Where East Is East

Plot

Set in the jungles of Cambodia, the film follows Tiger Haynes (Lon Chaney), an American animal trapper who lives with his beautiful daughter Toyo (Lupe Vélez). Their peaceful existence is shattered when Haynes' estranged wife Madame de Sylva (Estelle Taylor), a Eurasian woman who abandoned them years earlier, returns with her circus troupe. When Toyo falls in love with Bobby Bailey (Lloyd Hughes), a young American explorer, the vengeful Madame de Sylva attempts to seduce him as revenge against her former husband. The conflict escalates dramatically, culminating in a violent confrontation in the jungle where Haynes must protect his daughter from his manipulative former wife.

Historical Background

Released in 1929, 'Where East Is East' emerged during Hollywood's tumultuous transition from silent to sound cinema. The stock market crash of October 1929 occurred just months after the film's release, dramatically altering the film industry landscape. This period saw the rapid decline of silent film stars who couldn't adapt to talking pictures, though Chaney's illness would have likely ended his career regardless. The film reflects contemporary Western fascination and anxiety about Asian cultures, particularly in the context of growing American economic and military presence in the Pacific region. The exotic adventure genre was at its peak popularity, with audiences eager for escapist entertainment during increasingly uncertain times. The film's themes of racial mixing and cultural conflict also mirrored real-world tensions as American society grappled with changing demographics and immigration patterns.

Making Of

The production of 'Where East Is East' was marked by significant challenges, primarily due to Lon Chaney's declining health. Despite being in constant pain from throat cancer, Chaney insisted on performing his own stunts and working with live animals, including several tigers used in the jungle trapping sequences. Director Tod Browning, known for his dark and atmospheric style, created elaborate jungle sets that were so convincing they were reused in several subsequent MGM productions. The tension between Lupe Vélez and Estelle Taylor was palpable on set, with Vélez later claiming Taylor deliberately tried to upstage her during their confrontational scenes. The film was shot quickly to accommodate Chaney's health needs, with production completed in just over three weeks. The synchronized score was composed by William Axt and included exotic instrumentation to evoke the Asian setting, though no actual Asian musical elements were authentically incorporated.

Visual Style

The cinematography, handled by Merritt B. Gerstad, employed dramatic lighting techniques characteristic of late silent cinema to enhance the exotic atmosphere. The jungle sequences utilized filtered lighting and carefully constructed shadows to create a sense of mystery and danger. The camera work included several tracking shots through the elaborate jungle sets, creating a sense of movement through the dense vegetation. Close-ups were used effectively to capture the emotional intensity of the confrontations between characters, particularly in scenes featuring Chaney's expressive performance. The film's visual style reflects Browning's preference for dramatic, almost expressionistic lighting that would later become a hallmark of his horror films.

Innovations

As a late silent film with synchronized sound, 'Where East Is East' demonstrated MGM's capabilities in hybrid productions during the industry's transition to sound. The film's elaborate jungle sets represented significant achievements in studio-based location simulation, using forced perspective and matte paintings to create convincing exotic environments. The animal handling and training required for the tiger sequences showcased advanced techniques in working with dangerous animals on set. The makeup effects applied to Lon Chaney represented some of the most sophisticated prosthetic work of the era, though they were overshadowed by his physical transformation in previous films. The synchronization of music and sound effects with the visual narrative demonstrated the technical sophistication possible in late silent cinema.

Music

The film featured a synchronized musical score composed by William Axt, with sound effects added for the talking version. The score incorporated exotic instrumentation including gongs and drums to evoke the Asian setting, though it remained firmly rooted in Western musical traditions. The sound effects included jungle noises, animal sounds, and atmospheric elements that enhanced the exotic setting. No dialogue was included in the soundtrack, maintaining the film's silent film aesthetic while taking advantage of new sound technology. The musical cues were carefully synchronized with the on-screen action, a practice that was becoming increasingly sophisticated during this transitional period in cinema history.

Memorable Scenes

• The dramatic confrontation between Tiger Haynes and his estranged wife Madame de Sylva upon her return
• The tense jungle sequence where Haynes demonstrates his animal trapping skills
• The climactic battle between mother and daughter in the exotic garden setting
• The scene where Madame de Sylva attempts to seduce Bobby while performing with her circus troupe

What Critics Said

Contemporary critics praised Chaney's performance despite his obvious physical frailty, with Variety noting his 'usual intensity and commitment to the role.' The New York Times highlighted the film's exotic atmosphere and effective use of jungle settings, though criticized the melodramatic plot as somewhat conventional. Modern critics have reassessed the film as an important historical document marking the end of the Chaney-Browning collaboration, with particular appreciation for Chaney's ability to deliver a powerful performance despite his terminal illness. The film is generally regarded as lesser than their previous collaborations but still significant within both artists' filmographies. Recent scholarship has examined the film's racial politics and representation of Asian culture, finding it typical of Hollywood's orientalist tendencies of the era.

What Audiences Thought

Audiences in 1929 responded positively to the film's exotic setting and dramatic confrontations, particularly the scenes between Lupe Vélez and Estelle Taylor. The film performed moderately well at the box office, though it was overshadowed by the wave of talking films that were dominating theaters by its release date. Modern audiences encountering the film through revival screenings and home media have shown renewed interest due to its historical significance as Chaney's final film with Browning. The film's dramatic elements and Chaney's performance continue to resonate with silent film enthusiasts, though some contemporary viewers find the racial stereotypes and cultural representations problematic by modern standards.

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