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She was glamorous, talented and cosmopolitan-yet she spent most of her career typecast either as a painted doll or a scheming dragon lady. She was one of the few actors to successfully transition from silent to sound cinema, co-starring with Marlene Dietrich, Anthony Quinn and Douglas Fairbanks along the way. A third generation Chinese-American, she went on to make dozens of films in Hollywood and Europe.
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Learn moreĪnna May Wong knew she wanted to be a movie star from the time she was a young girl-and by 17 she became one. Essential viewing for Cinema Studies and Asian American Studies. With a captivating archive of newly discovered images and interviews with those who knew her, Wei uncovers a rich chapter of film history that challenges both gender hierarchies and national narratives. Wei’s documentary paints a fascinating picture of how Eng’s career in filmmaking broke through gender and racial boundaries in Hollywood and Hong Kong, at a time when opportunities for Chinese women in the industry were few and far between. After the retirement of director Dorothy Arzner in 1943 and before Ida Lupino began directing in 1949, Eng was the only woman directing feature length films in the US. A San Francisco native and open lesbian, her contribution to film history is sadly overlooked – her 11 feature films mostly lost. Louisa Wei tells the story of filmmaker Esther Eng, the first woman to direct Chinese-language film in the US, and the most prominent woman director in Hong Kong in the 1930’s. In GOLDEN GATE GIRLS author and professor S.