The biggest novelty of this rather dull little mystery is that for once during this era, a person of Chinese ancestry actually plays a Chinese-American amateur detective!! That's right, unlike Charlie Chan, Mr. Moto and the previous Mr. Wong films, this one does not feature some Western guy with his eyes taped so that he looks Chinese-ish. And, also interesting is that this actor is none other than Keye Luke--the guy who played Number One Son in the Chan films. In some ways, this was very culturally sensitive and forward-thinking and Luke's character was bright and articulate--using definite articles in conversation and seeming less like a walking stereotype. At the same time, the writers were still in the 1940s mindset, as some of the remarks of the incredibly imbecilic chief of detectives are awfully crude stereotypes. An example of this was when he asked all the people what they had for dinner. When he came to the Chinese lady, he said "I assume you just had Chop Suey". Uggh!!!
Now as for the film itself, it seems like a lower than usual quality B-movie--with most of the usual clichés but with none of the energy or excitement of films from the Boston Blackie, Charlie Chan, Falcon or Sherlock Holmes series. While there were some interesting story elements (such as the whole oil angle), the film was so low energy and dull that it rarely engages the viewer. I think most of this is due to the painfully low budget--making productions by second-rate poverty row studios (like rival Monogram Films) seem vastly superior to this one. It is obvious in this film that the end of the Wong series was in sight and there wasn't much more when it comes to innovation other than the casting of the ever-capable Luke in the lead.
Now as for the film itself, it seems like a lower than usual quality B-movie--with most of the usual clichés but with none of the energy or excitement of films from the Boston Blackie, Charlie Chan, Falcon or Sherlock Holmes series. While there were some interesting story elements (such as the whole oil angle), the film was so low energy and dull that it rarely engages the viewer. I think most of this is due to the painfully low budget--making productions by second-rate poverty row studios (like rival Monogram Films) seem vastly superior to this one. It is obvious in this film that the end of the Wong series was in sight and there wasn't much more when it comes to innovation other than the casting of the ever-capable Luke in the lead.