In 1931, during the civil war in China, a train leaves Beijing to Shanghai. Among the passengers, the British Captain Donald "Doc" Harvey (Clive Brook) that is traveling to operate the Vice-Governor of Shanghai; the courtesan Hui Fei (Anna May Wong); the Reverend Mr. Carmichael (Lawrence Grant); the boarding house owner Mrs. Haggerty (Louise Closser Hale); the French Major Lenard (Emile Chautard); the dealer Eric Baum (Gustav von Seyffertitz); and the local Mr. Henry Chang (Warner Oland). Out of the blue, Captain Harvey stumbles with the notorious courtesan Shanghai Lily (Marlene Dietrich),who is a "coaster" ("a woman that travels along the China coast with her wealthy clients"),and he recognizes her as her former lover Magdalen. Five years ago, Shanghai Lily tested his faith and love for her and Doc left her, in the beginning of her promiscuous life. Their encounter rekindles the old flame of their love and he shows that he is wearing the watch she gave to him. The train is stopped by Chinese soldiers seeking out a rebel agent and they arrest him. But Chang telegraphs a coded message and the rebels take over the train along the trip. Chang, who is their leader, interviews the passengers to find someone worthwhile to be exchanged by the arrested agent and he chooses Captain Harvey. Chang also tries to force Shanghai Lily to stay with him but Captain Harvey defends her and knocks him down; then he rapes Hui Fei. When the government releases the rebel agent, Chang decides to revenge Harvey blinding him. However, Shanghai Lily offers herself to Chang to release Harvey. What will happen to her?

"Shanghai Express" is a great Pre-Code Film with magnificent performances of the gorgeous Marlene Dietrich and Anna May Wong. The melodramatic romance about the lack of faith in love and the recounter of two former lovers in the environment of the Chinese Civil War in 1931 is engaging with wonderful black and white cinematography. Marlene Dietrich deserved a better romantic pair since the wooden Clive Brook does not have good performance. My vote is seven.

Title (Brazil): "O Expresso de Shanghai" ("The Shanghai Express")

SHANGHAI EXPRESS is an excellent film from 1932 that stars Marlene Dietrich but also benefits from a strong ensemble cast. In other words, while Dietrich is an important part of the film, she isn't THE film and supporting actors also help to make this a good film. I like this because too often in her early films all the weight of the movie rested on how sexy and alluring Dietrich's characters were supposed to be--and to me, this got very old after a while. It helped here, though, that Dietrich's usual angular and severe looks are a bit less pronounced (as was the case in her very early Hollywood films). Here, she plays "a woman of ill-repute" (a prostitute) but there are many others that give the film life as well--making this film a bit like GRAND HOTEL on the rails! This film has the distinct honor of being one of the only films in which Warner Oland plays an Asian yet this isn't necessarily insulting to real Asian actors. That's because Oland was Swedish-born and often played Asians (such as Charlie Chan)--while qualified Asians were relegated to supporting roles! However, in this film, his character is supposed to be half-Chinese and half-Western--so the casting wasn't a bad idea at all.

Apart from Oland and Dietrich, Anna May Wong, Clive Brook, Lawrence Grant and Eugene Palette, among others, are on hand to provide some color. Ms. Wong, in particular, had some excellent scenes playing a Chinese prostitute and defender of the Chinese Republic (a strange combination, I know).

As far as Grant goes, his was a truly unusual character. His Reverend Mr. Carmichael was odd because initially he came off as such a prudish and self-righteous jerk--so much so that the studio was forced to re-write his character and soften him up some as to avoid offending religious sensibilities of the audiences. However, by changing a few scenes, they made him one of the most unusual and three-dimensional minsters portrayed in film during the era. How he came to actually like and respect Dietrich (the prostitute) may seem a bit silly to some, but I actually liked the way they re-wrote the film. As a result, of all the passengers, Grant's came off as perhaps the most interesting.

As far as the film goes, in addition to good performances, the writing, direction and cinematography were all exceptional. A top-notch film that sure will keep your interest as you follow this train through rebel territory in China.

About the only negative about the film might be that it promotes the old film cliché of "the prostitute with a heart of gold"--in fact, it has this times two! Just once, I'd like to see a film where the prostitute isn't so glamorous (perhaps with a few herpes scabs) and isn't a nice person after all!! Imagine if PRETTY WOMAN had followed THAT formula!!

Marlene Dietrich's fourth out of seven collaborations with director Josef Von Sternberg is among her best in films and performances and one of her better collaborations with Sternberg.

Dietrich herself is one of 'Shanghai Express' selling points. Rarely has she been more stunningly photographed and everything about her performance here is unforgettable, dominating the film in the most fearless of ways. Most of her supporting cast are more than up to her level, especially the exotic and exuberant Anna May Wong and menacing Warner Oland. One also highly appreciates amusing Eugene Palette and Lawrence Grant's sympathetic character.

'Shanghai Express' is efficiently directed as ever by Sternberg, and the cast are fully advantaged by the deliciously arch yet remarkably sophisticated script and a story that has so much style and class and is always absorbing. The histrionic nature, stereotypes and any ridiculousness didn't bother at all.

Other than Dietrich, it is the production values and how the confined space is used that particularly impresses in 'Shanghai Express'. The lighting is positively exotic and clever use is made of the confined setting, having a real and appropriate sense of intimacy. The costumes are wonderfully ornate, the sets are atmospheric and the cinematography is some of the visually striking and best of its year and even decade.

Unfortunately Clive Brook's wooden, stiff and excessively earnest presence makes a wooden plank more animated. His performance and his and Dietrich's lack of chemistry are the sole drawbacks to an otherwise great film that had all the ingredients for a classic and almost was.

Great film all the same however. 9/10 Bethany Cox