"There's no need to scream or yell," Frank Borzage told me. "Some directors do just that, but I believe in coaxing a performance out of my players. I never raise my voice. I get results from actors by taking them aside, talking softly, making suggestions and listening to what they have to say and gaging how they feel about the role they're playing. If we have different interpretations, we settle them peacefully. If we cannot come to an agreement, we shoot the scene the way they would like and then we re-shoot the way I would like. I always play fair. I don't instruct the cameraman to put no film in the camera like some directors do." I've always regarded Borzage as the great romanticist of the cinema. Alas, we're getting close to the end of his career here and his hand is faltering. It's only in its later scenes that the movie comes across with even a little emotional impact. Part of the reason lies with Victor Mature. Hardly what you would call a sensitive actor, Mature is totally unable to suggest a sympathetic heart beneath a rough exterior. He is wholly out of tune with the film, the director, the character and the story. Ward Bond, in a major role for once, is okay, but he can do better! It's a pity he didn't try. Only the Chinese members of the cast really strike home: Li Li Hua is absolutely marvelous as the peasant girl and makes me wish that she had made more films. The actor who plays her father also makes a strong impression. Danny Chang is faultless as an opportunistic mascot. There is very little action -- all of it in the last reel -- so action fans would be well advised to give this flick a miss. William Clothier's photography has moments of great beauty.

"China Doll" is highly flawed Borzage romantic melodrama set in China in the 50s. It stars Victor Mature as an American pilot Cliff Brandon taking part in a war against the Japanese. He falls in love and marries a Chinese housekeeper Shu-Jen, played by Li Li Hua. The continuing exploration of love transcending everything - race, religion, war, death - is competently stated. The film is also very poignant in some passages, as is most of Borzage. However, if you look at it closely, it doesn't really jell.The expert Borzage scholar John Belton, whom I owe a lot in my understanding of Borzage, ranks "China Doll" with the director's other melodramas - "7th Seventh", "A Farewell to Arms", "Man's Castle", "The Mortal Storm", "Three Comrades", "Till We Meet Again". Belton notes that all these works "contain hostile backgrounds which Borzage's fragile characters ultimately surpass." But I find "China Doll" significantly problematic and less memorable than those films. I get the feeling that something is missing; much of it is characterized by an air of aimlessness or uncertainty. I didn't get that haunting spark that underlies the luminous lovers in much of Borzage's best work. There is an apparent misalliance between Mature and Li Li Hua. I find Mature's character to be stiff, callow and frail. His careless demeanor does not contrast well with Hua's innocence or devotion. And ultimately (and regrettably) "China Doll" falls very short of greatness.

I agree that it was touching in spots, downright sad in others, but what really spoiled it for me was the fact that the leading man and lady weren't able to kiss because of the race issue. That made it seem very stilted and unbelievable. Just when did they throw out the ban on interracial kissing, anyway?

***SPOILERS*** ***SPOILERS*** 'China Doll' marked Frank Borzage's return to film after being 'blacklisted' for ten years, and for a modestly-budgeted film, it is a nifty war romance.Cliff Brandon (Victor Mature) is a war-weary veteran pilot, assigned to airlifting supplies and training aircrews, in WWII China. To co-pilot Phil Gates (Olympian Bob Mathias), and his new crew (including singer Johnny Desmond, and rising actors Stuart Whitman and Tige Andrews), he is an abrupt and by-the-book nag (he tells them, "It's my job to get your dogtags back to the States...hopefully, with you still in them!"), but his coldness comes from losing too many men.One night, as Brandon is drunkenly stumbling home, an old Chinese gentleman begs him for money, mentioning a girl. The pilot assumes the man is pimping, and hands him a wad of bills. Unknown to Brandon, the man was actually 'selling' his daughter, and Brandon now had a 'bride'.The girl, Shu-Jen (played by newcomer Li Li Hua), accepts her new role with resignation, but as Brandon sobers up, he is shocked by what he has done. He attempts to rid himself of his 'bride', but discovers he cannot, 'honourably'. For three months, the American will have to live with the Chinese girl, until the 'debt' is paid.There is a lot of humour as the months pass, and the pair start realizing their feelings. Events take a melodramatic turn, however, when the pilot suffers from a relapse of malaria; Shu-Jen undresses him, then tries to provide warmth by covering him with her body. Delirious, and racked with fever, he is aroused, sexually, and he 'takes' her, resulting in her pregnancy!What prevents this scene from becoming tawdry are the performances of the leads, the following day; Mature conveys such sincerity and awkwardness that you know that he respects the girl, and will not take the night's passion lightly. Li Li Hua, barely speaking English, is a wonder, conveying the nuances of the innocent girl's love by her eyes, her smile, and her posture. The pair have a chemistry that makes the scene, and the entire film work.Without giving away the ending, let me say that a LOT happens after 'the night', and the film integrates the war quite effectively into the story, building to a climax and resolution that might surprise you!This isn't a movie that appears on TV frequently, and is not available to buy, but if you get an opportunity to see it, check it out...This is a VERY good little film!