I’d seen most of the ‘30s detective series when I was a kid, including Charlie Chan, but somehow I missed Mr. Moto. Most of these sorts of films are amusing, but cut pretty much the same and they can get old quickly without something special (like the chemistry between Nick and Nora Charles in The Thin Man). I assumed Mr. Moto would be a weaker entry, but finally watching the movies, I was taken aback at how good they are. These were inexpensive B-pictures, made to fill in the gap of the lessening Charlie Chan (the stories were written on request because the author of the Chan books had died, leaving a hole in the Asian detective sub-genre, and there was demand). And for the lead, they cast not a Japanese actor, or any Asian actor, but Peter Lorre, a Hungarian Jew with a drug problem and an uncertain interest in the part. This was a recipe for disaster.
But it wasn’t one. Lorre was a fine actor, who not only was up for the challenge of the character, but also of the many fight scenes. And that’s the film series’ second big plus: These weren’t normal detective stories. Rather, Mr. Moto is more of an international spy, and that set these pictures apart. There is as much James Bond at play as there is Philo Vance. There’s a real joy in watching the diminutive Moto taking out one bad guy after another.
As for the casting of a white actor, 1930s Hollywood was ripe with racial issues, but as Keye Luke (Charlie Chan’s #1 Son) noted, the yellow-face and stereotypes were a problem, but the trade-off was that there were roles, the stereotypes were more often positive ones, and there was actually representation. Later, there were no roles at all, and no representation for Asians. And the Moto films had many parts for Asian actors and Asian characters were treated with respect.
And things are better with Moto, as he doesn’t fit a stereotype, nor have a two-dimensional character (he is more complex than either Charlie Chan or Rathbone’s Holmes). He is smart, well educated, athletic, and heroic. He lives well but is able to rough it without complaints. He can, and does, kill (a rarity in “detective” series of the time). He is funny and kind, and is often amused at those around him. He drinks milk in bars, but has no aversion to liquor. He’s a Buddhist, but it comes up no more often than being a Christian comes up for other detectives.
As for stereotypes, they are used in abundance, but not in Asian characters. Instead, silly Westerners (never the villains, who know better) assume the Asian characters will fit their preconceptions, and Moto uses their ignorance to his own advantage. It’s good writing.
And in another bit of joyful twist, Moto is a master of disguise, taking on not only Asian identities, but also German and Austrian. In the Moto universe, no one can tell one race from another (well, until Willie Best shows up in a later entry…).
The series is at its best at the beginning, then stumbles through a rough patch before getting better again, but with the downside that those later entries add comic relief that is out of place and not comic. Another problem is that two of the films (Mr. Moto’s Gamble and Mr. Moto in DangerIsland) were originally meant for Charlie Chan, the first even included Chan’s son as a side kick. I find the Chan films weaker, but also he is a different kind of character—a methodical detective rather than an action hero—so this turns out to be a major problem, at least for Gamble. DangerIsland was actually based on a unrelated novel, that was made into a film and then was being adapted for a second film to feature Chan before it was switched to Moto.
But when the series is good, it is quite good (again, think ‘30s B-movie). There’s a lot of excitement, a touch of archeology (I have to think Indiana Jones owes as much to Moto as Bond does), mystery, and some excellent characters.
I highly suggest the first two films, and then more modestly the fifth, and then a bit more modestly the final three. Use your discretion with the third and forth.
Ranking them (with the # being their release order, not their production order—they changed their dates around when they saw they had a dud with the second one filmed, Takes a Chance):
1 – Thank You, Mr. Moto (Mr. Moto #2 – 1937)
2 – Think Fast, Mr. Moto (Mr. Moto #1 – 1937)
3 – Mysterious Mr. Moto (Mr. Moto #5 – 1938)
4 – Mr. Moto’s Last Warning (Mr. Moto #6 – 1939)
5 – Mr. Moto Takes a Vacation (Mr. Moto #8 – 1939)
6 – Mr. Moto in DangerIsland (Mr. Moto #7 – 1939)
7 – Mr. Moto’s Gamble (Mr. Moto #3 – 1938)
8 – Mr. Moto Takes a Chance (Mr. Moto #4 – 1938)