“I’m Chinese by race and I love Chinese people and things. I love our traditions and even our ancient religions. I think there is poetry in our plural gods of the North Wind, the West Wind and the like. They are beautiful like the American Indian gods. My only regret is the limitation upon my work, as I can only play oriental roles, or sometimes Indian parts.” – Anna May Wong
“This is such a short life that nothing can matter very much either one way or another. I have learned not to struggle but to flow along with the tide. If I am to be rich and famous, that will be fine. If not, what do riches and fame count in the long run?” – Anna May Wong
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“It’s a pretty sad situation to be rejected by the Chinese because I am too American.” – Anna May Wong, who was born in Los Angeles in 1905.
“Many people are surprised at my height when they first see me. My only explanation of the impression I give on the screen is that I wear low heels – or no shoes at all – before the camera. Also, nearly every one has a preconceived notion that Chinese women are small, and so unconsciously expect me to be so.” – Ann May Wong
Her height was 5’7″.
Source: Virginia Morris (1928)
“I can’t for the life of me understand why a white man couldn’t fall in love with me on the screen…without breaking some terrible censorship law. What is the difference between a white girl playing an Oriental and a real Oriental, like myself, playing them? The only difference I can see is that in most cases, I would at least look the part, where the white girls definitely do not. If it were possible to overcome this terrible censorship barrier, a new field would open for me, giving endless chances to act in good parts. I don’t want to play white girls, but I do think I should have the chance to play the roles that are mine by rights. Is the moral any different because a white man makes love to a white girl who is playing an Oriental? I think not.” – Anna May Wong
“Surrounded by Occidentals, I attract attention. Surrounded by my own people, my work might not stand out. I’ve had an offer to go to Peking to work as a star of a specially organized Chinese company, but I refused. That would be fatal to my career in this country.” — Anna May Wong
Soure: Virginia Morris (1928)
“Life cannot stand still. One must progress but one must not tell their plans. I never speak of what I am going to do. Perhaps it is superstition.” — Anna May Wong
Source: Mollie Merrick (1931)
Photo: Daughter of the Dragon (1931) with Sessue Hayakawa
“When I die, my epitaph should be: I died a thousand deaths. That was the story of my film career. Most of the time I played in mystery and intrigue stories. They didn’t know what to do with me at the end, so they killed me off.” — Anna May Wong
Source: Bob Thomas in 1959.
Limehouse Blues (1934). With George Raft.
Island of Lost Men (1939). With J. Carrol Naish