Where Are the APA Movie Stars?
December 14, 2007
I’m reading Five Easy Decades, a new biography of actor Jack Nicholson. Nicholson may be one of the biggest movie stars ever, and reading about his early years leaves little doubt that he was destined for anything else. Arriving in Hollywood as a total outsider, the young Nicholson did everything he could to make it. He sneaked onto studio lots to schmooze with producers; he made it a point to befriend promising young talents like Robert Towne, who went on to write The Last Detail and Chinatown for Nicholson; and he wrote and directed no-budget features to perfect his craft.
Reading all this made me wonder: who are our Jack Nicholsons? Who are our Asian Pacific American movie stars?
Let me define what I mean by “star.” It’s a leading actor who can carry a film, both artistically and commercially, someone like George Clooney, Tom Hanks, Julia Roberts or Angelina Jolie. Lucy Liu, who may be the biggest APA name in films, is not quite a star; she hasn’t proven that she can do those things yet. And I’m not counting actors like Jackie Chan or Jet Li because they are Asian, not Asian American.
In the past decade or so, our Latino and African American brethren have managed to develop true stars of their own, like Denzel Washington, Halle Berry, Jennifer Lopez, Antonio Banderas, Benicio Del Toro, Morgan Freeman, Samuel Jackson and many others. These are folks who fit my criteria of what a star is. So why aren’t there more of us in those ranks?
One might argue that our community is relatively young, and we haven’t had the time to get there yet. After all, the big wave of Asian immigration didn’t happen until after 1965. There is certainly some truth to this, but we also need to remember that we did have APA stars like Anna May Wong and James Shigeta before this period. Their careers were limited by the racism of the time, but they still managed to snag leading roles in Hollywood productions.
Yes, there is still racism in Hollywood, but to always use this as the main argument for our lack of opportunities ignores the reality of the business. Even if every studio was run by a member of the KKK, they’d still green-light films starring APAs if they thought they would make money. That’s the bottom line — if films by and for us did boffo box-office, you would see many more movie stars with last names like Kim, Chang and Nguyen, so we can’t completely lay the blame elsewhere. We need to bear some of the responsibility ourselves.
There are a number of things I feel we can do to rectify this, but this week I’ll focus on the APA audience/consumer. The reason there are African American and Latino stars, the reason there are films made about and for those communities, is because those communities support their own where it counts — with their dollars at the box office.
Take African Americans. They make up a disproportionately higher percentage of the movie-going audience than their numbers in the general population. And they make a point of supporting African American films and actors. Witness the huge success of the Tyler Perry films and, most recently, the holiday hit This Christmas. Hollywood studios cater to this audience because they know they can make money.
Unlike black and Latino audiences, Hollywood doesn’t even track Asian audiences separately. They don’t need to; we essentially have the same consuming patterns as white audiences. If a studio releases an “Asian American” film, our community is about as likely to support that as a white audience.
I don’t want to lay all the blame on our audience; our artists are also failing us. The sort of understanding that a young actor like Nicholson had about what he needed to do to get to the top is sadly lacking in most of our community’s artists.
So what to do? This is a topic I’ll discuss in depth in a future column.
Philip W. Chung is a writer and co-artistic director of Lodestone Theatre Ensemble.
Comments
8 Responses to “Where Are the APA Movie Stars?”
Got something to say?
Dear Phil:
Much as I admire you and much as I hope for APA accomplishments in the arts AND Hollywood, I must demur on some if not most of your piece above.
You are no doubt correct insofar as the general consensus goes in re what constitutes “success” and superstardom. And my puerile insistence on other values and other standards is basically a lost cause, at least in the near term.
First, I disagree with the assumptions of Hollywood “royalty,” their bank accounts and press clippings notwithstanding,
I think it was Russell Birdwell?, in my time, who enunciated the “truths” of such celebrity — promotion and hype, a la Nazi propaganda ploys.
Thus, generations have been convinced that Bob Hope was a “comedian,” and Bing Crosby and, yes, Frank Sinatra, “singers.”
True, as Mary Renault proclaimed in her “Greek” novels, those city states had their own brand of “praise singers” 2500 years ago, albeit a cut or two above the Gollywood norm.
Jack Nicholson, obviously, is a contemporary icon, but, to me, he was never much more than a B-movie star. As an “actor,” he is nowheres near the likes of, say, a Meryl Streep?, much less those stawart Brits like Sir Larry and that bunch of gamut-ranging likes.
Ditto Kate Hepburn, who, to me, NEVER managed to evince a role beyond her own unarguable persona/personality aura/charisma.
Marian Anderson was a “singer,” Paul Robeson was a “singer,” and, God knows, ODETTA was an incomparable “singer” par excellence.
And as far as comedians go, how about Robin Williams and that rubber-faced guy whose name escapes me at the moment. See how far fame and celebrity goes?
As for “Asian-American” “stars” of today, I nominate Joan Chen, who belies Charlton Heston’s patronizing and dismissive observations two generations ago. He should talk, limited as he was in thespic range.
Getting to the “top” is both relative AND subjective.
Have you ever heard of Mei-lan Fang, that “straight” Chinese Opera star of a century ago who, reportedly, aroused a Japanese Emperor by way of his female impersonations onstage?
And, by mir, there is no need to assert either stardom or celebrity, other than the fulfillment of the artist’s skills and projections on-screen or onstage.
Finally, to this particular set of sensibilities and reactions, the one authentic “Chinese” cinematic achievement, and, of course, I likely have missed most, is “Raise the Red Lantern,” to me, ranking with the best of Satyajit Ray, Akira Kurosawa, Ingmar Bergman, Carne/Prevert, Ivory/Merchant.
And, of course, wonder of wonders, the Mainland’s obeisance to “Oscar” notwithstanding, the Ang Lee miracle of an authentic “American” “western,” the already classic “Brokeback Mountain.”
All this said and done with, what really matters is that you and your colleagues continue to mine the minefields of Hollywood and Vine, that intersection of neverneverland.
Frank Eng
Dear Philip:
You defined a star as a leading actor who can carry a film, BOTH artistically and commercially. Based on your definition, Halle Berry, Benicia Tel Toro, Samuel Jackson, and even Antonio Banderas aren’t really stars then. Halle’s films, where she has been the main actor, have largely been flops, even though she won an Academy Award. Benecio, likewise, cannot carry a film to commercial success on his own. Similarly for Samuel and Antonio. Even Morgan Freeman, who is a really great actor, is not commercially successful. What I agree with you though, is that African and Latino Americans are really supportive of actors of their own race, and that support is a factor in the success of actors like Will Smith. That being said, I am left wondering why you are not supporting Ms Liu, who has talent and is as commercially successful as Halle Berry and, even more so than Benicio. I personally feel that Asian Americans are generally hypocritical when it comes to supporting their own talent.
There are factors we don’t have or lack of represention of Asian-Pacific movie, entertainment, or public figures.
We need to develop organizations, unit people, resources, mindset, mission and vision to support our convictions. It is almost impossible for one or separate individuals to support or go about becoming one of the movie figure. It requires supporting individuals, organizations, networks, resources, and motivations from inner and outer groups to make things happen.
Unity is important. The reason African and Latino stars and entertainers rising due to community support, participation, speaking out, and willing to stick out on issues. Where as, many of us are not doing. We shall do it for our on believes regardless of what the causes are.
I encourage everyone to do what it takes, if you believe something needs to be done, have a focus, goal, timeline, mission and vision, find people to support you, and continue hitting at it until maturize.
Although we are successful in many fields, we should not take our eyes on other non-traditional fields such as oil, construction, entertainment, sport, media, government/public works, social network, and many many fields we are not well represented. Let’s go for those areas and support those have interested in them.
Wow. Am I the only one who understands Philip Chung’s article here? The first commenter harps on the word “actor” a bit too much and argues the merits of Jack Nicholson and Audrey Hepburn’s acting ability. Who cares. It could be a cardboard box for all that matters (albeit a Caucasian one) being featured in front of a camera. The fact that the actor is a WHITE American (or black or hispanic) and given top billing and marquee status (as opposed to an Asian American) is the issue here. And is Chung right? Well, name me an Asian American actor who’s name carries a film. Which leads me into the second commenter’s argument which focuses on box office success. Again, not the issue. Halle Berry has starred in dud after dud after dud. But key word: “STARRED”. She was the star. A Hollywood studio (many for that matter), bankrolled a project with her name. Regardless of the profit, a movie was green-lit because of her name (or Antonio Banderas or Morgan Freeman, et al.).
Chung hits the nail on the head with this quote: “Unlike black and Latino audiences, Hollywood doesn’t even track Asian audiences separately. They don’t need to; we essentially have the same consuming patterns as white audiences. If a studio releases an ‘Asian American’ film, our community is about as likely to support that as a white audience.”
One issue I do take with Chung is that he feels Nicholson had what it took to be a star and the example he gives is Nicholson’s persistence and hard work. He then goes on the say there aren’t any actors in our community who possess the “understanding” of a Nicholson, which means there aren’t any APA actors that practice persistence and hardwork? If that is the message, Chung is gravely mistaken.
To a certain extent I agree that Asians in general do not support APA actors and actresses. As you stated, we are not demographically tracked. Why is that? We need to have organizations be more vocal. Make the lack of APA stars an issue. If we are quiet about it, we define and acknowledge the status quo. Regarding speaking with my wallet, I for one, refused to pay money to see Tom Cruise be a hero in Japan (The Last Samurai), to see whimpy Ralph Macchio beat up on much stronger Asian men and win the affection of Tamlyn Tomita (Karate Kid 2) or Ethan Hawke be the hero to weak Asians (Snow Falling on Cedars).
Why was Jack Nicholson successful? Was it really nothing more than persistence? If an APA did the same, would they have gotten into the movies? Probably not in my opinion. The difference is that Jack Nicholson fits the mold of most successful actors in Hollywood. He’s white!
Look at the “role models” of Asians on TV. I grew up in the late 70’s/early 80’s. I saw people talking about the “nips” on McHale’s Navy, I saw Pat Morita on Happy Days, Brian Toshi in the “Revenge of the Nerds” movies, and of course, Sulu the chauffeur of the future. What do they all have in common? They have trouble speaking English, they are all secondary roles, and they are non-threatening (they affirm stereotypes).
Enough ranting. What can we do about it? When movies like “The Last Samurai” come out, avoid it. Asian national and local organizations need to make an issue of the lack of APA’s in the industry. Let the public know why we don’t like it. Publically announce boycotts of movies of which we don’t approve. We also need to start promoting APA’s in the industry. Give them national awards of recognition. Get them in the news. Finally, we need to get people to support movies that put us in a more realistic light. Can’t someone with deep pockets support an “indie” and get it into one of the larger film festivals like Sundance? All it takes is a few movies that gross a lot of money for Hollywood to take notice.
Greg M. has it just right.
It takes money to make money.
And it takes a team — personal manager, superagent, PRESS agent — to manufacture a “star.”
That said, Philip W. Chung, may I congratulate you for incepting this entertaining interchange of ideas and thoughts and, very possibly, the emergence of an authentic “Asian,” perhaps even “Chinese”?, star in the Gollywood heavens and on that fabled Hollywood Blvd. sidewalk.
And you were clever, can Chinese be “clever”?, to make ‘em wait a week for the final BIG TEN of ignominy.
Keep those homey fires burning.
Frank Eng
P.S.: On a highly personal note, Phil, a wondrous yule to you and yours.
[…] The interesting thing to me is this - while White Castle was just a movie about two stoned guys who happened to be Asian, Guantanamo Bay plays up the “two minorities look like Al-Queda” race card, especially in the trailer and the movie posters. I don’t know how I necessarily feel about that. A stoner comedy is a stoner comedy, however, so if it has the necessary jokes about bongs and Neil Patrick Harris and cock sandwiches, it should drive the stoners and the folks into stoner movies into the theaters or at least buying a DVD. For the people that are going to watch to support their fellow Asian-American actors? Not so much, but hey - it’s not like we do anyway. […]
[…] of APA Movie Stars I agree that Asians in general do not support APA actors and actresses (“Where Are the APA Movie Stars?” Reel Stories, Dec. 14). Regarding speaking with my wallet, I, for one, refused to pay to see Tom […]