Anna May Wong, American actress (d. 1961)

Anna May Wong: A Pioneering American Screen Icon and Cultural Trailblazer

Born Wong Liu-tsong on January 3, 1905, in Los Angeles, California, and professionally known as Anna May Wong, she was a groundbreaking American actress who defied numerous barriers throughout her career. Widely celebrated as the first Chinese American Hollywood movie star, Wong also achieved the unprecedented feat of becoming the first Chinese American actress to gain international recognition. Her extraordinary career showcased her versatile talent across multiple mediums, including the silent film era, the burgeoning sound film age, television, stage productions, and radio.

Wong's enduring legacy continues to be recognized. As a testament to her profound impact, she became one of the first women to be depicted on the reverse of the United States quarter as part of the 2022-2025 American Women Quarters Program. This historic inclusion also marks her as the very first Asian American to appear on US currency, a significant milestone in American numismatic and cultural history.

Born into a family of second-generation Taishanese Chinese-American parents, Wong developed an early and profound infatuation with films. This passion propelled her to begin acting in movies at a remarkably young age, setting the stage for a career that would challenge and redefine perceptions of Asian women in Western media.

Early Stardom and Fashion Influence

During the nascent silent film era, Anna May Wong quickly rose to prominence. Her notable performances included the pioneering film The Toll of the Sea (1922), a significant production recognized as one of the first feature films ever made in Technicolor. Her striking presence also graced the screen alongside legendary actor Douglas Fairbanks in the fantasy spectacle The Thief of Bagdad (1924), a role that cemented her international stardom by that same year.

Beyond her acting prowess, Wong was an undeniable fashion icon of her time. She was among the earliest public figures to wholeheartedly embrace the revolutionary "flapper" look of the 1920s, characterized by its liberating short hemlines, bobbed hair, and often beaded or fringed dresses that symbolized modern femininity. Her impeccable style garnered widespread acclaim; in 1934, the prestigious Mayfair Mannequin Society of New York bestowed upon her the title of the "world's best dressed woman," underscoring her profound influence on fashion throughout the 1920s and 1930s.

Challenging Hollywood Stereotypes and European Success

Despite her growing fame, Anna May Wong often encountered frustrating limitations within Hollywood. She was frequently relegated to stereotypical supporting roles, often portraying the exotic "Dragon Lady" or the subservient "Butterfly" character – roles that she reluctantly accepted due to the scarcity of more complex opportunities. Driven by a desire for more nuanced and dignified portrayals, Wong made the bold decision to leave Hollywood for Europe in March 1928.

Her move to Europe proved to be a pivotal moment, allowing her to explore a broader range of characters and gain artistic recognition. There, she starred in several notable plays and films, including the critically acclaimed British silent film Piccadilly (1929), which is considered one of her finest performances and a landmark of British cinema. Throughout the first half of the 1930s, Wong traversed between the United States and Europe, balancing film and stage work and further diversifying her impressive portfolio. She was a prominent figure in the early sound era, appearing in films such as Daughter of the Dragon (1931), Java Head (1934), and Daughter of Shanghai (1937). One of her most iconic sound film roles was alongside the legendary Marlene Dietrich in Josef von Sternberg's Shanghai Express (1932), where her commanding presence captivated audiences worldwide.

The "Good Earth" Controversy and Principled Resistance

A profound professional disappointment struck Wong in 1935 when Metro-Goldwyn-Mayer (MGM) refused to consider her for the leading role of O-Lan, the Chinese protagonist in the highly anticipated film adaptation of Pearl S. Buck's Pulitzer Prize-winning novel, The Good Earth. Instead, the studio controversially cast Luise Rainer, a white actress, to portray the character in "yellowface"—a practice involving the use of makeup and prosthetics to make a white actor appear Asian. This decision was a significant blow to Wong, who passionately believed she was the most suitable candidate for the role, both culturally and professionally.

One biographer has theorized that MGM's choice was influenced by the Hays Code's anti-miscegenation rules, suggesting that the studio feared depicting an interracial marriage between the film's lead white actor, Paul Muni (who was also ironically playing a Chinese character in yellowface), and a non-white actress. However, a closer examination of the 1930-1934 Hays Code (formally, the Motion Picture Production Code of the Motion Picture Producers and Distributors of America) reveals that it explicitly forbade "miscegenation (sex relationship between the white and black races)" but made no specific mention of Asian/white intermarriages. This distinction has led many scholars and other biographers, including historian Shirley Jennifer Lim in her comprehensive work Anna May Wong: Performing the Modern, to dispute this theory, suggesting that the studio's decision was likely driven by prevailing racial biases, commercial considerations, or a general desire to avoid perceived controversy, rather than a strict interpretation of the Code's miscegenation clause related to Asian characters. In a further insult, MGM offered Wong a supporting role as Lotus, the villainous seductress, which she vehemently refused on principle, demonstrating her unwavering commitment to authentic representation and artistic integrity.

China Tour, Wartime Contributions, and Television Pioneer

Following the significant disappointment of The Good Earth, Anna May Wong embarked on an extensive tour of China, a deeply personal journey that reconnected her with her heritage. During this period, she visited her family's ancestral village, immersed herself in Chinese culture, and meticulously documented her experiences on film. This initiative was particularly noteworthy given the scarcity of prominent female directors in Hollywood at the time, highlighting Wong's proactive role in shaping her own narrative. In the late 1930s, upon her return, she continued her career by starring in several "B" movies for Paramount Pictures, where she made a conscious effort to portray Chinese and Chinese Americans in a more positive and dignified light, gradually challenging the entrenched stereotypes she had long fought against.

As World War II unfolded, Wong deliberately shifted her focus away from her film career, dedicating substantial time and personal finances to aid the Chinese cause against the escalating Japanese aggression. Her active patriotism underscored her deep commitment to her ancestral homeland. In the 1950s, Wong re-emerged into the public eye, captivating audiences through several pioneering television appearances.

In 1951, Anna May Wong made indelible history with her groundbreaking television series, The Gallery of Madame Liu-Tsong. This show marked a monumental achievement, becoming the first-ever U.S. television series to star an Asian American as the lead character, paving the way for future generations of diverse performers. Wong was actively planning a significant return to film with a role in the musical Flower Drum Song, a film known for its all-Asian cast, when she tragically passed away on February 3, 1961, at the age of 56, due to a heart attack.

Legacy and Re-evaluation

For many decades following her untimely death, Anna May Wong's profound contributions were often overshadowed, and she was principally remembered for the very stereotypical "Dragon Lady" and demure "Butterfly" roles that Hollywood had so frequently assigned her. However, in the years surrounding the centennial of her birth in 2005, there was a significant and much-needed re-evaluation of her life and groundbreaking career. This resurgence of interest was fueled by three major literary works and numerous film retrospectives, which collectively shed light on her artistic integrity, her pioneering spirit, and her tireless fight against racial discrimination in the entertainment industry. Today, Anna May Wong is rightly celebrated not only as a trailblazing actress but also as an icon who courageously challenged boundaries and paved the way for greater Asian American representation in media.

Frequently Asked Questions About Anna May Wong

Who was Anna May Wong?
Anna May Wong was an American actress, born Wong Liu-tsong, who is recognized as the first Chinese American Hollywood movie star and the first Chinese American actress to achieve international recognition. She had a prolific career spanning silent film, sound film, television, stage, and radio.
Why is Anna May Wong considered a pioneer?
She broke racial barriers in Hollywood, achieving international stardom at a time when opportunities for Asian Americans were extremely limited and often confined to demeaning stereotypes. She also starred in the first U.S. television show with an Asian American series lead, The Gallery of Madame Liu-Tsong, and is the first Asian American to appear on U.S. currency.
What iconic films did Anna May Wong star in?
Her notable film appearances include The Toll of the Sea (1922), one of the first films made in color; The Thief of Bagdad (1924) with Douglas Fairbanks; and Shanghai Express (1932) alongside Marlene Dietrich.
How did Anna May Wong challenge Hollywood stereotypes?
Frustrated by being cast in stereotypical "Dragon Lady" and "Butterfly" roles, she sought more substantial opportunities in Europe. She also made a conscious effort in later "B" movies to portray Chinese and Chinese American characters in a more positive light, and famously refused the stereotypical supporting role in The Good Earth on principle.
What is the significance of Anna May Wong on the U.S. quarter?
Anna May Wong is one of the pioneering women featured on the reverse of the U.S. quarter as part of the 2022-2025 American Women Quarters Program. Her inclusion marks her as the first Asian American ever to appear on U.S. currency, recognizing her significant cultural and historical impact.
What was the "Good Earth" controversy?
In 1935, Anna May Wong was denied the leading Chinese role of O-Lan in the film The Good Earth, which was instead given to a white actress, Luise Rainer, in "yellowface." Wong refused a lesser, stereotypical role in the film, highlighting the racial discrimination prevalent in Hollywood at the time.