The Face of Fu Manchu

The Face of Fu Manchu
Theatrical release poster
Directed by	Don Sharp
Produced by	Harry Alan Towers Oliver A. Unger
Written by	Harry Alan Towers
Starring	Christopher Lee Nigel Green Howard Marion-Crawford Tsai Chin
Music by	Christopher Whelen
Cinematography	Ernest W. Steward Ernie Stewart
Edited by	John Trumper
Production company	Hallam Productions (UK) Constantin Film (W. Germany)
Distributed by	Seven Arts
Release date	6 August 1965
Running time	96 min.
Country	United Kingdom West Germany
Language	English
Box office	$1,300,000

The Face of Fu Manchu is a 1965 British/German co-production thriller based on the character of Fu Manchu, the Chinese villain created by Sax Rohmer. Don Sharp directed, with Christopher Lee as Fu Manchu and Nigel Green as Nayland Smith, the Scotland Yard detective in his pursuit.

It was produced by Harry Alan Towers in a co-production for Hallam Films and Constantin Film and was filmed on location in Dublin, Republic of Ireland. The film was the first in a series of five, the next of which was The Brides of Fu Manchu.

A ghostly execution of world mastermind criminal Fu Manchu is witnessed by nemesis Nayland Smith. Back in England, however, it is increasingly apparent that Fu Manchu is still operating. Smith is quick to detect that the execution he witnessed was that of a double, an actor hypnotised into taking Fu Manchu's place. The villain is back in London, working from a secret base underneath the River Thames. He has kidnapped the esteemed Professor Muller, who holds the key to a potentially deadly solution from the seeds of a rare Tibetan flower.

Producer Harry Alan Towers denied the films were made to cash in on the James Bond craze:

No relationship. Action, adventure, open-air, escapism - yes - but nothing to do with Bond-ism - Fu Manchu's atmosphere is a kind of timeless Never Never land. Bond is gimmicky and with-it.

The film was shot on location in Ireland. Towers:

It's a good country for location work; the British quota helps; on costs, there is not much difference between making a film here and in Britain - both sets of unions see to that. Ardmore? It seems to be doing alright with the present film - and Ireland will always be attractive as long as filmmakers and their artists are seeking refuge from super tax.