His Ward is his Bond.
So, I watched Frank Borzage’s CHINA DOLL, which has a character played by Ward Bond with my name (Father Cairns), although I wasn’t actually aware of this until I checked the IMDb because nobody seemed able to pronounce the name. Most of the cast seemed to be using the Irish name “Kearns”, whereas from Victor Mature’s slobbery great mouth the name emerged as more like “Corns”.
You don’t get many Cairnses in the movies, so that was something. Curiously, I just came across a fictional Cairns in Christopher Fowler’s sixth Bryant and May mystery, The Victoria Vanishes. Since Fowler has been known to drop by here, I wondered if he drew the name from life. But since CHINA DOLL was made ten years before I was born, I can’t claim to have inspired that one.
The name Cairns, in religious circles, is mostly associated with a namesake of mine from the Church of Scotland, but Bond’s character is apparently Catholic (he has nuns in tow, one of whom plays Frankie and Johnny on sax for comic relief). Borzage himself was a member of some unusual Catholic branch of Masonry, or something odd like that.
The film, a WWII-set romance between airman Victor Mature (“a melting waxwork of Dean Martin” — B. Kite) and poor Chinese girl Li Hua Li (“introduced” to the West in this film, then back to making films in Hong Kong and Taiwan for the next twenty years, making her one of the more successful people to have been “introduced”). Blind drunk one night, misanthropic Big Victor accidentally buys Li as bonded slave for three months, falls in love, and reconnects with humanity.
The script has nice lines: when Vic’s colonel (Denver Dukes of Hazzard Pyle) tells him that life on earth isn’t so bad, the boozy curmudgeon retorts, “Everybody leaves it sooner or later.” But Mature plays the character as too soft, so that his conversion lacks force. Shot in America with stock footage enhancement, the film is minus atmosphere and shadow. It’s a shame this weaker effort has surfaced on DVD when so little Borzage is available, although it finally looks like the emotionally exhausting masterpiece SEVENTH HEAVEN is being released, and another silent classic, THE RIVER, is out in its incomplete glory.
Borzage is going to be one of my very favourite filmmakers once I’ve seen enough of his work. MOONRISE is simply one of the greatest films I know, and STREET ANGEL and SEVENTH HEAVEN are terrific. Between the silent movies and the late blossoming of MOONRISE, Borzage seemed to get distracted with a lot of inappropriate and mediocre assignments from MGM, and CHINA DOLL is a production of John Wayne’s Batjac company, so it keeps veering between manly combat and Borzagian spirituality and sentiment.
Intercut baby playing with dog tags with Dad blasting Japs out of the sky. John Woo, take note.
While I normally agree with Chairman Mao somewhat on the subject of religion, I find Borzage’s take on it sufficiently idiosyncratic and personal to be engaging — STRANGE CARGO (1940) must be the weirdest tract ever filmed. In one scene, serial killer Paul Lukas, rejecting an offer of salvation, walks off into the jungle, then spots Borzage’s camera, which approaches him hopefully… “No!” snaps Lukas, and storms off, disappearing from the film unpunished, presumably to continue his murderous lifestyle. A simply wonderful, chilling, utterly peculiar moment.
Patrons: as interracial sex is taking place, the management present this shot of a wet window.
As director and co-producer, Borzage seems to have invested plenty of interest in CHINA DOLL (he was a flyer himself), as the religious and romantic aspects show. But it doesn’t quite fire on all cylinders. The Production Code forbade Mature and Hua Li from kissing, which is disgraceful but doesn’t actually hurt the film — I don’t actually want to see the cute Chinese girl get enveloped in the skin-dripping face of Big Victor anyway, and her saluting him makes for a more novel and touching solution.