At a time
when Asian directors are the flavor of the month on the international
and Hollywood film circuits, Arthur Dong can look back over a career
that spans more than three decades and over 100 film awards and
Filmmaker Arthur Dong in New York at the Film Forum
Photo Credit: Lia Chang
2002 has been
a remarkable year
for this prolific documentary filmmaker. Dong was elected to the
Board of Governors of the Academy of Motion Pictures Arts and Sciences,
representing the Documentary branch this year. His critically acclaimed
Family Fundamentals is in selected theaters nationwide, and
his Forbidden City U.S.A. documentary, originally produced
in 1989, has just been released as a collector's edition DVD.
focus on very different topics, but share a common theme. They are
subjects that Dong is passionate about.
Fundamentals, examines America's cultural wars over homosexuality
as experienced by three fundamentalist families with gay adult children.
City, U.S.A. Dong explores the history of the notorious and
groundbreaking Chinese-American San Francisco nightclub and its
performers, which had an international reputation in the 1930s-40s.
In his bittersweet
valentine to a generation of Asian American pioneers who fought
cultural barriers to pursue their love for American song and dance,
Dong captures the glamour and significance of the period. Dong has
woven together interviews with Forbidden City alumni, rare color
footage of the club, archival film clips from major Hollywood studios
featuring Forbidden City stars, and photographs from personal collections
of the performers to shine the spotlight on a rare page of American
City, U.S.A.'s theatrical release in 1989, the film garnered
more than 15 international film excellence awards, including Best
Documentary of the Decade at the Hawai'i International Film Festival
and was broadcast on PBS as part of the network's American Experience
City, U.S.A. Collector's Edition DVD is a superb treat with
additional interviews, a promotional film by nightclub owner Charlie
Low and exceptional performance footage of the dancers and singers,
including an "Oriental tribute to the gay '90s". Dong has dipped
into his vast collection of memorabilia: a souvenir program booklet
from the club, a gallery of promotional glamour portraits, postcards,
menus as well as a few surprise hidden Easter Eggs like the "soundie"
musical short "Wise Man Say" from this bygone era.
Hammerstein's 1958 Broadway musical Flower Drum Song, and
David Henry Hwang's new version currently at the Virginia Theatre
in New York, are loosely based upon the Forbidden City nightclub
and some of its performers, and its owner Charlie Low. When Gene
Kelly was casting the Broadway production of Flower Drum Song,
novelist C.Y. Lee suggested he check out the talent at the Forbidden
City. Kelly quickly cast Forbidden City comedian Jack Suzuki aka
Jack Soo, for the Broadway production. Flower Drum Song would
launch the first generation of Asian American actors in Hollywood.
Soo would go on to a career in Hollywood, and was a regular on TV's
Barney Miller show.
A vintage postcard promoting Charlie Low's Forbidden City
Photo Credit: Courtesy of DeepFocus Productions, Inc. All
Forbidden City Nightclub gained an international reputation as the
nation's premiere all-Chinese nightclub showcasing Chinese American
performers in All-American production numbers soon after it opened
in San Francisco on December 22nd in 1938. Forbidden City was frequently
compared to the Cotton Club of Harlem, which featured America's
finest black entertainers. Asian American singers and dancers strutted
their stuff at the San Francisco Chinatown nightclub at 363 Sutter
Street, and at similar "Chopsuey circuit" nightclubs from the 1930's
through the 1950's. Larry Ching, the "Chinese Frank Sinatra", Toy
Yat Mar, the "Chinese Sophie Tucker", Bubble dancer Noel Toy, the
"Chinese Sally Rand" and the incomparable dance team of Toy and
Wing, the "Chinese Fred Astaire and Ginger Rogers" were just a few
of the top notch performers headlining at the club.
Scions of high
society, politicians and celebrities, as well as soldiers from across
the country flocked to The Forbidden City Nightclub to check out
the all-Chinese revues. In reality many performers were also Americans
of Japanese, Korean and Filipino ancestry. Japanese American dancers
Helen and Dorothy Takahashi used the stage name of Toy because It
"fit better on the marquis" but other artists like Jack Soo who
changed his name from Suzuki, did so because of the World War II
internment of Japanese Americans on the West Coast. Discrimination
against Asian American performers was rampant in the mainstream
by their own families, young Asian American singers and dancers
followed their passion and pursued their craft by working in cities
across the U.S. on the Chop Suey nightclub circuit and doing U.S.O.
shows around the globe for the troops from the late 30's through
the 40's. Some even found success in Hollywood. The nightclub industry
began to decline after the war ended and the novelty of the all-Asian
revues wore off.
Over a late
night supper, Dong talked about his life in film, the little known
history of Asian Americans on stage and on screen in the 30's and
40's, the making of Forbidden City, U.S.A., the new DVD release,
and what motivated him to make his latest documentary, Family
Fresh from the
West Coast screening by the Asian American Studies Department and
the Cinema Department at San Francisco State University, Dong is
in New York for the Museum of the Chinese in the America's screening
of Forbidden City, U.S.A. at Hunter College and to see MoCA's
new exhibit, "Gotta Sing, Gotta Dance! Chinese America in the Nightclub
Era, " which will feature a special viewing station giving museum
visitors a chance to preview the Collector's Edition DVD.
with films started in high school. As a teenager, he read books
on the history of cinema with the idea of becoming a film historian.
At the same time, the politics of San Francisco created unusual
opportunities for this openly gay student amid the gangs and drugs
at Galileo High School.
In 1970 Dong
made his first student film, based on a poem he had written which
explored sexual mores and violence. The five-minute animated film,
Public, ended up winning first prize at the California High
School Film Festival.
from Galileo, he headed off to San Francisco State to study filmmaking,
but once there he realized he was not quite ready to take on the
role of student. "Film could be a valuable medium to discuss social
issues, to make social change possible," he said.
"Films get shown
to thousands and thousands of people if you are lucky, if it captures
the imagination of a viewing audience. I felt that it was too much
responsibility to handle this medium. I dropped out of college and
worked a number of different types of jobs."
In 1979 on a
trip to China, Dong brought along a camera and began shooting home
movies of his travels. He started editing the film in his head on
his 18-hour flight back to the United States, picturing the footage
he had shot without having seen it. He knew it was time to go back
to film school, and returned to S.F. State, graduating Summa Cum
Laude in 1982. He later attended the American Film Institute's Center
for Advanced Film and Television Studies. The rest is history.
of his filmography includes Out Rage '69, an exploration
of the birth of the radical gay liberation movement beginning with
the Stonewall Riots in New York; the double Sundance award-winning
Licensed to Kill, a brutal look into the minds of murders
who killed gay men, the Peabody award-winning Coming Out Under
Fire, which chronicles the lives of nine gay and lesbian soldiers
during World War II when the military established its first explicit
anti-gay policies, the Oscar nominated Sewing Woman, about
his mother's immigration from China to America, and Lotus,
a half-hour drama on foot-binding.
inspired you to make Forbidden City, U.S.A.?
I'm a lover of Hollywood movie musicals from the Golden Era. I've
always been thrilled by that period of time when there was a certain
kind of movie magic, a certain kind of makeup, costuming, and songs.
But these movies were always cast with white folks, or blacks, but
not Asians. But then I discovered, "Wait a minute. We were there!"
It was two fold: my love for the movie musical genre and my interest
in Asian American history that really made me stick with this project
As a kid, I
explored San Francisco on my own, and back then it was safe, you
could walk around town as a kid unescorted. I remember discovering
Forbidden City. In the early 60s it was a strip joint but they still
kept pictures of the old performers from the 40s in the marquis
and in the window cases. I would stop and stare. But I grew up and
had forgotten about these images until I read an article about Jadin
Wong, a manager of Asian American talent in New York. I looked up
my old pal Kevin Gee who I hadn't seen in a couple of years because
he had moved out to New York to pursue a career in the theater.
I called and asked if I could stay with him, and as luck would have
it, Kevin happened to be the stepson of Charlie Low, the owner of
Forbidden City. I never knew this, and if I did, I probably just
filed it away in a back compartment of my memory banks. So it was
as though this project was meant to be.
Forbidden City owner Charlie Low with his fourth wife Ivy
Tam and her son Kevin John Gee
Photo Credit: Courtesy of DeepFocus Productions, Inc. All
I ended up staying
in New York probably a week or so in 1985 and not only discovered
this history and spent time with Jadin, but also renewed my friendship
with Kevin. He was excited about my doing a film about Forbidden
City because he grew up there. Kevin introduced me to Charlie, which
was important because that connection established a level of trust
instantly. And all the old entertainers remembered Kevin as "Mo-Mo,"
they used that nickname at the club. So when I called other performers,
I would say, "I'm a friend of Mo-Mo's." And they'd ask about him
like a long-lost relative. It was like planning a family reunion.
I didn't realize that she was a dancer at Forbidden City until I
came to New York and she started talking about the club. And I thought,
"Oh yes, I remember that club." And all the memories that I had
filed in the back of my mind when I was a kid and walking by the
club came right back. She was invaluable. What was really great
was that her family in Stockton kept scrapbooks on her. Jadin never
did because she was always traveling, but her family kept every
little bit. And she had so much material to draw upon. From her
I started to branch out to the other performers along with the contacts
that Kevin provided.
are some of the special extras that you were able to include on
I interviewed Kevin's mother Ivy Tam, Mrs. Charlie Low #4, she's
in the DVD. I interviewed two other people that I wasn't able to
include in the film because of structure and other story choices.
But I was able to put them in the DVD and its great. I have pictures
of Kevin as a child with Charlie and his mom back in Forbidden City.
The interviews of Ivy, dancer Jade Ling and Walton Biggerstaff (an
early producer and choreographer), just excerpts, they're all on
the DVD and it's really gratifying to be able to show them after
all these years.
a section on some of the stars who went on to Hollywood: James Hong,
Sammy Tong, Jack Soo and Robert Ito, they performed at Forbidden
City too. I wasn't able to cover that legacy in the film -- it didn't
quite fit in, but on the DVD in a section called "Potpourri," I
include their pictures to show their contributions as part of the
history of Forbidden City. What I wanted to do was say that it just
didn't stop at the club -- that for some entertainers this was a
did you finally get the DVD of Forbidden City, U.S.A. made?
I've been trying to renew the music rights for Forbidden City,
U.S.A since 1997. It's crazy but I signed my last music license
contract just two months ago with EMI. It took that long. It's not
unusual really for an independent documentary to go through these
hoops -- I had to make sure I could afford it. What a relief. But
I am really happy with the DVD -- now we can get it out there.
When I finished
Forbidden City, U.S.A. in 1989, I wanted to produce a book
because I had so much material, not only the pictures and visuals
but also the oral histories that I taped both on audiotape and on
film. And they were all transcribed and tell some really wonderful
stories from a particular time in history. I'm not a book writer;
I don't know the world of publishing so I wasn't able to get the
project off the ground. So my entire collection was put into boxes.
I think the wait was worth it because Forbidden City, U.S.A.
has always been a multi-media project--a visual and audio experience--
a journey down memory lane by looking at pictures, hearing the sounds,
and watching motion picture clips, and the DVD format is perfect
for that type of interactive presentation.
In some ways
it's probably better that I waited this long to continue what I
started 13 years ago. The technology for DVDs has exploded since
then and really allowed me to expand on the project even further
than I ever thought possible. I've collected a treasure trove of
archival material -- I spent some 5 years researching this topic
and that research never stopped just because the film got completed.
People still came up to me and showed me their collections, offered
me memorabilia. I just wanted to be able to bring it all out to
the public. It's stuff that you just don't see everyday.
switch gears. What compelled you to make Family Fundamentals?
Family Fundamentals was motivated by a desire to address
the deep divide between the gay community and conservative religious
rights groups by focusing on the universal theme of family. I studied
religion and gained more knowledge and respect about a topic I knew
very little about. I needed that understanding in order for me to
critique it. I needed to understand it so that I can explore the
minds and forces that I feel are oppressing my people.
I didn't purposely
structure it so but Family Fundamentals is the third of a
trilogy of films that deal with anti-gay-oppression, Coming Out
Under Fire and Licensed to Kill, and now this. They're
not celebratory films. They're hard hitting and they challenge and
they don't offer easy answers and solutions to highly complex problems.
They're not necessarily inspirational either -- although I believe
they are on a certain level because they inspire audiences to fight
harder for social justice. And they are very emotionally draining.
And to be with them, it continues that emotional drain because I
deal with these issues with audiences.
you are also an independent producer, what has your schedule been
like in terms of marketing the film and the DVD?
Since Family Fundamentals premiered at Sundance in January,
I've been traveling around the country with it -- I'm still traveling
with it and I have engagements up until next spring. Then there'll
be yet another round of promotions when it's broadcast on PBS. We
just had a big push in October when we opened in 4 cities and that
was physically draining as well. And all the while I've also been
simultaneously working on the Forbidden City, U.S.A. DVD,
which is way over on the other end of the emotional spectrum. It
would keep me happy. I'd call up performers to ask for more photos
(For example, Larry Long, Jodi Long's father, I didn't have a picture
of him and Frances Chun had one of him with Paul Wing -- they were
the Wing Brothers.) I started talking with these folks again and
it is so much fun as opposed to talking to a Pentecostal Church
leader (profiled in Family Fundamentals) who thinks that
I'm an immoral sexual deviant.
I'm now traveling
with Forbidden City, U.S.A. on a limited basis and these
trips are easier because I know I'm going to have a rollicking good
time and not entrenched in a serious discussion about homophobia.
I think it's critical though that I continue to work in that area:
Family Fundamentals addresses the ongoing debates over the
separation of church and state; Licensed to Kill examined
anti-gay violence right before Matthew Shepard's murder; and Coming
Out Under Fire provided historical context to the 'Don't Ask,
Don't Tell' controversy. These are all stories that I'm passionate
about. What I love about film is that there's no limit. There's
an infinite amount of stories out there to tell and to explore.
I don't make a film every year and I'm very careful about what I
choose because I know once I choose a topic, I'm going to stick
with it a long time and live with it beyond the making of the actual
film. Just like with Forbidden City, U.S.A. I finished that
film in 1989 and now 13 years later, it's even more exciting than
it was then to work on it. I've been able to take it up a notch.
is a true visionary. Committed to addressing social issues through
his work, filmmaker Dong's storytelling is rich, insightful and
always thought provoking. Dong has another hit on his hands with
the compelling Family Fundamentals, the third in his trilogy
of films dealing with anti-gay oppression. And with the release
of the delightful Forbidden City, U.S.A., as a collector's
edition DVD, new audiences can own this jewel of a documentary and
discover the rich legacy of Asian Americans who broke the mold and
against all odds embraced their passion for singing and dancing
in the 30's and 40's paving the way for the Asian American artists
of today. For more information on the DVD Collector's Edition of
"Forbidden City, U.S.A.," visit the
DVD information page at deepfocusproductions.com.