Widely considered to be the first Chinese-American movie star, Anna May Wong was an early advocate for diversity in film. Born Wong Liu Tsong to second-generation Chinese-American parents, Wong swiftly carved out a space for herself in Hollywood's mainstream. She acted in countless movies, appeared in stage productions in theaters across the U.S., Europe, and China, and became the first Asian-American to star in her own television show.
However, these milestones did not come without hardship. Wong was often typecast and forced to act out caricatures of Asian people, rather than nuanced and complex characters. She was barred from many roles, as it was taboo for an Asian actress to kiss a white male lead. This included the lead role in The Good Earth, where Metro-Goldwyn-Mayer chose a white actress to play a Chinese character. Despite these setbacks, there's no doubting that Wong made history, and paved the way for greater diversity in the entertainment industry.
The new Netflix series, Hollywood, follows Wong (portrayed by Michelle Krusiec) through the disappointment of The Good Earth and a striking new opportunity. Before watching the series, scroll through for some of the real-life Wong's greatest moments.
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1
1922
In this early photograph, Anna May Wong was just 17 years old. That year, Wong received her first leading role for the movie The Toll of the Sea, based loosely on the opera Madama Butterfly.
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2
1925
In Chicago, Wong was photographed on a personal appearance tour with a number of other stars. The tour ended up being a failure, and the stars returned to Hollywood.
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3
1928
Here, Anna May Wong was photographed in boxing gear for the British publication, The Tatler. Wong spent 1928 in Europe, as she was tired of being typecast to portray Asian stereotypes in American movies.
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4
1928
At a Berlin ball, Wong posed with actress Marlene Dietrich and filmmaker Leni Riefenstahl.
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5
1928
While in Europe, Wong starred in a number of successful German films such as Schmutziges Geld (Song and Show Life, 1928) and Großstadtschmetterling (Pavement Butterfly).
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6
1928
Pictured is a still from one of Wong's many European films.
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7
1929
Still in Europe, Wong made her last silent film, Piccadilly, the first of five English films in which she had a starring role.
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8
1930
In 1930, Wong returned to Hollywood after being offered a contract with Paramount Studios. This artistic shot was taken that year.
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9
1931
While in Los Angeles, Wong was still offered many Asian caricature roles, despite her increased fame.
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10
1931
For example, Wong played the title character in Daughter of the Dragon.
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11
1931
Still in Hollywood, Wong posed for a stunning profile shot. At this time, the actress became more outspoken about Chinese-American political causes and against Asian stereotypes in film.
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12
1933
In this fashion shot, Wong showed off her impressive nails.
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13
1933
Wong, surrounded by fans, emerged from her car at Hollywood's Music Box Theater for the premiere of The Old Woman.
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14
1934
In a publicity image for Limehouse Blues, Wong wore a dress featuring a large dragon motif. The crime movie, set in London, was not a commercial success and featured Wong's costar, George Raft, in yellowface.
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15
1934
In another caricature role, Wong played Zahrat in the Arabian Nights musical movie, Chu Chin Chow.
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16
1935
Here, Wong posed for a publicity shot. The actress was seen as a fashion icon in both the U.S. and Europe.
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17
1935
Another model shot of Wong shows the actress in profile, wearing a netted veil and dramatic makeup.
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18
1937
Wong posed for a promotional shot for the movie, The Daughter of Shanghai, one of Wong's favorite films. In the movie, Wong played the Asian-American female lead and the heroine of the story, a role that was written specifically for her.
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19
1937
In the same shoot, Wong was also photographed sitting outside with her dog.
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20
1938
Here, Wong is shown in the film Dangerous to Know. The movie was one of a slew of B movies from Wong in the late 1930s, as she needed to complete her Paramount contract. However, these smaller budget films were often bolder and allowed Wong to partially step outside of Chinese stereotypes.