Son of the Gods
"The story of a man who was 'Son of the Gods'—but a pariah to the world he loved!"
Plot
Sam Lee, the refined and wealthy son of a prominent Chinese merchant, lives a life of privilege but finds himself socially isolated due to racial prejudice. Despite his ability to pass as white, Sam remains loyal to his heritage until a series of cruel insults at an Ivy League university drive him to drop out and seek a new life in Europe. While in the south of France, he falls deeply in love with Allana Wagner, a sophisticated socialite who initially believes him to be Caucasian. Their romance is shattered when she discovers his supposed Chinese ancestry, leading to a period of intense heartbreak and social rejection for Sam. However, the film concludes with a dramatic revelation from Sam's father, Lee Ying, who confesses that Sam was actually a Caucasian orphan adopted into the Chinese family, a twist that allows the couple to reunite within the racial boundaries of the era.
About the Production
The film was a significant production for First National, featuring an early use of Technicolor for a specific sequence involving Sam's backstory and his father's temple. Director Frank Lloyd, who had recently won an Academy Award for 'The Divine Lady,' brought a high level of prestige to the project. The production faced the challenge of balancing the sensitive themes of racial prejudice with the commercial requirements of 1930s Hollywood, ultimately leading to the 'safe' plot twist regarding the protagonist's true race.
Historical Background
Released in 1930, 'Son of the Gods' arrived during a period of intense racial segregation in the United States, governed by Jim Crow laws and the Chinese Exclusion Act. Hollywood was also beginning to enforce the Motion Picture Production Code (the Hays Code), which strictly prohibited the depiction of miscegenation (interracial romance). The film reflects the 'Yellow Peril' anxieties of the time while simultaneously attempting a liberal critique of the cruelty of prejudice, illustrating the era's contradictory attitudes toward race.
Why This Film Matters
The film is a landmark in the history of how Hollywood handled race and identity. It is often cited by film historians as a prime example of the 'adoption twist' trope used to bypass censorship laws regarding interracial marriage. Despite its problematic elements, it was one of the few films of its time to portray a Chinese household (even if played by white actors) as cultured, wealthy, and morally superior to the 'white' socialites who mocked them.
Making Of
The production of 'Son of the Gods' was marked by the transition from silent to sound cinema. Director Frank Lloyd utilized a restrained acting style for Richard Barthelmess to emphasize the character's internal stoicism and the 'mask' he wore to protect himself from societal rejection. The 'yellowface' casting of Barthelmess was standard for the era, as major studios rarely cast Asian actors in leading romantic roles. The film's ending was a point of contention; while the source novel and film aimed to critique racism, the Hays Office and social norms of 1930 necessitated the revelation that the protagonist was white to allow for a 'happy' (non-miscegenated) ending.
Visual Style
Ernest Haller, who would later win an Oscar for 'Gone with the Wind,' provided the cinematography. The film features sophisticated use of shadows and lighting to reflect Sam's isolation. The lost Technicolor sequence was intended to provide a vibrant, 'exotic' contrast to the starker, more cynical black-and-white world of Western high society.
Innovations
One of the early features to integrate a Technicolor sequence into a primarily black-and-white 'talkie.' It also utilized advanced 'process shots' for the scenes set in the South of France, allowing the actors to appear in exotic locales without leaving the Burbank studio lot.
Music
The film features a synchronized musical score and sound effects typical of early talkies. It includes traditional Chinese-inspired motifs to underscore the scenes in Lee Ying's home, contrasting with the jazz and orchestral music of the European and college scenes.
Famous Quotes
Sam Lee: 'I am a Chinese. To you, that means I am something less than human.'
Allana Wagner: 'I don't care what they say, Sam. I only know what I feel when I'm with you.'
Lee Ying: 'My son, the heart has no color, but the world has eyes that see nothing else.'
Memorable Scenes
- The University Rejection: Sam is invited on a triple date only to have the girls recoil in horror and hurl racial slurs when they realize he is Chinese, leading to his silent, dignified exit.
- The Riviera Romance: A lushly filmed sequence where Sam and Allana fall in love, unaware of the social storm that awaits them.
- The Final Revelation: Lee Ying reveals the truth of Sam's birth, producing the documents that prove he is Caucasian, which serves as the film's emotional and narrative climax.
Did You Know?
- The film originally featured a Technicolor sequence that depicted Sam's childhood and his adoption, though this color footage is now considered lost and survives only in black and white or sepia-toned prints.
- Richard Barthelmess, a major silent film star, used this role to transition into more 'socially conscious' talkies, though he played the role in 'yellowface' makeup.
- The film was based on a popular novel by Rex Beach, who was paid $35,000 for the rights—a substantial sum at the time.
- It was one of the first 'talkies' to explicitly address the social ostracization of Asian Americans, even if it ultimately retreated from a truly interracial conclusion.
- A psychological study in 1930 used this film to measure social attitudes, finding that children who watched it showed a 'decided shift' in favor of more positive views toward Chinese people.
- The film was a significant box office success, earning over $1.4 million during the early years of the Great Depression.
- Constance Bennett's performance as the spoiled but ultimately loving Allana helped solidify her status as one of the highest-paid actresses of the early 1930s.
What Critics Said
At the time of its release, critics praised Richard Barthelmess for his dignified and sensitive performance, noting that he handled the difficult subject matter with 'great restraint.' The New York Times described it as a 'sincere and moving' drama. Modern critics are more critical of the 'yellowface' casting and the 'cop-out' ending but acknowledge the film's early attempt to confront American xenophobia.
What Audiences Thought
Audiences in 1930 responded very positively, making the film a hit. It resonated particularly with viewers who enjoyed the 'Pre-Code' era's willingness to tackle more mature and controversial social themes. However, it was reportedly less well-received in China, where the 'Westernized' depiction of Chinese culture was seen as inaccurate.
Awards & Recognition
- Photoplay Magazine Medal of Honor (Nomination/Finalist status for 1930)
Film Connections
Influenced By
- Broken Blossoms (1919)
- The novel 'Son of the Gods' by Rex Beach
- The transition from Silent to Sound cinema
This Film Influenced
- The Good Earth (1937)
- Sayonara (1957)
- Imitation of Life (1934)
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Film Restoration
The film is extant and preserved in the Library of Congress and other archives. However, it survives only in black-and-white; the original Technicolor sequences are lost, though some prints retain a sepia tint for those specific scenes.