A hatchet man is ordered to kill his close friend for the sake of Tong.A hatchet man is ordered to kill his close friend for the sake of Tong.A hatchet man is ordered to kill his close friend for the sake of Tong.
J. Carrol Naish
- Sun Yat Ming
- (as J. Carroll Naish)
Edward Peil Sr.
- Bing Foo
- (as Eddie Piel)
Anna Chang
- Sing Girl
- (uncredited)
Blanche Friderici
- Madame Si-Si
- (uncredited)
Willie Fung
- Notary Fung Loo
- (uncredited)
- …
Anne Howard
- Young Girl
- (uncredited)
Ralph Ince
- 'Big Jim' Malone
- (uncredited)
Otto Lederer
- Pawnbroker
- (uncredited)
James B. Leong
- Tong Member
- (uncredited)
Gladys Lloyd
- Fan Yi
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaEdward G. Robinson's wife at the time, Gladys Lloyd, appears uncredited as "Fan Yi". They were married from 1927 to 1956 and she would appear in five films with him from 1931-32.
- GoofsWhen Wong Low Get displays the scar on his left arm to the Tong; he places his right arm palm down over his left and pulls back the sleeve. But on the next immediate cut which is a close-up of the arm; he now has his right arm palm up under the left arm.
- Quotes
Wong Low Get: Sometimes it is better that the eye should not see what the hand is doing.
- ConnectionsEdited into Torchy Blane in Chinatown (1939)
Featured review
The Chinese: A Great Bunch Of Lads
In the beginning of The Hatchet Man, the Chinese community ("Yellow residents" as the opening crawl refers to them as) of San Francisco circa 1918 are a parallel society to the majority of America. However, fast forward to 1932 and the community has moved beyond the Tong wars of the past to a more Americanized and western way of life in which many of the old ways are dismissed such as foot binding and women having less freedom. - Meanwhile, elders in the community hold onto their more old fashioned ways. Instead, we see a community which is becoming integrated into wider society and there are even signs of interracial relationships with mixed couples seen in the dance hall sequence in one of the more insightful films about the oriental to come from this era.
The Hatchet Man is another pre-code William Wellman gem in which the production values, extensive camerawork, and detail in the sets are second to none. The graphic ending is one of the best in pre-code cinema but the scene which I feel best shows of the craftsmanship present in The Hatchet Man is that early in the film in which Wong (Edward G. Robinson) has to kill his best friend and blood brother Sun Yat Ming (J Carroll Nash). At the beginning of this lengthy and slow-paced scene, Sun is finishing writing a will to Wong under the fear that he will be killed by a Tong ("The one I am expecting comes through doors without knocking"). Sun is leaving Wong all his worldly goods and his daughter to become his wife when she is of legal age. Soon Wong arrives and after many gaps in the slowly delivered dialogue with calming Chinese music in the background, the camera does an epic zoom on Robinson as he delivers the fatal line "I am the hatchet man of the Lem-Sing Tong".
The one drawback of The Hatchet Man is the casting of Edward G Robinson; he isn't fully convincing in the role of Wong Low Get. Sometimes he looks Asian which his epicanthic fold but not always, not to mention he doesn't sound particularly Asian which his Eastern European accent. That said if you can suspend your disbelief at Robinson playing an oriental, you're still left with a performance with the intensity you would expect from Robinson. Otherwise, it's hard to tell in the cast who is Asian and who is a white actor in makeup. Loretta Young is far more convincing in her role as Wong's adopted daughter Sun Toya San. Wong's romantic relationship with his adopted daughter raises many eyebrows from today's standards not is it ever made clear if she knows this is the man who killed her own father, but this just makes the odd relationship all the more fascinating. Leslie Fenton, on the other hand, is the film's big scene-stealer as the slim ball villain Harry while Toshia Mori (who was originally to play Loretta Young's role) as Wong's secretary is a very striking screen presence.
There is much less focus in Hollywood cinema of Chinese-American gangsters as opposed to Italian-American gangsters; a shame since it's a fascinating underworld with it prevalent theme of honor.
The Hatchet Man is another pre-code William Wellman gem in which the production values, extensive camerawork, and detail in the sets are second to none. The graphic ending is one of the best in pre-code cinema but the scene which I feel best shows of the craftsmanship present in The Hatchet Man is that early in the film in which Wong (Edward G. Robinson) has to kill his best friend and blood brother Sun Yat Ming (J Carroll Nash). At the beginning of this lengthy and slow-paced scene, Sun is finishing writing a will to Wong under the fear that he will be killed by a Tong ("The one I am expecting comes through doors without knocking"). Sun is leaving Wong all his worldly goods and his daughter to become his wife when she is of legal age. Soon Wong arrives and after many gaps in the slowly delivered dialogue with calming Chinese music in the background, the camera does an epic zoom on Robinson as he delivers the fatal line "I am the hatchet man of the Lem-Sing Tong".
The one drawback of The Hatchet Man is the casting of Edward G Robinson; he isn't fully convincing in the role of Wong Low Get. Sometimes he looks Asian which his epicanthic fold but not always, not to mention he doesn't sound particularly Asian which his Eastern European accent. That said if you can suspend your disbelief at Robinson playing an oriental, you're still left with a performance with the intensity you would expect from Robinson. Otherwise, it's hard to tell in the cast who is Asian and who is a white actor in makeup. Loretta Young is far more convincing in her role as Wong's adopted daughter Sun Toya San. Wong's romantic relationship with his adopted daughter raises many eyebrows from today's standards not is it ever made clear if she knows this is the man who killed her own father, but this just makes the odd relationship all the more fascinating. Leslie Fenton, on the other hand, is the film's big scene-stealer as the slim ball villain Harry while Toshia Mori (who was originally to play Loretta Young's role) as Wong's secretary is a very striking screen presence.
There is much less focus in Hollywood cinema of Chinese-American gangsters as opposed to Italian-American gangsters; a shame since it's a fascinating underworld with it prevalent theme of honor.
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- mmallon4
- May 3, 2019
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Details
- Release date
- Country of origin
- Languages
- Also known as
- The Honorable Mr. Wong
- Filming locations
- Production company
- See more company credits at IMDbPro
- Runtime1 hour 14 minutes
- Color
- Sound mix
- Aspect ratio
- 1.37 : 1
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