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The Fu Manchu That Almost Was

The Fu Manchu That Almost Was

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maxresdefaultFu_Manchu_(Grindhouse)The late Harry Alan Towers is best remembered by Sax Rohmer fans for writing and producing five Fu Manchu films starring Christopher Lee and two Sumuru films starring Shirley Eaton in the 1960s. Towers would later write and produce a third Sumuru film starring Alexandra Kamp in 2003. This effort was a sci-fi reworking of the concept that owed little to Rohmer. What is less well known was that Towers had also spent years trying to make a sixth Fu Manchu film that would also have marked a significant break from its predecessors.

Towers’ original treatment was copyrighted and revised several times over the years. The project started life as Fu Manchu, Master of the World (1979) and was also registered under the titles, The Secret of Fu Manchu (1989), Fu Manchu, Emperor of Crime (1992), and Sax Rohmer’s Fu Manchu (1995). Towers came closest to seeing the project become reality when Vine International Pictures and LolaFilms teamed in 1999 to co-produce The Fiendish Trap of Fu Manchu (a title that perhaps sought to make atonement for the 1980 Peter Sellers spoof, The Fiendish Plot of Dr. Fu Manchu).

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Blogging Sax Rohmer’s The Wrath of Fu Manchu, Part One

Blogging Sax Rohmer’s The Wrath of Fu Manchu, Part One

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Wrathdaw_fu_manchuThe Wrath of Fu Manchu was a 50-page short story serialized in five installments in The Toronto Star weekly supplement from January 26 to February 23, 1952 under the unlikely title Green Devil Mask. It was given its current title when Rohmer scholar, Dr. Robert E. Briney made it the centerpiece of a posthumous hardcover collection of previously uncollected short fiction, The Wrath of Fu Manchu and Other New Stories first published in the U.K. in 1973 by Tom Stacey. A U.S. mass market paperback edition from DAW Books followed in 1976. It was subsequently reprinted in Allison & Busby’s Fu Manchu Omnibus – Volume 5 in 2001. Titan Books will reprint the original collection as a trade paperback in March 2016.

The story was initially published only in Canada due to a copyright loophole. Rohmer had recently sold the option to the television rights to the Fu Manchu characters and was prohibited from publishing new works about the characters in Britain or the United States until the courts resolved a dispute over whether the literary rights transferred with the agreement. This situation persisted for the next five years until the literary rights were eventually restored to the author. The character was an easy money-maker for Rohmer at a time when his bank account was suffering. Rohmer’s desire to fly under the radar with the Canadian publication of the story likely accounts for his original decision to avoid using the name Fu Manchu in the title of the story.

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Sax Rohmer at Towers of London

Sax Rohmer at Towers of London

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51xCPS2lXQL._SY344_BO1,204,203,200_190px-FaceoffumanchuA couple weeks ago, I finally read Mr. Towers of London, the posthumously published memoirs of Harry Alan Towers, the unflappable veteran British radio/TV/film writer-producer with well over a hundred works to his credit. It wasn’t Towers’s first stab at writing his memoirs, but this final work was notable as his most personal.

Anyone who actually knows major figures in the entertainment industry is likely aware of some of the salacious stories of debauchery, sometimes even criminal activity, that are never far from the surface. Towers’s memoirs are unique for being perhaps the most honest ever committed to print. If he pulls any punches or whitewashes any parts of his adventures, he can surely be forgiven for what he does dish out about himself and others.

That said, the most disappointing part of the book for me is that he tells the reader very little about his experiences as a writer. I would have loved to have understood more about the more private side of his profession as the book places all of the emphasis on his role as a producer. Today, he is unfairly remembered as the producer of genre films and exploitation fare. While that accounted for much of his output after 1960, he was also a respected writer-producer of family drama who frequently cast some of the biggest stars in Hollywood in his radio, TV, and film productions.

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