The curse of Quon Gwkn is a legend that has been passed down for generations in a small village tucked away in the mountains. It is said that Quon Gwkn was a powerful sorcerer who was banished from the village many years ago due to his malevolent actions. Before leaving, Quon Gwkn placed a curse upon the village, ensuring that his legacy would live on, plaguing the villagers for years to come. According to the legend, anyone who disturbs Quon Gwkn's resting place or utters his name aloud will fall victim to the curse. The curse is said to bring misfortune, illness, and even death to those afflicted. Over the years, many villagers have experienced the effects of the curse, leading to a sense of fear and superstition within the community.
An intelligent and ambitious woman who was also an avid moviegoer could conceivably have picked up the basics on the cinema screen. Further, movie fan magazines regularly featured articles on the technical aspects of film and advertisements for correspondence and in-person filmmaking courses, which included photography. (I collect filmmaking correspondence courses from the silent era and I can confirm that they extremely technical information.) Self-education may go far in explaining Wong’s confidence as there would have been no Hollywood types telling her that her dreams were impossible.
There s a rumor that Wong hired a cameraman from Charlie Chaplin s crew but I can find no supporting evidence and it does seem odd that this person is never named. Further, movie fan magazines regularly featured articles on the technical aspects of film and advertisements for correspondence and in-person filmmaking courses, which included photography.
Over the years, many villagers have experienced the effects of the curse, leading to a sense of fear and superstition within the community. The curse has had a profound impact on the village's culture and way of life. Fearful of attracting the curse, villagers have avoided speaking of Quon Gwkn and have taken precautions to prevent disturbances at his resting place.
Century Film Project
Once upon a time, an enterprising Chinese-American businesswoman named Marion E. Wong set out to make a feature film, using friends and family members for her cast. After two advance screenings, the movie languished in her basement for fifty years before she gave it to a relative, and then it was another 39 years before it was restored and digitized in 2007. Now it is available, and serves as a document of a culture that was rarely captured on film at the time and even more rarely in charge of its own narrative when it was.
I cannot give a detailed summary of the movie, because some of it is lost, importantly including the Intertitles that would explain much of the relationships and action on the screen. The basic story is timeless enough, however, that we can follow it in broad outline: a young Chinese American girl (Violet Wong, real-life sister-in-law of the director) with Western ideas marries into a very traditional family and is driven out by her scornful in-laws. The movie opens as the groom gives a statue of a household god to his mother, who seems to lecture him about the old ways. We see a good deal of the build-up to the marriage, in which the girl and her betrothed have tea together in what will be her bedroom, and she pokes good-natured fun at some of the traditional accoutrements of the ceremony, including a pair of oddly-balanced slippers for the bride, and a dangly headpiece for the groom. We also see her efforts to get along with her future mother-in-law, who seems quite formal, but not unfriendly at this stage. There is a scene I couldn’t follow in which she speaks to her husband in an outdoor setting, and suddenly breaks down crying (I’m guessing that he’s telling her he must go away for a while, based on what happens next). Then we see what seems to be the tail end of the wedding ceremony, demonstrating that she has learned to walk in the awkward slippers.
In the next sequence, the husband is missing, but there is a new element: Now Marion Wong appears as the “villain,” evidently a sister-in-law or other relative living in the same house. She takes Violet’s baby away and the mother-in-;aw gestures for her to leave after a confrontation, offering her a knife to commit suicide. I think Violet is being accused of neglecting her baby, since what seems to be a doctor comes to look at the child in a later scene. Violet goes out into the rain and seems to be ready to slash her wrists, but suddenly throws down the knife and wanders out into the wilderness. There is an odd scene in which she cuddles a lamb, appearing no worse for the wear after sleeping outside in the rain. Then we return to the house, where the husband returns and learns what has happened. He cries for his loss and confronts Marion with her cruelty. Then Violet turns up at the door again, and her takes her in and comforts her. Marion, realizing that her plot has failed, plunges the dagger into her own heart. At the end, Violet produces the household god and pays homage to it, suggesting that all the turmoil was due to her disrespect at the beginning, and that the tragic events since then have helped her to accept traditional ways.
What’s that on your shoulder, son?
I wasn’t sure what to expect from an non-studio film from this period but I was pretty impressed, especially by the filming and editing techniques. Most beginning filmmakers, especially at this early time, don’t give themselves enough “coverage” to show a scene from multiple angles, get close-ups and establishing shots, etc., but Marion and her crew did quite well. It was, in fact, less “stagey” and static than a lot of professionally-made films at the time, and demonstrates a good grasp of so-called “film grammar” with a liberal amount of different angles and shots. Scenes sometimes end with an iris-in, especially for strong emotional moments. One particularly good shot shows Violet at her mirror, with her face perfectly framed by the mirror as she works on her complicated braids. That’s not to say there are no mistakes – one scene had a distracting reflection that kept hitting the leading man’s shoulder, and a couple of edits have a sort of “hiccup” effect where we see the last few frames before the cut were repeated. And, of course, some of the footage is less than perfectly intact, so it’s hard to know how good it was meant to be.
It’s a pity that audiences of 1916 missed out on this movie. I suspect that Ms. Wong discovered that distribution was more difficult and expensive an investment than she’d anticipated, and gave up when she realized she probably wouldn’t make her money back trying to do it independently. It remains however as a document of a truly under-represented segment of American culture from a time period that tends to look disturbingly white when only the most popular images are seen.
Alternate Title: The Curse of Quon Gwon: When the Far East Mingles with the West
Director: Marion E. Wong
Camera: Unknown
Starring: Marion E. Wong, Violet Wong, Harvey Soohoo.
Run Time: 35 Min (surviving print)
You can watch it for free: here (no music).
I wasn’t sure what to expect from an non-studio film from this period but I was pretty impressed, especially by the filming and editing techniques. Most beginning filmmakers, especially at this early time, don’t give themselves enough “coverage” to show a scene from multiple angles, get close-ups and establishing shots, etc., but Marion and her crew did quite well. It was, in fact, less “stagey” and static than a lot of professionally-made films at the time, and demonstrates a good grasp of so-called “film grammar” with a liberal amount of different angles and shots. Scenes sometimes end with an iris-in, especially for strong emotional moments. One particularly good shot shows Violet at her mirror, with her face perfectly framed by the mirror as she works on her complicated braids. That’s not to say there are no mistakes – one scene had a distracting reflection that kept hitting the leading man’s shoulder, and a couple of edits have a sort of “hiccup” effect where we see the last few frames before the cut were repeated. And, of course, some of the footage is less than perfectly intact, so it’s hard to know how good it was meant to be.
Rituals and ceremonies are performed regularly in an attempt to appease the sorcerer's spirit and ward off the curse. Despite the villagers' efforts, the curse of Quon Gwkn continues to haunt them. Some believe that it is a lesson for their ancestors' past mistakes and that they must bear the consequences. Others view it as a mysterious phenomenon that they cannot fully comprehend. While the curse has brought hardship and suffering to the village, it has also fostered a strong sense of community and resilience among the villagers. They have come together to support and protect one another, refusing to let the curse define their lives entirely. The curse of Quon Gwkn remains an integral part of the village's folklore and serves as a reminder of the consequences of evil deeds. It is a cautionary tale passed down from generation to generation, reminding the villagers to be virtuous and respectful of the spirits of the past. Despite the fear and uncertainty surrounding the curse, the village perseveres, holding onto hope that one day the curse will be lifted. Until then, they continue to live their lives, honoring their traditions and embracing the strength they have found in facing the curse together..
Reviews for "Quon Gwkn's Curse: Tales of Cursed Families"
1. John - 2/5:
I tried to give "The Curse of Quon Gwkn" a chance, but I couldn't get into it. The plot felt convoluted and hard to follow, with too many unnecessary subplots that distracted from the main story. The characters were one-dimensional and lacked depth, making it difficult to connect with them. The pacing was also a major issue, as the movie felt slow and dragged on for longer than necessary. Overall, I found "The Curse of Quon Gwkn" to be a disappointing and forgettable experience.
2. Emma - 1/5:
"The Curse of Quon Gwkn" was a total letdown for me. The acting was terrible, and it felt like the cast was just going through the motions without any real emotion or enthusiasm. The special effects were cheesy and poorly executed, making it difficult to suspend disbelief and get invested in the story. The writing was also lacking, with predictable twists and a cliché-filled dialogue. In the end, I was bored and frustrated by this film, and I wouldn't recommend it to anyone.
3. Sarah - 2/5:
I had high hopes for "The Curse of Quon Gwkn," but sadly, it didn't live up to my expectations. The storyline had potential, but it was poorly executed and lacked originality. The scares were predictable, and the horror elements felt forced and contrived. The pacing was also uneven, with moments of intense action followed by long stretches of boredom. Additionally, the character development was weak, leaving me uninterested in their fates. Overall, it was a disappointing film that failed to deliver on its promising premise.
4. David - 3/5:
"The Curse of Quon Gwkn" had some interesting ideas but fell short in its execution. The concept was intriguing, but the plot became convoluted and confusing as the film progressed. The acting was decent, but the dialogue felt unnatural and forced at times. The scares were sparse, and the few thrilling moments were outweighed by the slow pacing in between. While it wasn't a complete disaster, "The Curse of Quon Gwkn" left me feeling underwhelmed and wanting more substance in its storytelling and scares.