For those of you whove seen the trailer to Zhang Yimous latest, Will Hunting slays dragons and ensures the construction of the Great Wall of China because white saviors. “>
Let me tell you about the biggest movie ever made in China, directed by Chinas greatest living auteur, about one of Chinas most famous historical achievements.
The Great Wall is set over a millennium ago in China, where several dynasties worth of soldiers and slaves spent their lives constructing 5,500 miles of stone and brick to keep invaders and enemies out. It took 1,700 years to build, the trailer and poster for Universals 2017 blockbuster declare, and a few hundred more for Hollywood to teach us who really saved one of the oldest civilizations in human history: Matt Damon.
Yes, thats right: Matt Damon saves ancient China. From giant reptilian dragons. Because of course! Damon raked in $94 million from Chinese audiences last year by being stranded in space. If he can be The Martian, why not the guy who defends Asia with a quiver of arrows and his stoic Caucasian heroism? Someone call Paul Mooney with a green light, stat.
To be fair, Damon isnt the first white man to save an exotic culture/people from monsters/utter destruction/other white people. And he sadly probably wont be the last to goLast of the Mohicanson vast numbers of helpless others. But 13 years after Tom Cruise nobly and narcissistically saved the Japaneseby literally becoming the last samurai in all of Japan,its extremely frustrating to see that Hollywoods gone back to the Asian well to cash in on China-mania.
Legendary Entertainment and distributor Universal dropped the first trailer for The Great Wall to kick off its domestic marketing campaign Tuesday, just days after moviedom enjoyed its most diverse Comic-Con ever. Declaration of war on cultural progress, or marketing misstep? You be the judge. Me, I do not want it, I didnt ask for it, it doesnt look great, and frankly Im annoyed on principle. But you do you.
But maybe I was the only one who felt the bile rise at the sight of another blatant white savior narrative. I asked Sarah Kuhnauthor of Heroine Complex, the first in a series of books about Asian-American superheroineswhat she thought.
I think for a long time that did feel like the norm and as a viewer, I accepted it as onethat big American studio movies starred white people, that you cant make money on a movie without white stars, and so on and so forth, Kuhn wrote via email. But now that idea feels positively archaic. Weve seen big, whitewashed spectacles that have totally tanked at the box office. Weve seen the overwhelming excitement that flares up every time a big, geeky movie gives us a POC herolike Black Panther in Civil War. And weve seen so many calls for representation from POC audiences clearly hungry to see themselves onscreen, who will pay money to see themselves onscreen.
Ill fork over half my bank account if they ever make a superhero movie starring Constance Wu, Im just saying, she continued. (Samesies.) So when I see Matt Damons face staring at me from a poster that says The Great Wall… honestly, Im just fed up. I dont think the excuses people try to use to justify that norm hold up any more.
Phil Yu, who writes at AngryAsianMan.com, echoed the same frustration when I reached him hours after The Great Wall trailer debuted. Hed already gone off on the subject on his own site.
At this point the white savior conceit is so commonplace, to most people a movie like The Great Wall might feel normal and even expected, he wrote me. Its not surprising. Most people will likely watch this movie and see nothing out of ordinary about a white hero at the center of a story set in 10th century China. Like, OF COURSE its a white guy. This probably extends to people actually involved with making movies like this. Id even argue that a large portion of Asian-American audiences dont know or dont care that this is an insulting, tired trope. Why wouldnt it be a white movie star? For the most part, this is pretty much all weve ever known.
According to the synopsis, The Great Wall stars Damon as a mercenary soldier who gets stuck in China on the wrong side of the wall and becomes a hero by helping various other elite warriors beat giant monsters off Chinas doorstep. It is written by a bunch of non-Asian Hollywood guys and directed by one of Chinas national cinematic treasures. Shot on a budget of $135 million, the most expensive Chinese production ever made also stars Willem Dafoe, Pedro Pascal (Oberyn from Game of Thrones), Turkish actor Numan Acar, Hong Kong superstar Andy Lau, and Tian Jing, the Chinese actress Legendary also hired to diversify the cast of Kong: Skull Island behind its white leads, Tom Hiddleston and Brie Larson.
The previews, of course, suggest that Matt Damon saves the day all by himself. His ginormous grime-covered head takes up more space on the poster than Ive ever seen any one head take up on a one-sheet, although @JuanIsidro notes that Matt Damons head has been getting exponentially bigger over his last several movies. In the corner, opposite those tagline factoids pulled from actual Chinese history, an explosion of fireworks in the shape of a dragon? A horse? It doesnt really matter. Did you know the Chinese invented fireworks? Culture!
Chinese audiences love white stars, the suits might say, blaming the overseas consumer. Never mind the fact that stateside, and particularly within the Asian-American community, the idea of Matt Damon saving China comes off as patently ridiculous and opportunisticespecially in an era of vocal cries for representation and inclusion in film and television.
The whole reason I was so adamant about finding an Asian-American lead for Iron Fist last year was precisely because of how worn and tired this trope is, said Keith Chow, editor of The Nerds of Color. Both he and Kuhn spoke on the timely Super Asian America panel discussing Asian-American and APA representation last week at Comic-Con. But as long as white men keep making movies, white men will always be at the center of them, no matter where its set.
But as the fastest-growing international market with more spending cash than ever and a hankering for the movies, that Chinese audience has become Hollywoods favorite excuse for pandering to a government that openly censors art while selling these products to international moviegoers as fantastic cultural gateways to The Orient. And Matt Damons hardly alone building that bridge to China. Earlier this year, white American movie stars John Cusack and Adrien Brody chewed up the scenery in China-set historical action flickDragon Blade, which at least had the sense to star Jackie Chan.
The wishful ignorance seems evident in the wayThe Great Wallis being framed as simultaneously historical (1700 years to build 5500 miles long one of the greatest wonders of our world) and fantastical enough to justify taking enormous creative license with said history (uh, dragon monsters).The Great Wallseems to want to have it both ways: to appeal to Eastern and Western audiences while exploiting the respect that BAFTA-winning director Zhang Yimou earned many, many years ago and hasnt replicated since.
Once upon a time, ages ago, Zhang gave zero fucks about making movies that might get outright banned by Chinas government censorship org, SARFT. He made his bones as a bona fide auteur with celebrated dramas that actually explored the lives of Chinese people (Ju Dou, Raise the Red Lantern, The Story of Qiu Ju, To Live) or let Chinese heroes be heroes (Hero, House of Flying Daggers).
But by the time he was chosen to direct the 2008 Beijing Olympics ceremony after serving the government well in their 2004 Summer Olympics show, Zhang was shouldering fire from his critics for submitting to government overlordsa professional concession he and artist Cai Guo-Qiang acknowledged in the documentarySky Ladder earlier this year at Sundance.
There are many compromises when you are doing movies in China, starting with the choice of topic, Zhang told an audience at NYU in 2014. But even when I am forced to compromise, I ask myself, What was the original thing that made me want to make the movie to begin with? And I try to insist on preserving that thing.
I dont know what happened to Zhang Yimous career, but this is certainly the most blatant, obvious stab at Making Movies the Hollywood Way, Yu commented. Its clear that this is an attempt to create a Chinese movie in the Hollywood mold that appeals to audiences worldwide, right down to its bona fide Hollywood star. I dont think anybodys worried about Asian-American representation in this situationcertainly not Chinese moviemakers or audiences.
Part of the reason a mere trailer and poster and synopsis can trigger this much knee-jerk hate from the Asian-American community is because, well, weve been here too many times beforeas has just about every other group. The white savior trope is such a tired clich it has its own Wikipedia entry, for those too ignorant enough to notice: A white savior/messiah saves some helpless group of people of color (or: aliens! I see you, Avatar) from some pickle they cant possibly save themselves from, usually learning something about himself in the process while also usually romancing an ethnic love interest. Because balance!
Negative reactions to The Great Walls premise should, one hopes, send a message to studio gatekeepers whove also felt unexpected blowback for the whitewashing of Asian characters elsewhere. Its proof that filmmakers from Asiaand appealing to that elusive Chinese marketisnt the appropriate counterargument for the lack of Asian-American representation in Hollywood, said Chow. The fact that Chinese studios and filmmakers are partnering on this project doesnt make it okay. Just as the blessing ofGhost in the Shells Japanese creators and publishers doesnt excuse Scarlett Johanssons casting.