Classic Hollywood was a weird place. Imagine walking into a theater in 1938 to see a Chinese-American detective solve a locked-room mystery, only to find the "Master of Horror" himself, Boris Karloff, under a layer of yellow-toned makeup. That’s the reality of james lee wong movies. If you’ve never heard of James Lee Wong, don’t feel bad. He’s often buried under the shadow of Charlie Chan or the high-octane action of Mr. Moto. But honestly? The Wong series has a vibe all its own—clunky, low-budget, and strangely progressive for a time when "progressive" wasn't even a buzzword.
James Lee Wong wasn't born on a film set, though. He started his life in the pages of Collier’s magazine. Created by Hugh Wiley, the character was a Yale-educated, sophisticated agent for the U.S. Treasury. This was a huge deal. While other depictions of Asian characters at the time were basically walking caricatures, Wong was suave. He spoke perfect English. He didn’t use "fortune cookie" proverbs to explain a crime scene.
The Karloff Era: Low Budgets and High Intellect
When Monogram Pictures decided to get in on the Asian detective craze, they didn't have much cash. They were a "Poverty Row" studio. They knew they needed a hook. Enter Karloff. Fresh off playing monsters and mad scientists, Karloff was looking for a change of pace. He wanted to play a gentleman. He wanted to use his brain, not just his physical presence.
Between 1938 and 1940, Karloff starred in five james lee wong movies:
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- Mr. Wong, Detective (1938)
- The Mystery of Mr. Wong (1939)
- Mr. Wong in Chinatown (1939)
- The Fatal Hour (1940)
- Doomed to Die (1940)
These films are short. Most run barely over an hour. They usually involve Wong sitting in his study, drinking tea, and out-thinking the local police, specifically the loud-mouthed Captain Street (played by Grant Withers). Street is basically there to be the "wrong" guy so Wong can look brilliant. It’s a classic formula, but it works.
There’s a specific charm to Mr. Wong in Chinatown. It introduces Marjorie Reynolds as Bobby Logan, a wisecracking reporter who actually keeps up with Wong. Their dynamic adds a spark that the earlier films sometimes lacked. Honestly, the plots can be a bit of a muddle. You’ve got poison gas, cursed sapphires, and smuggling rings. But you’re not really there for the plot. You’re there to watch Karloff be incredibly polite while pointing out that everyone else is missing the obvious.
The Big Switch: Keye Luke Takes Over
By 1940, Karloff was done. He had a three-picture deal with Columbia and was moving back toward bigger productions. Monogram didn't want to kill their cash cow, so they did something pretty bold for the time. They hired Keye Luke.
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You might know Keye Luke as Charlie Chan’s "Number One Son" or as the old shopkeeper from Gremlins. In the 1940 film Phantom of Chinatown, he became the first Asian-American actor to play a lead detective in an American sound film. The movie is technically a prequel. Luke plays a younger "Jimmy" Wong.
It’s a better movie than people give it credit for. Luke is energetic, athletic, and actually looks the part. But the audience at the time didn’t bite. The series ended right there. It’s a shame, really. If the studio had stuck with Luke, the legacy of james lee wong movies might have been completely different.
Why Should You Care Today?
Look, these movies aren't masterpieces. They were made fast and cheap. Sometimes the sets look like they’re made of cardboard. And yeah, the "yellowface" casting of Karloff is a massive, awkward hurdle for modern viewers. It's uncomfortable. But if you can look at the films as historical artifacts, there’s a lot to dig into.
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Unlike Charlie Chan, who was often treated with a sort of patronizing "wisdom," James Lee Wong was treated as an equal—or a superior—to his white colleagues. He was a scientist. He used chemistry and logic. In Mr. Wong, Detective, he spends a significant amount of time in a lab. He was a "New York" or "San Francisco" man through and through.
Where to start your watch list:
- Mr. Wong, Detective (1938): The first one. It sets the tone and features a bizarre murder involving glass globes and poison gas.
- Mr. Wong in Chinatown (1939): This is widely considered the best of the Karloff run. The introduction of the reporter character really helps the pacing.
- Phantom of Chinatown (1940): Essential viewing for the historical significance of Keye Luke’s performance. It feels more modern and less "stiff" than the Karloff entries.
How to Watch Them Now
The good news is that most of these films are in the public domain. You can find them all over YouTube, usually in varying degrees of "grainy." If you want to actually see what's happening, Kino Lorber released a Blu-ray collection a few years ago. They did 2K scans of the film elements, and it makes a world of difference. You can actually see the detail in Wong’s study and the textures of the (admittedly cheap) costumes.
If you’re a fan of classic "whodunits," these are perfect rainy-day movies. They aren't trying to change the world; they're trying to give you 65 minutes of escapism.
Next Steps for Your Movie Night:
Start with Mr. Wong in Chinatown. It’s the most accessible entry and showcases the best of what the series had to offer. If you find yourself enjoying the slow-burn detective work, go back to the beginning with Mr. Wong, Detective. Just keep in mind that these are products of the late 30s—enjoy the craftsmanship of the era, but keep a critical eye on the cultural context.