Chinese cinema —
Our pride & our shame

We all seem to be proud of Chinese people’s achievements in Hollywood: First, we had Bruce Lee, then John Woo, then Jackie Chan and then Jet Li. This year’s really big hit is Ang Lee’s Crouching Tiger, Hidden Dragon.

As a Chinese, I have always been proud of superb films produced by our filmmakers. But this does not mean that I appreciate Hollywood’s recognition. Just cool down for a moment and think about the genres of film that have won popularity in the U.S. They are martial arts and action genres for sure. Kung-fu is exciting, and it reflects traditional Chinese culture, but this is not what all Chinese cinema is about.

Take Crouching Tiger, Hidden Dragon as an example. It is an epic love story that dramatically depicts tensions in traditional Chinese culture. The movie certainly excels in all facets: script, acting, choreography, cinematography, costumes, musical score and so on. However, I was sorry to discover that most American media focussed mainly on those fierce sword fights and gravity-defying movements on rooftops and in treetops. Nine out of 10 critics gave compliments to the martial arts choreographer, Yuen Wo Ping, noting how the fighting scenes were executed in a Matrix-like fashion.

Ang Lee has received an incredible number of awards and Oscar nominations. However, the Academy is notorious for giving awards to A grade commercial blockbusters rather than art films. In addition, film reviews published in general circulation magazines such as Entertainment Weekly and Time mainly commented on the fighting scenes. I doubt if these critics viewed Crouching Tiger through the same eyes as they viewed Gladiator and Titantic.

It is a pride and a shame. Our action choreography receives international acknowledgement, but other attributes of Chinese cinema are seldom discussed or even ignored. Chinese superstars are little more than stuntmen who simply need to show off their alacrity and acrobatic kung-fu routines.

The kung-fu formula, initiated by Bruce Lee, repeats itself in Hollywood. John Woo has forsaken his original style and succumbed to pure action movies. Mission Impossible 2 was successful only in commercial terms. It was simply a replication of John Woo’s past action blockbusters in Hong Kong. Jackie Chan, Michelle Yeoh and Jet Li follow the same path. Even Zhang Zi Yi, a graduate of Beijing Drama Academy, stepped onto the martial arts arena when taking a role in Rush Hour 2. Chow Yun Fat certainly has a long way to go. Sadly, he is almost the only Chinese star who may go on to conquer the Hollywood market on the basis of his charismatic acting alone.

I do believe that local kung-fu films have opened up the foreign market. However, no one knows when Hollywood will get to taste and appreciate the essence of real Chinese cinema. Or the day might never arrive, for it is only martial arts that can break through cultural and language barriers.

Carrie Chan
Managing Editor