The Afro-Asian buddy genre

Instead of going into sociological analysis mode like many film historians, I will provide a list of the movies which you can see for yourself. However, I will go into detail about the poster which I used as the cover. It was taken from a film called Drive. It was made in 1995 and released on American video in 1997. Like a Hong Kong cinema fan once said: It was deprived of a mainstream U.S. theatrical release. Theatrically, it was surprisingly huge in Japan, where it was released as Demolition King. Ultraviolet would have been a slightly bigger hit if it was released in Japan as Demolition Queen. Back to Drive, it broke box office records in Russia. It also did top business in Holland.

Had it been released in the way that it should have been, The Matrix would not have gained the impact that it had (since part of that movie’s appeal was that it supposedly had better martial arts fights than any American movie). Even Brett Ratner told the director (Steve Wang) that Rush Hour would not have been as big of a success had Drive been given a stateside cinema release that was non-niche. Brittany Murphy was a better foil to the male duo than Elizabeth Peña was. As for other popular buddy movies of the same ilk – The Dynamite BrothersWay of the Black DragonKung Fu Executioner, Sun Dragon, The Tattoo Connection and Cradle 2 the Grave.

Interestingly, Cleopatra Jones and the Casino of Gold is one of the few martial arts movies (if there are any more) to feature a Chinese woman sidekicking with a black woman. I recommend a 2009 book titled Racial Stigma on the Hollywood Screen: The Orientalist Buddy Film. Jackie Chan’s African-American following is such that Rumble in the Bronx was changed (unrealistically) in terms of the race dynamic. Chan wanted to change the street gang’s ethnicity from black (what the producers wanted) to mixed (one film critic joked that it was like Star Trek). It remains to be seen if he chose to star in Rumble in the Bronx instead of Sammo Hung’s Don’t Give a Damn because of the anti-black racism, which harks back to a scene in a 1992 H.K. movie titled Invincible (a military-themed thriller featuring Billy Blanks).

Sammo claimed that it was the Taiwanese investors who insisted on the racist humour. It’s a possibility that the inclusion was an attempt to compensate for Chan’s absence. Despite Jet Li being a national institution in Taiwan (where he’s known as the Kung Fu emperor), Cradle 2 the Grave (co-leading a rapper) grossed not much more than the equivalent of H.K.$ 4 million (ouch). Rush Hour having a bigoted black star explains why the H.K. box office result was 13 million (Chan’s movies usually gross more than H.K.$ 30 million). The threequel grossed H.K.$ 8 million. Before Rush Hour, Jackie was to be with Wesley Snipes in a movie titled Confucius Brown. It was going to be an interracial buddy comedy. It never get off the ground, so Wesley joked that it was reincarnated as Rush Hour. Sammo’s Martial Law would end up being the TV imitation.

As to why that Confucius Brown never happened, it could be because of a negative Cantonese slang term called African Buddhist monk. The Chinese pronunciation of black guru which sounds like detestable. After Jackie rejected the chance to be in it, Wesley approached Michelle Yeoh. The only Afro-Asian martial arts movie with a unisexual couple is Romeo Must Die. In 1997, Tsui Hark wanted to make a Las Vegas action comedy starring Whoopi Goldberg and Stephen Chow. Most (if not all) black-driven movies don’t do all that well in H.K. Wesley’s Blade grossed H.K.$ 3 million. Blade 2 (which Donnie Yen coordinated and appeared in) grossed less than 1 million. Blade: Trinity did slightly better but still short of a million. Bad Boys 2 grossed H.K.$ 1 million. Then there’s the matter of racism towards black people in H.K. movies.

The ensuing H.K. films depict racism towards blacks – Way of the Black Dragon, The Tattoo Connection, Righting Wrongs, Ebola Syndrome, Sixty Million Dollar ManLicense to Steal, Chicken a La Queen, Mack the Knife, Love Generation Hong Kong, Royal Tramp, Casino Tycoon II and Dummy Mommy Without a Baby. If this list is the dirty dozen then a baker’s dozen would have to include The Good, the Bad and the Beauty. It’s only in the world of H.K. cinema that black men are perceived as being more likely to rape than white ones. It’s a wonder that some black martial arts actors had careers over there. Wesley Snipes would have experienced a renaissance had he made his comeback in H.K. movies. In a way, it would have made more sense for Donnie to fight him instead of Mike Tyson in Ip Man 3.

Given the popularity of Blaxploitation and Kung Fu culture in the seventies, if Bruce Lee had lived then we may have seen him teamed up with Richard Pryor. To make it as bankable as possible, it would have needed to be set in the white gambling world where the story goes from working-class hoodlums to high-class hustlers. A good title for it would have been Black Jack, Solid Heir. The second part of the title being a reference to Bruce being a pugilistic heir to a fortune that can only be won through a game of solitaire.

Tsui’s idea to unite Whoopi with Stephen is more inspired than the original plan to have Stephen play Kato in Seth Rogen’s remake of The Green Hornet, although I still feel sorry for Stephen given how long and how much he has been a fan of Bruce. Back to Whoopi in a way that ties in with H.K. racism, Anita Mui and Anita Yuen dressed up as her in Who’s the Woman, Who’s the Man? :blinkwide:

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