For this week’s film analysis, let’s explore yet another example of transnationalism in cinema, with the film Crouching Tiger Hidden Dragon (2000), one of the most praised and critically-acclaimed film of the millennium.
So yes, yet another wu xia pian with my head doing similar movements while I battle between reading subtitles and being mesmerised by the electric sword play. But alas, as an outsider, it is difficult to be disappointed by any martial arts film. When you are given the opportunity to escape through the swift choreography, beautiful landscapes, educational homage to Chinese history – one can’t complain as much.
As a narrative, we see Li Mu Bai give up his life as a master swordsman in the beginning, in hopes to start a quieter life with his not-so-secret love Yu Shu Lien. He tries to suppress his desires of avenging his slain master, killed by the evil Jade Fox. And the tales of the heroics between Li Mu Bai and Yu Shu Lien inspired Jen, the seemingly fragile daughter of a aristocrat. Give them all swords, and a passionate storyline, and you’ll get Crouching Tiger Hidden Dragon.
To be fair, the film successfully delivered what it had to in order to mesmerise its Western audience. Whether through film promotion, production or even by adhering to the typical Hollywood convention of storytelling, Crouching Tiger sat well with the Westerners – the very people who showered the film with praises and awards.
For director Ang Lee, he describes the film as “a dream of China…which probably never existed” – hinting that the film paid tribute to martial arts, but not necessarily the history of China. From Sense And Sensibility (1995) to Brokeback Mountain (2005) or to a more recent Life Of Pi (2012), the Asian community has given much thanks to Lee for putting us on the map. And that was exactly what he did with Crouching Tiger – the film went on to earn Taiwan its first Academy Award for Best Foreign Film. Also, it became one of the few foreign films to ever be nominated for Best Picture at the Academy Awards.
So yes, Crouching Tiger Hidden Dragon was a big hit in the West, but what about in the East?
As a non-Chinese Asian, even I could tell the subtle difference between this film and authentic wu xia pian such as Ip Man (2008) or even our previously-analysed Hero (2002). For some reason, something just felt a bit ‘off’ as I watched the film.
Although I praise the exceptional action choreography, the film lacked the authenticity of a martial arts film. For example, the first fight scene only occurred 15 minutes into the film, a peculiar decision for a martial arts film. Asian viewers, more specifically the Chinese audiences, were also sour over the scene of Li Mu Bai professing his love on his death bed, stating that it was something a skilled swordsman would never do.
In Crouching Tiger, Hidden Dragon Is Not A Chinese Film, the author discusses how other elements such as the lack of deep emotional narrative and inauthentic acting and dialogue also contributed to the film’s overall failure in conveying the true spirit of a martial arts film. With a cast hailing from different corners of Asia, the shaky mandarin and inconsistent accents definitely irked Asian audiences.
Also, if one were to look at the international non-Asian talent behind the film – from scripting (James Schamus) to special effects (Eugene Gearty) – the ‘Chineseness’ of the film seem to evaporate even further.
Personally, I feel that this orientalist relationship between Crouching Tiger Hidden Dragon and the West demonstrates not just the West’s fascination for anything Asian, but also reflects Asia’s frustration with Hollywood’s standards of Asian films.
With this, I say that the responsibility lies within the visionaries themselves. It is up to the creative power of the director, the scriptwriter or the producer to stay true to themselves and their roots, while at the same time finding ways to cater to both cultures. At the end of the day, I strongly believe that film has, and will always be, an outlet of cultural exchange.
I mean, can’t we have movies that illustrates, exposes and insults two cultures at the same time? (And this is why the Rush Hour trilogy will always be my most favourite film of all time)
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This entry was very well-written and extremely detailed in the way you unraveled the film’s narrative. On your point of transnationalism, it really is true how the film marketed it to cater to the Western audience. The Chinese may have felt that it was not authentic, but on the other hand, I do appreciate Lee putting Asians, not only the Chinese, but the Indians, Hong Kongers, Malaysians on the map as well. Though there was backlash in the beginning, China eventually grew to love the film as it became the top most successful films in the world. Lee’s tremendous auteurism and reputation among Hollywood brings pride to all of us Asians. However one gripe I would point out in Crouching Tiger is how bad the spoken Mandarin was. China has billions of people, I’m pretty sure they could find people who could speak Mandarin as well as do martial arts. However, Michelle Yeoh is a goddam shining star so I ain’t gonna complain much. Love your work! Looking forward to your next one.
Great write-up and I like how you thoroughly discussed about the authenticity of the film in terms of it’s nature as a martial arts genre film. I felt like something was amiss though when compared to ‘Hero’. However, much cannot be said as these two are the ONLY WuXia films I have watched ever. Crouching Tiger, Hidden Dragons did have its plus points with its brilliant cinematography – the scenes that depicted beautiful landscapes such as the desert, fight scene at the tropical bamboo woods and the rooftop chase. Everything was impressively captured.
Eventhough, it might have been a disappointment to Kung Fu fans from the East/China (those who have grown up watching martial arts film), I feel like it did its fair share by balancing the flop in the East, with a huge box-office success, and clinching 10 Academy Awards – nominations.
Enjoyable review and will look forward to more Naz! (:
I always enjoy your deep film knowledge that you share on this blog. I, for one, can never remember the titles to so many films. Kudos! I feel that this film was deserved the many awards and recognition it gained in the West. One thing I really love about wuxia films is the minimal use of dramatic background music during intense battle scenes; this allows the martial art and the chemistry during swordplay to speak for itself. As such, the fight between Shu Lien and Jiao Long is probably my favourite swordplay scenes EVER.
You also pointed out how the Chinese criticised the film for Mu Bai confessing his love on his deathbed, instead of something more noble (or significant), like Broken Sword in Hero (2002). I, however, stand on Director Lee’s side, as he already mentioned that the film is “a dream of China…which probably never existed”. Just like what he said, we should be open to the romanticisation of the warrior(s) and their skills in Crouching Tiger. They are a representation of China, which probably never existed.
An enjoyable read! Was impressive how you dissected the film and gave honest review of CTHD. I am a newbie to Wuxia films, but your write-up was so excellent that I could read it with an open mind. I am astonished by your wide knowledge on filmographies. Pretty piece of write-up! Looking forward to your next one! 🙂
Hi Nazry! Your review is extremely detailed and its a pleasure to read. I am a big fan of martial arts films myself, however the film ‘Crouching Tiger, Hidden Dragon’ pales in comparison to ‘Ip Man’ in both the intensity and authencity of chinese martial arts as you said. When it comes to martial arts film I’d say it would be difficult to please both sides. I’m sure many would agree with you as well that it is indeed the responsibility of the visionaries to find that grey area to please both west and east viewers while staying true to their beliefs. 😊