At the pinnacle of her career, Anna May Wong failed to land the starring role of O’Lan in The Good Earth, a movie based on the novel by Pearl Buck, and one of few films that depicted China favorably to American audiences. The role went to Luise Rainer, who won an Oscar for her performance. When the studio offered Wong the part of Lotus, the wicked concubine, she protested: “You’re asking me—with my Chinese blood—to do the only unsympathetic role in the picture, featuring an all-American cast portraying Chinese characters.” Heartbroken by the snub, the Los Angeles-born Wong left Hollywood in 1936 to visit China, only to be criticized in her ancestral homeland. “Because I had been the villainess so often in pictures, it was thought that I had not been true to my people,” she later told a reporter. “It took four hours one afternoon to convince the Chinese government this was not so. I couldn’t give up my career, because I feel it is really drawing China nearer and making it better understood and liked.”

If even Wong could not gain a major role in a film about China, then other Chinese actors faced even slimmer prospects. Only a few worked in the film industry, most of them as extras who rarely had speaking roles. The majority of them did little more than provide exotic background for films set in Asia. The work was sporadic; months, even years, could elapse between calls for jobs. Whenever a major film with a Chinese story line went before the cameras, some Chinese extras dared not venture far from the phone for fear of losing a rare chance at work.

(Chang 209-210)