A Role Within A Role – Exploring Anna May Wong Through Photography
Written by Yinsey Wang
Edited by The Fête Chinoise Team
Photographs are courtesy of the author
ANNA MAY WONG in 1931. Photo credit THE EVERETT COLLECTION.
SELF-PORTRAIT OF YINSEY WANG. PHOTO CREDIT: YINSEY WANG
Born in Los Angeles in 1905 to second-generation immigrants, Wong has quite an inspirational story. A love of movies from a young age laid the foundations for Wong's lifelong affair with the silver screen, culminating in her becoming one of the first (if not the first) Chinese American Hollywood stars. A century ago, in 1921, Wong received her first screen credit in the anthology film Bits of Life, and she made her decision to pursue acting full time. She began working in silent film, scored roles in the early sound era and achieved prominence in Europe as well, featuring in productions such as Piccadilly.
When researching more about Wong, I found myself drawn to images where she would don elaborately decorated headpieces and nonchalant poses. Hence, I was overjoyed when UK Designer Feathers and Thread even offered to create some custom headpieces to play around with. Wong is known for wearing pieces alluding to her heritage and her eyebrows thinly lined, complemented with bold red lipstick.
“When visiting China, May found herself excluded from Chinese theatre, given her “Americanness” and similarly, Americans found her too Chinese for specific roles. May was no stranger to that universal feeling that many diasporas must confront, that of being stuck between multiple identities.”
Glamour and globe-trotting, although certainly part of Wong's world, was not the whole story. Wong experienced racial discrimination as a child when attending school, and such divisions would continue to pose challenges throughout Wong's career. Due to anti-miscegenation laws in the US, Wong lost out on a leading role opposite Paul Muni in Metro-Goldwyn-Mayer's The Good Earth. At the time, the wife of the lead male could not be played by someone of a different race. Paul Muni and his leading lady would be acting in yellow face, and Wong, on principle, rejected the offer of playing a seductress in the film. When visiting China, May found herself excluded from Chinese theatre, given her "Americanness" and similarly, Americans found her too Chinese for specific roles. May was no stranger to that universal feeling that many diasporas must confront, that of being stuck between multiple identities. This strikes a chord with many today, as we try to assert our belonging, look to challenge others' perception of our worth and reclaim our own narratives. With increased awareness of the prevalence anti-Asian racism, inequality and prejudice, particularly given the devastating blows dealt to communities around the world, I feel saddened by how we have not made enough progress. Across many countries, the Asian diaspora still lacks representation in politics, entertainment and other key industries, and I've heard personal stories of people living in fear in the wake of COVID-19-fuelled prejudice. However, given the rise of grassroots activism, the work of incredible advocates and the mobilization of civil society to champion better treatment of Asians and other marginalized communities, I feel hopeful about what can be achieved. May provides a reminder that we can carve out our own stories, find our spaces between the cracks and give weight to our heritage, and the idea this is our home. Although she had to deal with brokering success by reluctantly taking stereotypical roles, she was put under pressure about her identity and where she fitted in the society she was born in as well as her ancestors' home, still, May's bravery and continuous striving gives me a taste of what is possible. And the most amazing thing is, that's just one individual. Imagine the impact we can have together, as a community.
“I only hope that her memory is not forgotten, given the pathways she has opened up for Asian representation in the West and the resilience that she represents.”
It was fascinating learning about May's passion for acting. When reading that she responded to a reporter on the topic of marriage, I had a chuckle that she was wedded to art, only for that to be reported that she was engaged to a man called 'Art'! Wong also suffered from ups and downs, and the uncertainties of a career in show business rife at the time. What is admirable is that she made the most of these circumstances and wanted to do her part in the bigger picture; by the time World War II came along, Wong was vocal and active in supporting efforts favouring China against Japanese imperialism. Having had a varied and colourful career, Wong's life came to an end far too soon, and she passed away in 1961, at 56 years of age. I only hope that her memory is not forgotten, given the pathways she has opened up for Asian representation in the West and the resilience that she represents.
