I don't know who the clothing designer was but Anna May Wong looked simply fabulous as the sinuous Oriental dancer, Shosho. It was ironic that Anna had to travel to England to be given a flesh and blood role that allowed her to give an in-depth characterization. Of course after this it was back to America where, apart from the title role in "Daughter of the Dragon", it was back to stereo typical Oriental temptress roles - and she even had to compete with Myrna Loy for a time. She was literally given the role of a lifetime in this superb film. Art direction by Alfred Junge has a very decadent 20s Art Nouveau look and the photography by Werner Brandes captures the high society of London's West End ("This Year of Grace" is playing) to the seedy cabaret life of "my Piccadilly" as Valentine says. Director E.A. Dupont can point to this as a career highlight in a mostly unsatisfactory career. Eventually ending up in Hollywood, the director of the magnificent "Varietie" and "Atlantic" was given directorial assignments of the calibre of "Ladies Must Love" and even "Hell's Kitchen" featuring the Dead End Kids. Initially going to Hollywood in 1927 after his triumph with "Varietie", he left in disappointment after being given a sentimental melodrama to direct. He went to England and set up his own distribution company - World Wide Pictures - "Photoplays Made Where the Story's Laid" and the first movie made was "Moulin Rouge". Even though it was filmed mostly at Elstree, it was a great success and for his next movie Dupont turned to an actual locale in London with Piccadilly. The film was based on a novel by Arnold Bennett and the author also supplied his own scenario.Vic and Mabel (Cyril Richard and Gilda Gray), the top dance act, are the talk of the town - so say the patrons of the Piccadilly Club. And what a club, with an inhouse orchestra of the DeBroy Somers Band (they were one of Britain's premier dance bands of the 20s, it was a pity some of their music couldn't have been incorporated into the soundtrack instead of the rather cheesy score). With a curved balcony and arched staircase overlooking a magnificent ballroom, the setting is super. Valentine Wilmot (Jameson Thomas) is the jaded manager (is there any other kind)??? - as one diner says he started the club and he made it!!!An incident involving a dirty plate (Charles Laughton has a cameo as a disgruntled customer) leads Valentine to the scullery where he discovers Shosho (Wong). Her tantalizing dancing on the tabletop distracts the dishwashers from their work so when Victor departs for America, hoping to leave the club in the lurch, Valentine brings in Shosho as his new dancing star. Mabel (who has a secret yen for Valentine) is horrified - "She can't dance, they'll laugh at her - and you!!" Of course Shosho is a sensation, her shimmering dance leaves the audience spellbound and Mabel distraught as she knows she will no longer be the toast of London!!!Valentine now begins an affair with Shosho - her "intended", Jim, is unhappy, he accidentally sees the mascot he gave her, a tiny Buddha, in Valentine's office - she said she lost it, but someone else is not quite pleased about it either!!! The sensational ending is soon yesterday's news as an excited tipster in more concerned with his race winnings than the sordid headlines and as the new variety show says "Life Goes On"!!!Jameson Thomas was dissatisfied with his career in British movies so went to Hollywood where he was continually cast as a villain or lounge lizard ("Extravagance", "It Happened One Night"). Gilda Gray had a patchy career - her private life was far more exciting but all her movies gave her a chance to dance the shimmy - the dance she made famous!!!

One of the last British silent films casts Gilda Gray and Anna May Wong as rivals for Jameson Thomas owner of the fabled Piccadilly nightclub located, where else but on Piccadilly Circus in London. Piccadilly is set in the heart of Jazz Age London which had everything the American Roaring Twenties had without the inconvenience of Prohibition.They were a little more daring across the pond in depicting an interracial romance. Thomas as owner of the nightclub fires half of his club attraction of the dancing team of Mabel and Vic. Vic is played by Cyril Ritchard and he's got a roving eye which distresses Mabel who is Gilda Gray. It distresses Thomas even more who likes Gilda, sort of.But when Gray as a solo act doesn't bring in the customers, Thomas looks for a replacement and finds it in the slinky, sexy, sultry Anna May Wong. Wong had previously worked in the scullery at the club and got fired when she did a little impromptu dance entertainment for the staff and a customer complained about a dirty plate. But Thomas and his hormones remembered Wong and they begin an association professional and later personal.This interracial triangle ends real bad with one of them dead and the other on trial for murder.Two prominent people who had great careers in film had small parts. You have to look quick to spot Ray Milland as one of the tuxedoed bits during the nightclub scene. But it's impossible to forget Charles Laughton in his screen debut. He's the diner who complains about the dirty plate he was given, spoiling Ritchard and Gray's dance and leading to Thomas's discovery of Wong. Even without Laughton's magnificent speaking voice to aid him, watch how he milks that simple scene for all its worth. No doubt this man was going to have a great career.There is one other prominent role of significance, that of King Hou Chang as Wong's original boy friend who carries a torch bigger than the one Jameson Thomas has. His performance is quite poignant, I'd love to know what happened to him as Piccadilly is only one of two film credits he has.There are some nice shots of London in the Stanley Baldwin-Ramsay MacDonald era incorporated into the film. Piccadilly holds up reasonably well with a plot quite a bit more mature than the era normally would countenance.

I first saw this film at the live premiere of Neil Brand's new jazz score; everyone was raving about it but I felt I must be missing something, and put it down to the music. (Attractive jazz, but not especially closely tied in to the action -- I've heard Neil Brand do immeasurably better on the piano.) Having seen it again I think I've worked out what's wrong, and it wasn't the music at all. In fact, with hindsight, the new score had actually managed to improve the film.The trouble with this picture -- apart of course from the hand-waving explanation at the ending, worthy of Agatha Christie at her most contrived -- is its characters. Specifically, the reason why I don't warm to this 'classic', for all its technical experimentation and fluid deployment of intertitles, is that there are simply no characters whom I actually like and/or care about, so I find it very hard to get engaged in what happens to them.Mabel is a manipulative drama queen who only got where she is by sleeping with the boss; she comes across as so artificial and dislikeable in the early scenes that it is impossible to feel much sympathy for her downfall. Jim, the other character who is in some sense a victim of events, is largely a background cipher, and while his situation is unenviable we don't get enough sense of him as a person, let alone of his relationship with Shosho, to be able to empathise with his prolonged attempts at strangulation. Victor (expertly played by stage dancing star Cyril Ritchard, of whom we see too little) is clearly a cad, while Valentine Wilmot is a predatory middle-aged employer. Shosho, whom one might expect to be the heroine, turns out to be as manipulative, bitchy and grasping as Mabel. All in all they are none of them very attractive, and the films fails to enlist audience sympathies to follow the fate of any one of them.Perhaps it's childish of me, but I find that I need to become exercised over the outcome for the characters in order to find any emotional appeal in a film. "Piccadilly" I find a strangely unmoving spectacle.On rewatching I also find it hard to see the purpose of the lengthy 'interracial' sequence at the bar, other than politics. If the intent is (very obliquely) to illustrate that it will not be acceptable for Shosho to have a public relationship with a white man, then it's odd that this element turns out to be almost completely irrelevant to the events that in fact transpire. The barrier that Shosho has to overcome is that of her working-class origin rather than her foreign face: given the plot as written, she could equally well be a little Cockney ballet dancer (like Jessie Matthews, busy starring at that time in "This Year of Grace") picked out of the gutter by a wealthy patron as a speciality act to put the established performers' noses out of joint.On reflection I think I'd revise my original vote downwards to 6/10; worth watching out of curiosity if it turns up, but not worth seeking out. (But watch for the background period detail! -- including the famous "Centre of the World" sign on the London Pavilion...)

There are three reasons to watch Piccadilly, a 1929 British silent backstage melodrama. The performance of Anna May Wong is primary. She's a knockout as Shosho, a Chinese dishwasher in a posh London nightclub who gets a chance to show how she can dance, and then becomes a star. Wong is so charismatic, so fine a performer and so confident an actress, that you might wonder whatever happened to her. But there's more to Piccadilly than Wong. Perhaps not too much, but enough to enjoy the passing parade of dated movie choreography and the moody atmosphere of transplanted German expressionism. The downside is the story...one of those behind-the-scenes melodramas of entertainers and impresarios, stilted and dated, filled with tremulous glances, suspicious glares, clutched hankies and faces turned away. Valentine Wilmot (Jameson Thomas) owns the Piccadilly Club, the poshest of the posh, where the sophisticates of London crème de la crème, dressed to the nines, come to dance and dine, and to watch Mabel & Vic, "London's Greatest Dance Attraction." Wilmot is a tough, smooth, perfectionist. He made the Piccadilly what it is. He discovered Mabel Greenfield (Gilda Gray) and made stars out of her and her dance partner, Vic Smiles (Cyril Ritchard). While he appreciates Mabel's talents, his nightclub comes first. Mabel really loves the guy and Vic really loves Mabel. ("My dear, I'm simply mad about you!") One night a diner is given a dirty plate. He makes a scene; Wilmot is furious and storms into the kitchen and scullery. There he sees Shosho, dancing on a table for the other workers when she should have been washing dishes. He fires her. Then he has second thoughts. Shosho has something that the impresario in Wilmot tells him might make a star attraction...exotic, sensuous, unusual. It's not long before Shosho is a smash. By this time Vic has left, Shosho finds it no trouble at all to delightfully snare Wilmot (in probably the best scene in the movie) and Mabel is jealous. Into this hot stew of fervid emotions, a shot rings out, scandal ensues, a trial is held...justice, both criminal and moral, is served up. And in that great tradition of melodramatic showbiz...life goes on with a million more stories undoubtedly waiting to be told. The storyline is a slog. Still, the big dance number with Mabel & Vic at the start of the movie is a delight of dated style. Mabel and Vic each come prancing down the two grand staircases that bracket the Piccadilly's elegant dance floor, he in tails, she in a swirling gown, and off they go. It's one of those tricky, ricky-ticky fast numbers where elbows and feet fly about, complete with winking glances of mischievous fun. It goes on and on, with Vic and Mabel each having a chance to shine. Mabel flirts and shows her legs. Vic with slicked back hair seductively grins with the silent nasal charm of Jack Buchanan or Noël Coward. It's the kind of well-meaning, "classy" dance that Fred Astaire drove a stake through four years later in Flying Down to Rio. However, watch this number with affection. It does no harm and at one time held the paying movie customers in thrall. The look of the film is all moody atmosphere. This isn't enough to salvage the movie by itself, but it gives Piccadilly a lot of visual class. And then there's Anna May Wong, an actress of talent, style and screen presence. She's featured in the billing but she dominates the movie. She comes straight through the camera to us, sexy and innocent, calculating and surprised, whose dancing captures us and whose acting tells us here is a woman to pay attention to. As an actress of Chinese descent, she hadn't a chance in Hollywood except as a stereotype. In the Twenties she finally left for Europe and had a few star roles in Germany and England, but then returned to Hollywood with a contract that seemed to assure her of star Hollywood roles. The contract didn't say major star roles with star male leads. She lost the leads in The Good Earth and Dragon Seed because producers said she looked too Chinese. She had to watch as Luise Rainer and Katherine Hepburn starred, both gussied up in some of the oddest "Chinese" eyelids and makeup Hollywood ever devised. Anna May Wong wound up playing characters with names like Su Lin, Lin Ying, Lan Ying and, in an explosion of Hollywood creativity, Lan Ying Lin. (I'm not kidding: Impact, Bombs Over Burma, Dangerous to Know and Daughter of Shanghai.) Then there was Ling Moy, Kim Ling, A-hsing, Lois Ling and, of course, Chinese Woman. (Daughter of the Dragon, Island of Lost Men, The Barbara Stanwyck Show, Ellery Queen's Penthouse Mystery and Producers' Showcase) So put Piccadilly in the DVD player, probably with your finger on the fast-forward button, to watch Mabel & Vic in their big number and, most of all, to watch a woman who could have been a great star if it hadn't been for Hollywood. The DVD restoration looks much better than one might expect. However, you'll probably best enjoy the screen music, written for the restoration, if you also enjoy the incessant chatter of those golf announcers who can't keep their mouths shut. The music never stops. This is one DVD where it pays to watch the extras before you watch the movie. The audio is not good on "Dangerous to Know: The Life and Legacy of Anna May Wong," but the feature is informative.