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ROBERTSONCOLE ^^r.-.^2^
Produced by
HAWORTH
Directed William Worthington
ATIENTLY he the shadow of the joss house lantern. Then comes
Ah Foy, ( fat and placid) , as he goes to pay reverence to the honorable bones of his ancestors. A shadow detaches itself from the denser ones of the lantern. There is the sharp whiplike crack of an automatic. Ah Foy falls. As swiftly as the smoke from the gun the denizens of the twisted street fade from sight — the shops are closed and barricaded — for this shot heralds the outbreak of another fearsome Tong War.
This hardly sounds like the gentle characterizations familiar to that exquisite artist Sessue Hayakawa. It is not gentle — it is the red blood — true to type depiction of that great mystery of the Orient— THE TONGMAN.
He is merciless — fighting tooth and nail for his tong until he is chosen to kill the father of the little chrysanthemum maid who has won his heart.
How he refuses to obey the mandate — how he — single-handed fights the whole tong successfully for the little maid he loves furnishes more thrills than are usual in a lengthy serial.
Did you ever grip your chair and hold your breath with fear that the gang is going to "get' the hero
It takes clever acting to make you feel that way, doesn't it
You are going to get the thrill of your life when you see Sessue Hayakawa in THE TONGMAN.
No greater characterization has ever been seen on the screen than Hayakawa' s work in this Robertson-Cole Superior Picture.