happened One Night."

Briefly, the film is about a news reporter, Peter Warne, played by Clark Gable, who gets fired for some very good reasons. When he embarks on a bus trip back to New York he meets, and attempts to befriend, Ellie Andrews, played by Claudette Colbert, as she flees from her millionaire father, who is opposed to Ms. Andrews pending marriage to a social celebrity who may just be marrying her for her money.

Naiveté is the order of the day as Ms. Andrews tries to make her way back to New York via bus, exposing her to a level of living which she has never experienced before. And experience is just what she gets; from having her bags stolen, to being hit upon by a traveling salesman. Life on the road is not something she is prepared for.

Peter Warne, with his keen eye as a reporter, as well as a man of the world, discovers Ms. Andrews’ true identity and keeps a careful eye on her as she makes her way from Miami to New York aboard the bus. When her baggage is stolen, she is left penniless, and the two try to make it to New York on $4 dollars. Forced to leave the bus when her true identity is discovered by the philandering salesman "Shapley", played by Roscoe Karns, Warne and Ms. Andrews leave the bus and begin to hitchhike the remaining way.

Her father, a millionaire known simply as "Andrews", played by Walter Connolly, has all the airports, bus terminals and train stations watched by private detectives, but he has neglected the one way in which his daughter is now traveling; by thumb.

As the couple bicker and banter their way towards New York they discover a mutual respect for one another. This respect begrudgingly turns into something more, and though Ms. Andrews' father has finally accepted his daughter's impending marriage to the intended groom, he is only too happy to meet Peter Warne, and would be even happier to have him as a son in law instead. How all of this works out is the icing on the cake in this delightful "screwball" comedy.

Made with the same team of screenwriter Robert Riskin, working from a short story by Samuel Hopkins Adams, and directed by Frank Capra, this movie earned 5 Academy Awards in 1934. The categories were Best Picture, Best Actor, Best Actress, Best Director and Best Screenplay. They really don't make them like this anymore.

"You Can't Take It With You" with James Stewart, Lionel Barrymore and Jean Arthur (1938)

I haven't seen this film in years. It was on the shelf at the library, and I remembered it with such affection, that I had to take it home. Martin Vanderhof, played by Lionel Barrymore, owns the one piece of land that industrialist Anthony P. Kirby, played by Edward Arnold, needs to secure a defense contract that will make him the largest producer of war materials in the world. But money is no object to Martin Vanderhof, who wants to live life and enjoy what he has. He has no intention of selling his home. He lives with his daughter, and granddaughter Alice Sycamore, played by Jean Arthur, along with a host of very unusual people, with ambitions and dreams to match their unusual personalities.

Tony Kirby, played by James Stewart, is the son of Anthony P. Kirby, and engaged to Martin Vanderhof's granddaughter, Alice. Complications, of course, arise when the Kirby's show up one night early for a dinner engagement. This mishap was arranged by Tony Kirby in order that his family see the Sycamore family, and Martin Vanderhof, just as they are in this wonderful look at society and the values we all place upon the things that are dear to us.

For instance, in this film, made in 1938, a man who owns his property could not be forced to move. Today, under eminent domain, he would be forced to sell his property to make way for any private enterprise that would create a larger tax revenue.

This is a wonderful comedy in the tradition of Frank Capra, assembled with the usual cast of character actors, all ably assisted with a script by playwrights George Kaufman and Moss Hart, and a flawless screenplay of all the madness by Robert Riskin. With his usual flair for perfection in full gear, the flawless direction by Frank Capra drives this film home.

"Love Affair" with Charles Boyer and Irene Dunne

This was a nice surprise, in a couple of ways, as I had never seen it before; and having just come from a visit to New York City, where the bulk of the story takes place, it just seemed appropriate.

The story is old style corny; a French playboy, Charles Boyer of course, is traveling by boat to meet his wealthy heiress fiancee, and falls in love with another woman, Irene Dunne. They have an affair and agree to meet again in 6 months atop the Empire State Building. She is struck by a car on the way to meeting him, and paralyzed, leaving him wondering, and waiting. A real tear jerker.

Aside from the corny plot, the film did garner 2 Academy Award Nominations; both Irene Dunne and Maria Ouspenkaya were nominated for Best Actress and Best Supporting Actress, repectively. In addition it was nominated for Best Story and Best Song- the poignant ballad "Wishing".

It also had me "Wishing" that I had spent just a bit more time wandering the streets of New York while I was there. Best line in the movie is spoken by Irene Dunne's character, Terry McKay, who avers, "The things we like best are either illegal, immoral or fattening." Low key, and later remade as "An Affair to Remember" with Cary Grant, this is an often overlooked film that is well worth the time it takes to watch.

"When Did You Leave Heaven"

This is a song that I first heard in the early 1960's, once again on WOR-TV in New York. It was in a musical called "Sing, Baby, Sing" from 1936, written by Richard Whiting and Walter Bullock. The song has been recorded by scores of artists over the years, including Big Bill Broonzy, Louis Armstrong, Pat Boone, Bob Dylan and even Jools Holland from Squeeze. My favorite is the unreleased version by Eric Clapton.

Here is a video link, courtesy of you tube, with Eric Clapton singing these lyrics on a train in 1978, while crossing America on tour. The embedding was disabled so I can only post the link;

http://www.youtube.com/watch?v=qDrMKfYdF-A&feature=related

When Did You Leave Heaven

When did you leave Heaven?
How did they let you go?
How did you leave Heaven?
I’d really like to know.

Why did you trade Heaven,
For all these Earthly things?
Where did you leave your Halo?
And where did you leave your wings?

Haven’t they missed you?
And can you get back in?
And if I dared kiss you,
Would it be a sin?

I am only human,
You are so divine.
Why did you leave Heaven?
Angel of mine.

"Charlie Chan" by Yunte Huang

Until I ran across this book in the Library I thought that Charlie Chan was merely a fictional character in old movies and novels. Boy, was I wrong. Charlie Chan, that most honorable of Detectives, is based on the real life of Detective Chang Apana of the Honolulu Police Department.

The author, Yunte Huang, begins the book with a short, but fascinating history of the Hawaiian Islands. Horses were first introduced there, along with beef cattle, in the early 1800's. Are you wondering how this fits in with Charlie Chan? So was I.

Chang Apana was born in Hawaii in either 1869 or 1871, the record is sketchy on that. His given name was Ah Pung. At the age of three his family, which had emigrated from China a few years earlier, decided to move back home. The move to Canton opened Chang's eyes to a different world from that to which he was accustomed. At three years old he was expected to contribute something to the household, even picking up sticks for firewood was a helpful chore. Canton was a squalid village in the 1870's, with not much opportunity for advancement. It wasn't long before the family was broke and Chang's parents sent him and an Uncle back to Hawaii as laborers. Chang was 9 years old at the time.

Arriving in Honolulu was not the romantic affair depicted in the movies. Rather than a Lei, upon arrival young Chang is given a metal tag to wear which identifies the plantation he belongs to. He is basically a serf, a part of the Chinese "coolie" labor system which was in practice then.

Hawaii had a large cattle industry by this time, as well as sugarcane fields. Young Chang would come to know them both well. But his expertise began to show itself when dealing with cattle, and he bacame one of Hawaii's best known "paniolos", or cowboys. His experience with a whip would later earn him a reputation as a fierce "no-nonsense" law officer.

But his big break into the "white" world came via Helen Wilder, the daughter of a wealthy American businessman. Ms. Wilder longed to establish a Hawaiian branch of the Society For the Prevention of Cruelty to Animals. The initial effort failed, but Ms. Wilder was determined to make it work, so in 1898 she was able to re-establish the effort as The Humane Society. Her first choice for an officer was Chang, who had been working for her father and had demonstrated his ability to work with animals, as well as care for them. He was a very busy man. Along the waterfront alone, there were hundreds of cases per month of people not feeding their horses, or beating them until they dropped. Chang fashioned his own whip and began to issue fines, as well as beatings, to those who did not think he was serious.

The author, Mr. Huang, takes every opportunity in this book to tie the history of the island in with the story of Chang and his rise to top Detective. For instance, he explores the complex nature of being Chinese in an American "possession" like Hawaii. He explains the meaning of the Chinese queue, or "pigtail." In China the queue was mandatory, cutting it off would get you beheaded. Many Chinese, even after leaving China, could not bring themselves to cut their queues off. Chang had no such reservations. This cultural dilemma also extended itself to the actions of Chang as an Officer with the Humane Society. As a Chinese, Chang would have believed in re-incarnation. This means that whenever he saw an animal being mistreated he looked upon it as someone torturing the soul of someone who had done some evil in life, thus being relegated to the body of a lesser being after death. As a stableman and cowboy, he would have had great affection for the animals he saw being mistreated on a daily basis.

In 1898 Hawaii was annexed as a territory of the United States. The new Police Force was set up by a man named Arthur Morgan Brown, who was the son of a sea captain. Mr. Brown, like Chang, was born in Honolulu. And they were both friends with Ms. Helen Wilder. And so Chang became one of the first policeman in Honolulu after the annexation by the United States.

By 1904 Changs reputation as a tough, but fair and honest cop, was cemented in the islands history. He once rounded up 40 of Hawaii's most notorious gangsters and gamblers in a single sweep. He disguised himself as a street person and gained entrance to the gambling hall. He then produced his fearsome whip, cracked it loudly once, and marched all 40 of the gangsters to the jail. Not one of the criminals dared to go for their weapons, as Changs skill with a whip was beyond legendary.

Earl Derr Biggers was an author in search of a new novel when he arrived in Hawaii in 1920. He was a very successful author of fiction, as well as a contibutor of short stories to the Saturday Evening post and Ladies Home Journal. His arrival in Honolulu coincided with the opium epidemic that was sweeping the island at the time. Mr. Biggers was fascinated with the daily paper and the stories of the opium dens and police corruption. He was already writing a novel about it all, "The House Without a Key", in his head, when he met Chang Apana. This would become the first novel he wrote in which the fictional Charlie Chan appears, although the first Charlie Chan book would not make it's appearance until 1926 with the release of "The Chinese Parrot."

Taken by the polyglot nature of Chang and his philosphies, the author began to write a sketch of a fictional Detective, who embodied all of the things he saw in Chang. A mixture of wisdom, cunning and daring, this character was the mirror image of the real life Chang. By 1926 "The Chinese Parrot" was released, beginning a run of 6 books featuring the fictional Charlie Chan. In the 1930's these books became the basis for all of the Charlie Chan films to come later.

This book is broad in it's scope, combining both the history and the legends, to illustrate the creative process that gave birth to one of literature's most endurable fictional characters. Somehow, the author has managed to present all of this information in a wholly readable fashion. Chang Apana passed away in Honolulu in 1933. In writing this book the author draws on the famous Detectives interviews from 1932, as well as newspaper articles of the time, to capture the essence of this legendary man.

But no account of either the fictional Charlie Chan, or the real life Chang Apana, would be complete without quoting from one of his many philosophical observations. "Truth like football - receive many kicks before reaching goal."