I don’t ever remember seeing Peter Lorre as Mr. Moto in one of those movies which seems unavailable due to political correctness in the present day. Yet, the “Mr. Moto” pictured on the cover of the old Little, Brown paperback of Think Fast, Mr. Moto looks like the famous European actor playing the role. This is the second novel featuring Mr. Moto—Imperial agent of mystery—that I’ve read. Mr. Moto is an agent of the Imperial Japanese government in the mid-1930s. Think Fast, Mr. Moto begins in the very international (at the time) city of Shanghai China and weaves together a tapestry of nationalist vs. warlord sensibilities, careless international exploitation, culture clashes, racism, and intrigue. “Shanghai had seemed more than once, as it seemed to him tonight, an impermanent safety square in some enormous game – a city which might disappear overnight.” (p. 35)
This is only the second Mr. Moto novel I’ve read and I think I’m starting to see a pattern. The novel involves Mr. Moto in the delicate circumstances of another protagonist, in this case one Wilson Hitchings, the scion of an international banking firm. Wilson is learning the ropes of international banking in the very cosmopolitan pre-WWII Shanghai when he is sent on a mission to try to buy out the casino ownership of a distant, distant cousin in Hawaii. Mr. Moto slides in and out of the scenario seamlessly. He is constantly surprising and always “very, very sorry” or acclaiming something as “very, very nice.” Nothing ever seems in-between in these novels except for Moto himself. He is the one who figures things out and knows just who to intimidate or bribe in order to get things done.
In this case, it appears that Moto is there to subvert the young banker’s intent and, at several points, Mr. Moto accuses the young man of being part of a conspiracy to either kill or subvert his plans. Instead, we see a potential converging romance and a potential conflict between the young banker and his exceeding attractive relative. At times, Wilson Hitchings seems almost je jeune in his approach to life and responsibility and, at other times, he seems resourceful and creative. It is just the right balance in this character and sometimes leads to interesting twists in the plot.
With regard to its international flavor, I particularly liked this description: “He recalled the jazz orchestras in the Orient, each a conscientious imitation of Broadway; and the Wild West motion pictures in Tokyo, and the baseball in Japan, and the amusement parks of Shanghai. The genius of his own nation was in them all—tawdry, superficial, but somehow strong and appealing.” (pp. 125-126) If that little glimpse doesn’t help you see how adroitly John P. Marquand dances between cultures and a confluence of influences, you won’t enjoy Think Fast, Mr. Moto. It is, by the way, remarkable that I happened to pick up two novels dealing with events in China prior to WWII in the same week. It wasn’t intentional, but it sure was fun.