Sensibilities have changed in 90 years that it's difficult to get into the swim with "White Woman", a well-shot and acted Paramount feature rooted in Colonialism but saved by the usual tour de force performance by Charles Laughton. It's hard to imagine another actor in his role.
Opening reel seems to be a familiar tale of prejudice and ostracism: star Carole Lombard looking fabulous and even singing (direct sound) a couple of torch songs as a cafe singer down on her luck in some Far East British colony (likely set in Straits Settlements). Her husband committed suicide, and folks look down on her working in a cafe frequented by locals.
But soon she's married Laughton, self-proclaimed King of the RIver, who from humble beginnings has bought up most of the island. With a unique walrus moustache, he's a very odd fellow, full of sarcasm and even some self-deprecatory humor as he lords it over all and sundry. A couple fo studs understandably lust after Lombard, with the sjurprise of Charles Bickford, young and overconfident, even taking a shower and having an unlikely beefcake role.
When Laughton literally spits in the faces of a couple of higher-rank natives, things look glum for the white folks, as a rebellion begins. Chuck has a couple of impressive machine guns with plenty of ammo for just such an occasion, but he's thwarted byt the white guys he keeps under his thumb working for him, leading to a truly memorable climax, in which violence is tastefully delivered off-screen.
Opening reel seems to be a familiar tale of prejudice and ostracism: star Carole Lombard looking fabulous and even singing (direct sound) a couple of torch songs as a cafe singer down on her luck in some Far East British colony (likely set in Straits Settlements). Her husband committed suicide, and folks look down on her working in a cafe frequented by locals.
But soon she's married Laughton, self-proclaimed King of the RIver, who from humble beginnings has bought up most of the island. With a unique walrus moustache, he's a very odd fellow, full of sarcasm and even some self-deprecatory humor as he lords it over all and sundry. A couple fo studs understandably lust after Lombard, with the sjurprise of Charles Bickford, young and overconfident, even taking a shower and having an unlikely beefcake role.
When Laughton literally spits in the faces of a couple of higher-rank natives, things look glum for the white folks, as a rebellion begins. Chuck has a couple of impressive machine guns with plenty of ammo for just such an occasion, but he's thwarted byt the white guys he keeps under his thumb working for him, leading to a truly memorable climax, in which violence is tastefully delivered off-screen.