The Toll of the Sea

Plot

In this adaptation of Madame Butterfly set in China, young Lotus Flower (Anna May Wong) discovers an American man named Allen Carver (Kenneth Harlan) washed ashore near her fishing village. After nursing him back to health, they fall deeply in love and marry despite cultural differences, with Lotus Flower adopting Western customs for him. When Allen returns to America promising to send for her, she waits faithfully for years, bearing his child. When Allen finally returns with his American wife, the heartbroken Lotus Flower makes the ultimate sacrifice, entrusting their son to the couple before tragically ending her life, demonstrating the devastating toll of cross-cultural romance.

Historical Background

Made in 1922, 'The Toll of the Sea' emerged during a period of rapid technological innovation in Hollywood. The film industry was transitioning from short films to features, and studios were experimenting with new technologies to attract audiences. The early 1920s also saw increasing anti-Asian sentiment in America, particularly with the Chinese Exclusion Act still in effect. Despite this, there was growing fascination with Asian culture and aesthetics in American art and design. The film's production coincided with the early career of Anna May Wong, who would become a symbol of both opportunity and limitation for Asian actors in Hollywood. The post-World War I era was also a time when American cinema was establishing its global dominance, and technological innovations like color film were seen as ways to maintain this position.

Making Of

The making of 'The Toll of the Sea' was as much about technological innovation as storytelling. Technicolor used this film as a showcase for their new two-color process, which involved filming scenes through red and green filters simultaneously. The cameras were bulky and noisy, requiring soundproof blimps. The lighting had to be extremely bright, sometimes causing actors to sweat heavily under the hot lamps. Anna May Wong, despite her young age, showed remarkable professionalism during the difficult shoot. Director Chester M. Franklin had to work closely with Technicolor engineers to achieve the desired color effects. The film was shot in just a few weeks, but post-production took months due to the complex color printing process.

Visual Style

The cinematography by Ray Rennahan and Arthur Edeson was groundbreaking for its use of Technicolor's two-color process. The system used a beam-splitter prism to expose two strips of film simultaneously through red and green filters. This created a limited but striking color palette, with reds and greens appearing vivid while blues were rendered as gray-green. The cinematographers had to adapt their techniques to work with the special cameras and the high light levels required. They used the color capabilities to emphasize the exotic setting, with particular attention to traditional Chinese costumes and scenery. The underwater scenes were especially challenging to shoot in color but resulted in some of the film's most visually striking moments.

Innovations

The film's primary technical achievement was its successful use of Technicolor's two-color process for a feature-length production. This was only the second feature film to use this process after 'The Gulf Between' (1917), but it was the first to achieve wide distribution. The process involved filming through red and green filters simultaneously, then dyeing the processed film strips and cementing them together. The film demonstrated that color cinematography could be practical for commercial productions. The restoration process in the 1980s also represented a technical achievement, as archivists had to carefully preserve the fragile original prints while creating new viewing copies.

Music

As a silent film, 'The Toll of the Sea' would have been accompanied by live musical performances in theaters. The original score was composed by Josiah Zuro, who created a soundtrack that blended Western romantic themes with Chinese-inspired melodies. The music was designed to enhance the emotional impact of key scenes, particularly the tragic finale. Theater orchestras received cue sheets with specific musical suggestions for different scenes. For the restored version, modern composers have created new scores that attempt to capture the spirit of the original while utilizing contemporary musical resources.

Memorable Scenes

• The opening scene where Lotus Flower discovers Allen washed ashore, with the ocean waves rendered in striking green-blue tones
• The wedding sequence featuring vibrant traditional Chinese costumes against natural scenery
• The heartbreaking farewell scene as Allen promises to return
• The final confrontation scene where Lotus Flower makes her sacrifice, featuring Wong's powerful emotional performance
• The underwater sequences that showcased the capabilities of early color cinematography

What Critics Said

Contemporary critics were more impressed with the film's technical achievements than its artistic merits. The New York Times praised the 'remarkable beauty of the color photography' while noting the story was 'somewhat conventional.' Variety focused on the technological breakthrough, calling it 'a step forward in motion picture art.' Modern critics and film historians view the film more favorably, recognizing its historical importance and Anna May Wong's compelling performance. The restored version has been praised at film festivals for its visual beauty and historical significance, with particular attention paid to Wong's screen presence and the film's role in cinema history.

What Audiences Thought

Audiences in 1922 were primarily drawn to the novelty of seeing a full-length color film. Many viewers reported being mesmerized by the vibrant colors, particularly in scenes featuring Chinese costumes and scenery. The film performed well enough to encourage Technicolor to continue developing their process, though it wasn't a blockbuster hit. Modern audiences, viewing the restored version, are often struck by both the beauty of the early color process and Anna May Wong's performance. The film has developed a cult following among classic film enthusiasts and is frequently shown at retrospectives and film festivals focusing on either early color cinema or Asian American representation.

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