More dreams of China and a few comments of "Sino-centrism"
Another excellent entry into the series dealing with China coming to terms with foreign influence and an uncertain future, infused with romance, humour and some outstanding choreography. The well-drawn cast includes Dr Sun Yat-Sen which brings some historical credibility, but adds irony as well, since Dr Sun's idealism may have been misplaced. Oh yeah, its got some great fighting in it too...
I find previous accusations implying racism in this film to be misguided and deeply ignorant. The Wong Fei-Hung series highlights the historical turmoil felt in China from external trade interest and internal political pressure. Foreign characters are shown as both villainous and sympathetic (just like the Chinese characters). OUATIC II portrays the xenophobia of the White Lotus Cult as a Very Bad Thing, and the confusion at western objects and inventions varies from the hilarious train sequence to the superstitious fear of the camera. It's self-mockery, but it's bittersweet. If anything, Tsui Hark is implying a loss of innocence.
If the foreign powers are portrayed in a negative light, it's because our presence in China was motivated by greed and imperialism. Hardly the most noble of motives. But then nobody's perfect, and China's human rights record is less than great before and after the revolution.
I'm staggered that anyone could be so utterly stupid as to ascribe Nazi overtones to a film which goes so far to portray nobility, humanism and honour. Anyway, great film.
I find previous accusations implying racism in this film to be misguided and deeply ignorant. The Wong Fei-Hung series highlights the historical turmoil felt in China from external trade interest and internal political pressure. Foreign characters are shown as both villainous and sympathetic (just like the Chinese characters). OUATIC II portrays the xenophobia of the White Lotus Cult as a Very Bad Thing, and the confusion at western objects and inventions varies from the hilarious train sequence to the superstitious fear of the camera. It's self-mockery, but it's bittersweet. If anything, Tsui Hark is implying a loss of innocence.
If the foreign powers are portrayed in a negative light, it's because our presence in China was motivated by greed and imperialism. Hardly the most noble of motives. But then nobody's perfect, and China's human rights record is less than great before and after the revolution.
I'm staggered that anyone could be so utterly stupid as to ascribe Nazi overtones to a film which goes so far to portray nobility, humanism and honour. Anyway, great film.
- Fox in Socks
- 15 जुल॰ 2002