Red Cliff, Panda, and Chinese Films

The newest buzz out of the Chinese film world is Red Cliff, a famous battle story out of The Three Kingdoms.

The general Chinese verdict seems to be “it’s entertainment”, also some of the entertaining attempts are so caricaturistic, borderlining absurdity. Amid the controversy and critiques, the film sells, amassing the top box-office receipt in China. Nowadays, China takes on a very American rule – controversy sells.

But sorry Chinese, I’m not sure your complaints are relevant. This picture, from the clips I’ve seen, isn’t filmed with you as the key audiences, rather, it has the Western viewers in mind. Outside of the fact that John Woo has never been truly outstanding besides staging scenes and working the camera angles (see Mission: Impossible II), if you view the film from an angle of someone whose knowledge of The Three Kingdoms as heard passingly at best, you won’t see all the absurdity and controversy. All you see are giant battling fields – reminiscent of Rome Army nevertheless, witty humorous retorts – if somewhat modern – between generals and warlords, caring and vulnerability, and love scenes – how can a Hollywood movie be complete without one? Look, it all makes perfect sense. It’s just those of you who are too versed in the story and characters that are nitpicking.

Think of the last blockbuster, dreamwork’s Kung Fu Panda. The sentiments were divided along the lines of resisting: how can Hollywood produce such crap about our beloved Panda? And alternatively, proudly embracing: it’s really wonderful Hollywood can nail the Chinese cultural down so precisely in the film, with a by-line of why can’t we make it? Although the latter thought makes very good point about education and creativity, the two views actually share the same psyche – that of lack of confidence. The glee over Hollywood’s major production featuring Chinese stories and wits underlines the fact that most Chinese are still seeking being recognized and respected by the Western culture, despite the fact that Chinese cultural that’s embodied in the film is actually quite shallow, nor is it ground-shattering. The film is actually very much hollywood, both in value – the underdog hero story, and production. We are not part of the world props up some of unduly praises of the film.

Back to Red Cliff, why doesn’t a Chinese made film focus more on Chinese audiences then? You can just look at the numbers. Kung Fu Panda has earned $19.29 million in China between its June 21 opening and July 6, making it a box-office smash by Chinese standards. Comparatively, it earned more than $350 million world wide. So there is little wonder Red Cliff shifts its market focus elsewhere.

China has proved it can produce quite fine art films. It is no stranger in the international film festival circuit. China can produce some entertainment “big picture” also, when it really put money into it. What’s mostly lacking is the in-between and blending of the two. Both the amount and variety are far more to be desired. It is on this ground that we can come to understand the paradox of Red Cliff, both of under criticism and hugely successful commercially – because good films are too few, and far in between.