SYNOPSICS
Hollywood Chinese (2007) is a English movie. Arthur Dong has directed this movie. Turhan Bey,Joan Chen,Tsai Chin,Stephen Gong are the starring of this movie. It was released in 2007. Hollywood Chinese (2007) is considered one of the best Documentary movie in India and around the world.
Hollywood Chinese is a captivating look at cinema history through the lens of the Chinese American experience. Directed by triple Sundance award-winning filmmaker, Arthur Dong, this documentary is a voyage through a century of cinematic delights, intrigues and treasures. It weaves together a wondrous portrait of actors, directors, writers, and movie icons who have defined American feature films, from the silent era to the current new wave of Asian American cinema. At once entertaining and enlightening, Hollywood Chinese reveals long-untold stories behind the Asian faces that have graced the silver screen, and weaves a rich and complicated tapestry, one marked by unforgettable performances and groundbreaking films, but also by a tangled history of race and representation.
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Hollywood Chinese (2007) Reviews
Both informative and very entertaining
This film, at it's heart, is an expose on America itself and how it both exploits and rewards minorities, ever so slowly adding them to the mix of the American experience. The pay-off's come at the end with frank testimonies from Joan Chen, B.D. Wong, and the amazing Ang Lee. The final topper comes when the multi-faceted (and talented) Justin Lin laughs that once he broke through the Hollywood "ceiling" he couldn't get his films released in Asia because they weren't about white people. Loads of archival footage surround the interviews (none expressing much bitterness) with Nancy Kwan's beauty ever-shining, she is surprisingly self-aware and candid about the negative stereotypes she was accused of perpetuating. But this is less about the Chinese in Hollywood than America itself: "...as long as you make money" is the creed, no matter how damaging or ridiculous the job.
An excellent doc
This is a fascinating documentary on Chinese people in Hollywood movies from the earliest silent to present day. From incredible scenes of a silent movie directed and acted by Chinese sisters to the making of Joy Luck Club. The Chinese actors and directors who talk about the depiction of Chinese people throughout the history of Hollywood talk with intelligence, compassion and anger. They don't hold back, but they are also even-handed. For example, there was resentment that Charlie Chan was not played by an Asian and that he spoke in "pigeon-English". However, they also said that Charlie's family was a very positive representations. The family as a whole was presented as warm and loving, but especially that his son spoke perfect English, was college-education and an Olympic athlete. But then there's Joan Chen describing how she was given a dialogue coach in The Last Emperor to help her speak English with a Chinese accent. Also in the film, Christopher Lee talks about the Fu Manchu movies and there's a segment which, if you're a Roger Ebert fan, you'll want to see.
Brilliant --
Brilliant film history revealing that there was a thriving Chine film industry, alongside -- and outside -- the Caucasian Hollywood film industry. One is angered by the exclusion -- not only because non-white, but also by the casting of others than Chinese as Chinese. And one is moved by the dilemma of contemporary American-born Chinese filmmakers: Chinese audiences want to see White folks; American audiences want to see Chinese folk -- but from China. A must for those interested in film history, and larger cultural history, and how money is more important that talent, than life itself. Not to be missed for those who are held by the view that these sorts of issues are "no big deal" for those affected by them. And those affected by them are all of us.
Before everybody was kung fu fighting
Paul Auster wrote a novel about an Argentinian-born silent screen, comic star named Hector Mann called "The Book of Illusions"(published in 2002) that haunted me for days on end after I reluctantly turned the last page. A contemporary of screen legends such as Charlie Chaplin, Buster Keaton, and Harold Lloyd; Auster, with his usual expert cageyness, adroitly blurred the line between fact and fiction, making the reader lose sight of Hector Mann's fictitious non-existence. When the South American slapstick comic actor left Hollywood, he continued to make films in secrecy at his own private movie studio. It was the notion of a film history unbeknownst to the public sector that drove my imagination, like an alternate universe. In "Hollywood Chinese", the Auster novel came rushing back to my head with an almost visceral immediateness, as this smart, incisive documentary discloses the existence of a Chinese female director named Marion Wong, who made silent films which accurately depicted Chinese-American life at the advent of commercial motion picture exhibition during the early tens. Clips from Wong's "The Curse of Quon Gwon" possess an uncanny look of otherworldliness, like something that shouldn't exist at all. What's truly remarkable about this lost film is that it has value beyond its ethnographic qualities; Ms. Wong was clearly an accomplished filmmaker in her own right. "Hollywood Chinese" is admirable for its balance in representing both sides of the controversy behind the creative casting procedures that Hollywood regularly carried out in such films as Sidney Franklin's "The Good Earth"(Caucasians playing Chinese) and "The Flower Drum Song"(Japanese playing Chinese). On one hand, there's the reminder that Hollywood is an industry, a business whose only goal is to turn a profit, so it's nothing personal, asserts the interview subjects from this camp, when a Anglo-American actor like Paul Muni puts on a yellow face. But then there's the other camp who take issue with being misrepresented, especially by Japanese actors, for instance, Miyoshi Umeki in Henry Koster's "The Flower Drum Song", especially during the post-WWII period, when the Chinese were subjected to Japanese domination. Although there is anger, most notably by "M. Butterfly"-star B.D. Wong concerning Gedde Watanabe's performance in John Hughes' "Sixteen Candles", the anger is mostly held in check(there is a little bitterness from actress Joan Chen when she recounts her lack of film offers after Bernardo Bertolucci's "The Last Emperor"). The filmmaker shows tremendous restraint in not making mention of the obvious irony behind Rob Marshall's "Memoirs of a Geisha", in which Chinese actors played Japanese actors. Or maybe it's bias. "Memoirs of a Geisha" strengthens the argument that Hollywood is about box office receipts, and not cultural sensitivity, since the casting of Zhang Ziyi and Michelle Yeoh as Japanese geishas was clearly a business-based decision born out of economic necessity. There are simply no bankable female Japanese stars. Incidentally, Paul Auster co-wrote the screenplay for Wayne Wang's "Smoke". "Hollywood Chinese" is a must-see for anybody who has an interest in cultural studies.