Despite being recognised as one of the ten most influential cinematographers of all time, Chinese-American James Wong Howe faced a career of discrimination and struggle.
From 1882-1943, the United States prohibited all immigration of Chinese labourers into America under what was called the Chinese Exclusion Act. For 61 years, only students, teachers, travelers and merchants were permitted to legally enter the United States, and Chinese people who had already settled in America were excluded from ever becoming citizens, destroying their chances of starting a family in their new homes. The slogans and caricature-posters of this period are chilling. ‘We must draw the line somewhere, you know’ reads one, while another advertises Magic Washer detergent with Uncle Sam kicking a grotesque stereotype of a Chinese man off a cliff.
The U.S film industry was in the grip of its countries laws at the start of the 20th century. As the industry started evolving and the era of silent films came to an end, technology progressed quicker than society. Most people involved in film, whether behind the scenes or on screen, were Caucasian, usually American citizens, and filmmakers were still scared to touch on issues of society or politics. There were many films about the impact of war, such as Charlie Chaplin’s The Kid and Rex Ingram’s The Four Horsemen of the Apocalypse. While these touched on important themes of poverty and the tragedy of war, these were mostly from an American viewpoint.
China, on the other hand, produced their first truly successful films around issues of political progression and left wing ideology. The 1930’s saw China producing films such as The Goddess and Spring Silkworms, focusing on the struggle of the individual, class divide and social inequality. Despite these important films, Chinese cinema did not truly see success in America until the 1980’s with Shaolin Temple starring Jet Li, and The Horse Thief, only a hit with arthouse cinema-goers. Even now major Chinese films are not shown in most cinemas, and only those who seek them out find them. The fact remains those who know the potential and the brilliance of Chinese film and of Chinese art in general are not in the majority, and society is too wrapped up in Hollywood blockbuster smash-hits to notice these minor masterpieces.
James Wong Howe, an aspiring Chinese boxer living in America with his family at the start of the 20th century, knew all too well about the marginalisation of his people. His father had evaded the Chinese Exclusion Act to work on The Northern Pacific Railway and managed to move his family to America in 1904 behind the backs of the authorities. After his father died, James Wong Howe moved to San Francisco and worked odd jobs. He took it upon himself to approach renowned American cinematographer Alvin Wyckoff in a chance encounter on the streets. He managed to land a job first in a film lab and then as a clapper.
Largely due to the novelty of being a small Chinese man who smoked large cigars on a set full of American-born workers, Wong Howe was noticed by director Cecil B. Demille, who hired him as a camera assistant. Neither knew the career of one of the greatest American cinematographers of all time had just been launched.
Whilst working as a camera assistant Wong Howe also experimented with still photography. On one occasion whilst photographing actress Mary Miles Minter, he discovered he could make her eyes look darker by having her look at a dark surface. The success of the subsequent photographs encouraged Minter to request Howe be the leading cinematographer on her next film. This led to his becoming one of the most sought-after cinematographers in Hollywood for the next twenty years.
Howe’s emphasis on lighting, in particular his use of shadow and his pioneering techniques utilising low-key lighting as opposed to three-point, created the style he became known for. By placing velvet in a large frame around the camera, Howe transgressed the limits of the stock film used at the time. Blue eyes became brighter and actresses looked their best with minimal lighting and without gauze or diffusion.
His black-and-white films, such as the incredible thriller Seconds starring Rock Hudson, showcase a style of cinematography that wouldn’t seem out of place in cinemas todays. Shaky tracking shots, extreme-close ups and dramatic yet subtle lighting create a palpable atmosphere of tension and drama, the focus on the actors expressions lending the film an intimacy that adds to the horror.
Howe struggled through the middle of his career due to a number of factors. Returning to America from China after a work trip, he found what were called ‘talkies’ had taken over. Having only ever worked in silent films till then, he found his lack of experience a challenge until he was again given a chance by William K. Howard on Transatlantic. His renowned work on this film and his philosophical attitude towards cinematography reestablished Howe as a major power. The role of the cinematographer as it is today was hard fought for by Howe. He was insistent on being apart of discussions regarding the layout of the film, and believed the director should focus more on the performances of the actors while the cinematographer had more control of the look and dramatic action of a film.
After Howe’s contract with Warner Brothers expired and he again returned to America from a trip to China to make a documentary, he discovered he had been grey-listed as a Communist sympathiser. Howe had never identified as a Communist or been involved in the movement, but his being of Chinese descent was enough for his wife to be blacklisted due to her involvement with him, subsequently listing Howe himself as a sympathiser. This twisted logic meant Howe found himself once again strung out without work. He and his wife Sanora Babb, an American writer, could not get officially married as interracial marriages were still banned. Babb eventually moved to Mexico City to save Howe from racial prejudice.
Despite these challenges, Wong Howe succeeded once again in establishing himself as a leading cinematographer in colour films. He went on to win two Academy Awards, and ended his career by teaching at UCLA’s film academy. He was the first minority cinematographer to be admitted to the American Society of Cinematographers, and spent time lecturing other cinematographers from minority groups. His marriage was eventually realised, and he died aged 76 in 1976.
As society progresses and biases are abolished and we open ourselves up to admitting mistakes of the past, we learn more about how much we have to thank other cultures than our own for things we take for granted. The story of James Wong Howe is a brilliant example of the determination of an individual against the prejudices of society.
His resilience against a changing world that pushed to leave him and his culture behind, his massive and natural talent, and his humility as a man and as an artist; these admirable traits are a source of inspiration to all artists struggling to stay motivated, as well as a sobering reminder of what we miss when we fall prey to bias and discrimination.
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