Dupont’s silent film entitled Piccadilly (1929) is a highly intriguing work of eye-catching visual shots and expressionistic acting. It is certainly a seductive film with the act of ‘witnessing’ enhancing this feel. This is no more evident than the scene in which Victor (Cyril Ritchard) walks in on Shosho (Anna May Wong) in the middle of a tantalizingly graceful dance. It seems as though she has a special aura right throughout the film. And, when compared to her competition, Maybel (Gilda Grey), she literally steals the show.
As an audience, we share with Victor’s amazement as we spy upon Shosho’s stunning dance in the scullery. It is not only Victor who is taken back by her performance as her work colleagues put Shosho’s dance ahead of their chores, staring with eyes wide and mouths a gasp. Shosho is at the centre of everyone’s minds. Her movements culminate into a form of slow-motioned sensuality. With rolling hips and an inviting smile, she represents the exact dancer Victor has been looking for. One in which the audience cannot take their eyes off. The setting of the scullery helps to further Shosho’s effect on screen. It is dirty. It is hot. It is underground. For elites such as Victor, it feels like a forbidden place. Hence, Shosho becomes highly eroticized. The rips in her stockings, for instance, provide the onlookers access to her body. Furthermore, her long, ‘Nosferatu-like’ hands give her a dangerous ‘other’ feel. Victor is therefore intrigued and rightfully so. Shosho represents everything that Mabel is not.
Indeed, in a contrasting manner, Maybel’s dance which precedes Shosho’s in the scullery is neither exciting nor graceful. She moves almost clumsily around the dance floor with fairly banal music as an accompaniment. Her attire is lavish and overdone, as it seems as though this is her feeble attempt to garner attention. Her dancing certainly does not warrant any. This is represented by the ‘fat man’s’ concern with a tiny stain on his dinner plate. Eventually, the whole scene revolves around him rather than Mabel. It is he who attracts the attention of the hundreds of audience members eating in Victor’s restaurant. Mabel’s demise appears evident from this moment onwards as the dirty plate acts as a catalyst for the rest of the film. That is, Victor eventually finds himself in the scullery because of the plate, where he is infatuated by Shosho. Finally, the portrayal of the restaurant area itself is far less exciting than the scullery. For instance, it is shot on many occasions from the second floor, giving it a rigid, two dimensional feel. The scullery, on the other hand, is far more personal. Shosho’s dance is captured from below, using a low-angled shot, giving her a sense of dominance and character.
As Maybel becomes less desired in the club, she becomes more and more like a screen for other things. Shadows and clothing constantly cover her face projecting different shapes and images. She is an attraction no more.
As the film wears on, it is apparent that Shosho is in fact a brilliant and charismatic dancer. It was the scullery’s lure and sheer sensuality, however, which helped her promote her talent.
As an audience, we share with Victor’s amazement as we spy upon Shosho’s stunning dance in the scullery. It is not only Victor who is taken back by her performance as her work colleagues put Shosho’s dance ahead of their chores, staring with eyes wide and mouths a gasp. Shosho is at the centre of everyone’s minds. Her movements culminate into a form of slow-motioned sensuality. With rolling hips and an inviting smile, she represents the exact dancer Victor has been looking for. One in which the audience cannot take their eyes off. The setting of the scullery helps to further Shosho’s effect on screen. It is dirty. It is hot. It is underground. For elites such as Victor, it feels like a forbidden place. Hence, Shosho becomes highly eroticized. The rips in her stockings, for instance, provide the onlookers access to her body. Furthermore, her long, ‘Nosferatu-like’ hands give her a dangerous ‘other’ feel. Victor is therefore intrigued and rightfully so. Shosho represents everything that Mabel is not.
Indeed, in a contrasting manner, Maybel’s dance which precedes Shosho’s in the scullery is neither exciting nor graceful. She moves almost clumsily around the dance floor with fairly banal music as an accompaniment. Her attire is lavish and overdone, as it seems as though this is her feeble attempt to garner attention. Her dancing certainly does not warrant any. This is represented by the ‘fat man’s’ concern with a tiny stain on his dinner plate. Eventually, the whole scene revolves around him rather than Mabel. It is he who attracts the attention of the hundreds of audience members eating in Victor’s restaurant. Mabel’s demise appears evident from this moment onwards as the dirty plate acts as a catalyst for the rest of the film. That is, Victor eventually finds himself in the scullery because of the plate, where he is infatuated by Shosho. Finally, the portrayal of the restaurant area itself is far less exciting than the scullery. For instance, it is shot on many occasions from the second floor, giving it a rigid, two dimensional feel. The scullery, on the other hand, is far more personal. Shosho’s dance is captured from below, using a low-angled shot, giving her a sense of dominance and character.
As Maybel becomes less desired in the club, she becomes more and more like a screen for other things. Shadows and clothing constantly cover her face projecting different shapes and images. She is an attraction no more.
As the film wears on, it is apparent that Shosho is in fact a brilliant and charismatic dancer. It was the scullery’s lure and sheer sensuality, however, which helped her promote her talent.
