Anna May Wong had glamour to spare, and here she is in a pre-Code Hollywood lead, more or less, alongside her future Shanghai Express co-star Warner Oland, playing Fu Manchu for the third time (or fourth if you count the very funny sketch in Paramount on Parade). But it's a cameo only, presumably because Oland had already embarked on the Charlie Chan series and had no further use for the character.
Here, then, he dies about ten minutes in, and hands on the family business to Anna as his daughter Ling Moy. (Those familiar with Fu Manchu only from the later Karloff movie, or the even later Christopher Lees, will be surprised to see that the character here is not a torture-crazed megalomaniac master-criminal but a rather sad individual, driven merely to avenge himself against the man he deems, wrongly, to have been responsible for the death of his wife and son during the Boxer rebellion.)
Wong probably hated making this nonsense, but no amount of stereotyped melodrama can diminish her vivid beauty. (Interestingly, the 'Chinese poem' she recites in her appearance in one of the Hollywood on Parade shorts is from here.) It's also a (relatively) interesting role in that she spends most of the film disguising her intentions and pretending to be the damsel in distress, only revealing her true identity at the end, when the hero firmly rejects her attentions and returns to Dracula's Frances Dade, whereupon she reverts to Plan B and straps both into torture chairs. "My vengeance is inspired tonight," she tells him; "you will first have the torture of seeing her beauty eaten slowly away by hungry acid!"
Notable too for an early talkie appearance by silent Japanese star Sessue Hayakawa, and for a blatant dash of pre-Code lavender.