IMDb RATING
6.7/10
2.8K
YOUR RATING
In 1935 China, seven dedicated missionary women try to protect themselves from the advances of a barbaric Mongolian warlord and his cut-throat gang of warriors.In 1935 China, seven dedicated missionary women try to protect themselves from the advances of a barbaric Mongolian warlord and his cut-throat gang of warriors.In 1935 China, seven dedicated missionary women try to protect themselves from the advances of a barbaric Mongolian warlord and his cut-throat gang of warriors.
- Awards
- 1 nomination total
Lee Kolima
- Warrior
- (uncredited)
- Director
- Writers
- All cast & crew
- Production, box office & more at IMDbPro
Storyline
Did you know
- TriviaAnne Bancroft recalled producer and director John Ford's tearing pages out of the script and described him as "Marvelous but loony."
- GoofsThe hairstyle of Dr. Cartwright is a 1960s fashion that is out of place in 1935.
- Quotes
Dr. D.R. Cartwright: [to Tunga Khan, Bandit Leader] So long, ya bastard!
- Crazy creditsPROLOGUE: "1935: North China near the border of Mongolia...A land of feudal war lords and marauding bandit armies...A time of lawlessness and violence."
- ConnectionsReferenced in MGM 40th Anniversary (1964)
- SoundtracksJesus Loves Me
(uncredited)
Words by Anna B. Warner and David Rutherford McGuire
Music by William B. Bradbury
Sung by Sue Lyon and the children
Featured review
I wonder what feminists feel about this film. I found this work to be a fascinating look at women by a male director that can compare with two other cinematic works: Paul Mazursky's "The Unmarried Woman" and Muzaffar Ali's "Umrao Jaan". Strong women, weak women, lesbians, and immature girls, are contrasted with cardboard male characters that are never fully developed and are obviously no match to the array of women portrayed in the film. The men are painted so negatively that one begins to wonder if Ford thought Asian men had more brawn than brain--a strange view that has gained currency in Hollywood cinema.
I applaud Ford's decision to cast Anne Bancroft in this role. This is one of her strong performances. She makes even the most vapid films look elegant with her roles ("Lipstick", "Little Nikita", to name just two). Ford develops her role "7 women" on the lines of a Western gunslinger--only there are no gunfights. The woman has a weapon: sex. That weapon can down all the bad guys faster than it takes to down Mexicans, Red Indians, rustlers, bank-robbers. In this film these bad men are Chinese/Mongolian thugs. Established thespians Dame Flora Robson and Margaret Leighton are totally eclipsed by Bancroft's riveting performance.
What Ford wanted I guess was to stun the viewer with the ending--the twist preceded by the gradual softening of the Bancroft in men's clothes to the Bancroft in women's clothes and the acceptance of male superiority. Most critics have found the end facile but I found the end was powerful as it makes you review and reconsider the strength of the lead character.
The film questions established views on religion; evidently Ford was old enough to have seen enough to choose to make this film in the evening of his life. In his films, Ford's women are as interesting as any other aspect of his cinema and this film provides ample fodder for those interested in studying this element of Ford's work.
However, for a 1966 film, the studio sets for the film look too artificial for the serious cinema the film offers. If anything, the film makes the viewer think!
I applaud Ford's decision to cast Anne Bancroft in this role. This is one of her strong performances. She makes even the most vapid films look elegant with her roles ("Lipstick", "Little Nikita", to name just two). Ford develops her role "7 women" on the lines of a Western gunslinger--only there are no gunfights. The woman has a weapon: sex. That weapon can down all the bad guys faster than it takes to down Mexicans, Red Indians, rustlers, bank-robbers. In this film these bad men are Chinese/Mongolian thugs. Established thespians Dame Flora Robson and Margaret Leighton are totally eclipsed by Bancroft's riveting performance.
What Ford wanted I guess was to stun the viewer with the ending--the twist preceded by the gradual softening of the Bancroft in men's clothes to the Bancroft in women's clothes and the acceptance of male superiority. Most critics have found the end facile but I found the end was powerful as it makes you review and reconsider the strength of the lead character.
The film questions established views on religion; evidently Ford was old enough to have seen enough to choose to make this film in the evening of his life. In his films, Ford's women are as interesting as any other aspect of his cinema and this film provides ample fodder for those interested in studying this element of Ford's work.
However, for a 1966 film, the studio sets for the film look too artificial for the serious cinema the film offers. If anything, the film makes the viewer think!
- JuguAbraham
- Oct 16, 2002
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Details
- Release date
- Country of origin
- Languages
- Also known as
- Chinese Finale
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $2,300,000 (estimated)
- Gross worldwide
- $228
- Runtime1 hour 27 minutes
- Color
- Aspect ratio
- 2.35 : 1
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