Classic Film Adaptation of a Pulitzer-Winning Novel
If you have read my review of The Good Earth by Pearl S. Buck, then you already know I was not a fan of the novel. My hackles were raised for most of my reading. The tone and the representation of the characters in the novel left me wanting a more genuine picture of pastoral Chinese life.
So, when I found this film based on the novel from 1937 starring Paul Muni as Wang Lung and German-born actress Luise Rainer as O-Lan, I was struck by the Caucasity of it all. The main characters in the film are all white people playing Chinese characters.
Being familiar with old Hollywood, this is not a surprise. I grew up watching Charlie Chan films with my mother. I have seen Breakfast at Tiffany’s. I know how deep the crime of Yellowface in Hollywood runs. So much so, it is still an issue today.
Luise Rainer and Paul Muni as O-Lan and Wang Lung
How Does the Film Compare to the Novel?
I will start by saying I am shocked that I prefer the movie to the novel. That does not mean it is a good film by any means; I just feel the portrayals are softer than in the novel. Wang Lung is more sympathetic. He seems torn by his choices instead of just coming across as selfish and entitled, as he often does in the film. I will say, while he is more likeable, he is also weak and appears childlike most of the time.
Paul Muni as Wang Lung
Luise Rainer’s O-Lan appears to be there to be silent and gaze longingly at things. She speaks very little, and when she does, her German accent is front and center. It cannot be ignored. There is no one who would mistake this accent for Chinese. It is bad enough O-Lan’s actress is white, but now she has an anachronistic accent to boot.
The story itself is similar to the novel. They do omit sections, but the major plot points are there. I do not take issue with the story itself so much as with the telling of it, so that might be why I prefer the film. Buck’s approach to the material was harsh and told from an interloper’s perspective.
Tilly Losch as Lotus Flower
While this is also true of the film, it feels gentler. However, it is challenging to get past the 1930s acting style. Laughter that is pantomimed for the back of the house instead of film and other stylistic issues of early film. I can get past this, but it does take you out of the film.
My impressions of The Good Earth
I will say, while I am not a fan of Pearl S. Buck’s work, she had good intentions when this movie was filmed. She wanted a full Chinese cast, as did the producer, until he did not. He decided during production American audiences were not ready for an all-Asian cast. It is remarkable how producers are forever telling us, the audience, what we can handle.
Obviously, the casting does not work. It is impossible in 2026 to remove yourself from the fact that you are watching white people cosplay a culture. So I was not surprised when I found out this film swept the 1938 Academy Awards.
Best Actress - Luise Rainer
Best Cinematography - Karl Freund
Best Director - Sidney Franklin
Best Film Editor - Basil Wrangell
Best Picture
So like the Pulitzer after it, the movie was awards bait. Probably owing to its exoticism and novelty to the American movie audience.
Lackluster as I found the film, some of the performances are well done. Keye Luke, as Wang Lung’s oldest son, has a great sequence at the end that showcases his talent. Ching Wah Lee, as Ching, has a minor role but is wonderful. While Wang Lung’s uncle is an abhorrent man, Walter Connolly and Soo Yung as his wife, have some funny exchanges that allow us a few moments of laughter in a very bleak movie.
No comments:
Post a Comment