Actress Nancy Kwan reflects on breaking Hollywood barriers in the ‘60s

In her memoir “The World of Nancy Kwan” released Tuesday, actress Nancy Kwan delves into her experiences as a pioneering Asian presence in Hollywood during the 1960s.

On identity and representation: Born in Hong Kong to a Chinese father and English mother, Kwan was just 20 years old when she was thrust into an industry at a time when Asian roles were often portrayed by white actors in “yellowface” makeup.

In her memoir, the actress reflects on the 1955 film “Love Is a Many-Splendored Thing,” where Jennifer Jones, a white actress, portrayed Eurasian character Dr. Han Suyin. Kwan candidly admits that, at the time, it didn’t occur to her that the role should have been played by an Asian actress.

“I loved the movie, and honestly, it didn’t occur to me when I watched it that Dr. Suyin (who also wrote the autobiographical book on which the film is based) should have been played by an Asian,” Kwan writes. “I was blind to even the possibility because in those days, it just wasn’t done.”

On her on-set challenges: Reflecting on her experiences, Kwan notes that modern film sets often employ intimacy coordinators to protect actors during sensitive scenes—a safeguard that was absent during her early career.

“The scene called for [Holden’s] character, Robert Lomax, to angrily rip off my dress because he objected to Suzie’s fussy Western attire, which she wore to prove her so-called sophistication,” Kwan shares. “I was expected to follow the director’s instructions. When I refused, crying because I was embarrassed to wear something so revealing, I was reminded that it was part of the job. Were they taking advantage of my youth and inexperience? Absolutely, but I didn’t have a choice.”

On breaking stereotypes: Kwan also touches on the complexities of portraying characters that embodied prevailing stereotypes of Asian women. While acknowledging the significance of being cast in lead roles for “The World of Suzie Wong” and “Flower Drum Song,” she candidly addresses the challenges these roles presented.​

“I’ve broken barriers, celebrated achievements, overcome disappointments and survived tragedies, all part of my remarkable journey from Hong Kong to Hollywood and beyond. This is my story,” she writes in the prologue of her memoir.

She notes that acting as the submissive and exotic “Suzie Wong” archetype was limiting, but these roles served as stepping stones that allowed her to challenge and redefine such portrayals over time. Kwan’s performances eventually opened doors for more authentic representation of Asian characters in American cinema.