John Carpenter has been and always will be a familiar name to cinephiles and even the casual movie-goer. Often times he has been conveniently placed into the confining label of a cult director who gets his chops from making senseless B-grade entertainment. Films known more for their outlandish style, one-liners, and quirky characters more so then any semblance of artistic merit, auteurship, or clever commentary.
Though for any individual with half a brain, this couldn’t be further from the truth. Films such as Halloween or The Thing held such artistry and weight behind them, that even today they have been burned into the cultural psyche as everlasting memes. Even cult favorites such as They Live abundant with its nonsensical one liners like “I have come here to chew bubblegum and kick ass… and I’m all out of bubblegum” are still popularly remembered for its blatant social commentaries.
Regardless, there has always been one film that stood out in Carpenter’s prolific filmography, and the very one that established the man as a true auteur in my book but has often been sadly misrepresented. Big Trouble In Little China has if anything, remained as a cultural meme more for its laughable absurdity and seemingly offensive portrayal of Chinese culture. The sad fact of the matter is, I found myself confronted more then once in college by scholarship that hammered in the idea that Big Trouble was part of a huge consortium or succession of film that relegated Asian culture to mere exoticism. Films like The Golden Child, Breakfast at Tiffany’s, and First Yank into Tokyo for example, made liberal use of this orientalism and a tradition of yellowface.
Big Trouble In Little China on the other hand, could arguably be one of the greatest films to confront this misrepresentation of Asian culture and provide highly relevant criticism of US policies in context to an ever increasing transnationalist playing field. A sense of globalism and border breakdown which is ever so present today, especially in the face of a dwindling US economy, and an ever increasing China superpower.
To boot, Big Trouble In Little China isn’t really a visual film as much as fans may want to believe. Its understandable, its chockful of cheesy special effects, outlandish makeup, and a reinvented Chinese aesthetic that seems more Las Vegas neon, then the real thing. But at the heart of it, Carpenter’s work shines for its structural qualities and narrative devices that make full use of audience confusion, voyeurism, and classic editing to drive home the fact that good ol’ Jack may not be the hero that we all naturally expected.
The relationship between the character of Jack and the film as a whole, could easily be summed in one statement. For the most part, the film tries to place Jack in a central role but in the end simply doesn’t belong. Hes an outsider, or a passive component who is for no good reason thrown in the limelight. Its actually quite clever. Carpenter builds up Jack as a protagonist who like the viewer, is left out of the loop for the entirety of the film. Its probably the film’s central critique and a good one. By acknowledging the natural formulaic fact that all films need a Western white male lead to save the day, Carpenter injects one. But at the same time makes this same character passive to the action around him and even centers the story around literally everyone aside from himself.
The film actually opens not with Jack, but Egg Shen arguing with a lawyer. Its a shot that blatantly references film noir conventions with its usage of low key lighting and the common motif of venetian blinds. Interestingly enough, the topic of Jack Burton is approached and Egg Shen states only praise for the man by saying “he showed great courage”. Its almost a macguffin, in that the film is foreshadowing Jack’s role as the central hero….but is falsely doing so. Since what will become apparent, is the simple fact that this is not Jack’s story nor is he even close to being the film’s hero.
On a quick side note, the title sequence is worth mentioning. Chinese characters first fade in, then are tailed by the English Logo. It could be mere coincidence or possibly not, but it does describe the ethnic dynamic or switch-up that will become dominant in the rest of the film.
Getting back to the narrative, Jack is finally introduced in stormy weather driving his truck. His character is quickly established as a cocky, egotistical individual who puts on his own radio show for whoever may be listening. The rather unexpected hero is then seen socializing with residents of Chinatown as daily happenstance. Its interesting, because it already establishes a sense of general community between Jack and the Chinese residents such as Wang Chi. Its both friendly and unique as it portrays these individuals in a rather realistic context. They don’t speak with choppy accents nor do they seem “oriental” past their physical appearance. The discourse between Jack and Wang Chi especially points to a sense of companionship rather then tension despite their argumentative nature.
The casual remark by Wang that “hey I’m just a poor old Chinese boy you know” in a gambling confrontation seems to criticize the past tradition of placing ethnic characters in positions that are always lower then their white contemporary. Think Mr. Yunioshi in Breakfast at Tiffany’s or even Short Round in Temple of Doom. Here Carpenter explicitly switches the ethnic dynamic. Jack fires back that Wang Chi owns a restaurant and is more economically sound then himself. Either way, Jack does win Wang Chi’s money but is forced to follow his friend to the airport first, to pickup Miao Yin, Wang’s fiancee.
What proceeds to take place at the airport is possibly the film’s most significant moment and can only be described as narrative confusion. As the viewer, we know as much as Jack knows. We know Wang is there to pick up Miao Yin. What we don’t know is who the attractive brunette is and why Wang Chi seems to know her, all we know is she’s “trouble”. Furthermore the other Chinese girl and the outlandish gangsters are also items of information that we are excluded from knowing about. And lastly, why in the world Miao Yin is captured in addition to Wang Chi seemingly knowing more then he is letting on.
Its actually frustrating, and intentionally so. Jack is clearly frustrated as well but both Wang Chi and Gracie the brunette, seem to be in the know. This becomes visually concrete when one of the gangsters pulls a knife on Jack who confused but fittingly responds,
“where’d you get that!?”
In pursuit of Miao Yin’s captors, Jack and Wang end up in a foggy alleyway trapped in Jack’s truck. To this point the film has adhered for the most part to a semblance of realism. The airport scene may have been confusing but it was in the realms of rationality. The scene to follow though, is far from it. If the airport scene was complete confusion, this is complete absurdity. Here we see orientalism to the nth degree.
The above screencaps are evidence enough of this and are the first moments where we see classic Carpenter satire in action with its excessive gaudy makeup, over the top action, and people who are more caricature then character. Also significant is that despite the elaborate and comedic action onscreen, Jack and Wang are still in the truck going largely ignored. Jack himself pulls out a knife ready to jump in battle but never does while Wang more aware of the situation, sits idly by.
Jack’s first confrontation with the film’s antagonist Lo Pan is worthy of note as it establishes two things. Primarily it sets up the villain of the story Lo Pan, as a classic Fu Manchu but to an excessive degree. The gaudy makeup serves more to criticize the usage of earlier “Yellow Peril” stereotypes, rather then to re-enforce it. On the flip side, it visually communicates Jack’s outsidership by literally blinding him to the happenings around him.
“Don’t Look Jack”, “I already did!”
Another unrelated side note, the Chang Sing and many of the central characters in the film make use of a strange hand signal throughout the film. Jack actually ends the film by using it himself. Its a random bit of trivia but the hand signal is actually not a signal at all, but an actual technique that has been hijacked here. Kiu Sau, or bridge hand is a technique in which one can both build up forearm strength and use it in actual application, mainly for blocking. Those interested look it up. Its central to Hung Gar which is a popular Kung fu style.
Getting back to the film, at this point the dynamic between Wang Chi and Jack is firmly established as well as the basic conflict at hand. For the most part, the film involves the rescue of Miao Yin from Lo Pan and Jack is sticking around to help his friend in need. Thus, Big Trouble In Little China is really Wang Chi’s story and Jack is relegated to the role of a somewhat comedic sidekick.
Its very fitting actually, and falls right into the ethnic formula reversal that the film has already made use of. Instead of a choppy accented oriental “Short Round”, we get an American goofball who is seemingly ignorant of the events around him.
The actual meeting of David Lo Pan minus the gaudy demon is in classic Carpenter spirit. James Hong quite cleverly portrays both an incredibly aged man who is somewhat menacing but is if anything, downright comedic. The dichotomy is significant for its portrayal of a China that is both old and formidable, but has been ridiculed by racist agendas following a tragic history rooted from centuries of stagnation, and ultimately culminating in the Opium Wars.
The literal ages of Jack compared to Lo Pan could easily be construed as a comparison between the rather short histories of the United States to China. Jack is if anything, a cocky young brat compared to the antiquated but formidable Lo Pan.
The inclusion of characters like Wang Chi and his other Chinatown contemporaries like Eddie or Egg Shen bring a new dynamic to the Chinese power dynamic. While Lo Pan may represent a pre-Imperial China, Wang Chi represents a modernized and commercial China. One that sits on a level playing field with its Western counterparts. Its no coincidence that both Jack and Wang Chi are seated in wheelchairs forcefully being put on the same level as Lo Pan, and more importantly, each other.
The eventual escape of Lo Pan’s complex demonstrates a clear separation of roles between Jack and Wang Chi. While Eddie brings in firepower, Wang Chi is left with a handarm while Jack holds onto an uzi. Though when met with opposition, Wang Chi bursts into action in classic wire-fu fare taking down multiple enemies while Jack fumbles with the safety on his gun. Jack’s clumsiness continues as a second wave of adversaries enters and he fumbles once again with his knife. As he is retrieving his weapons, Wang Chi takes care of all the physical threats leaving Jack to pounce into a battle long past over.
Jack’s character cannot simply be labeled as some sort of coward, or one who intentionally avoids conflict though. On the contrary, he is extremely eager to participate but fails to naturally glide into the heroic central role. On the other hand, Wang Chi naturally accomplishes this with little effort. Egg Shen seems to reiterate this notion when noticing Jack’s discomfort with the situation at hand, offers him a rather oversized handgun.
“Heres a big gun for you, make you feel like dirty harry.”
Preceding the ultimate showdown between both forces, Egg Shen offers up a mysterious brew to all the characters. Its purpose or intent is never clearly defined and as viewers, we are once again left out of the loop. Jack as well notes his frustration and asks Egg Shen to explain just what exactly they are about to drink.
What is worthy of note here is not the exact purpose of the brew onscreen, rather the differing explanations provided by first Egg Shen, and then Wang Chi. While Egg Shen offers up a dose of mystic mumbo jumbo which leaves Jack utterly clueless, Wang Chi seems to literally transpose this piece of Chinese mysticism into a consumable portion. A portion that is similarly ambiguous but dressed up instead with American nationalistic mumbo jumbo.
“Here’s to the Army and Navy and the battles they have won; here’s to America’s colors, the colors that never run.”
This statement is immediately accepted by Jack, and is intriguing for the obvious fact that both explanations provided offer no real answer to Jack’s original question. The only difference being a case of cultural semantics.
The final battle itself is actually insignificant in the larger context of the film. It only serves to reiterate what has already been established firmly. While Wang Chi and company are kicking some serious ass, Jack is once again out for the count. The manner in which this occurs is even more ridiculous and laughable then in previous conflicts.
Jack being the wild and cocky individual he is, wildly shoots his uzi into the air almost like a battle cry. Of course instead he is met by falling debris which he just caused, and is knocked out. The real shocker of the film’s climax comes when Jack confronts Lo Pan for the last time. If Jack has been consistent at anything in this film, its his flawless streak for failure.
Thus as Jack launches a knife at Lo Pan and misses, no one is surprised. Nor are we surprised when Lo Pan picks it up to use against Jack himself. The shocker comes when Jack catches the thrown knife midair and actually kills Lo Pan in the process. Its quite an anticlimactic finish but also one that raises some questions. The primary one being, what exactly is the significance of Jack’s character if any?
To quickly note, the death of Thunder is worthy of discussion as well. For the most part a minor character but one that stands out for being a huge caricature in a film already abundant with them. He is one of Lo Pan’s henchmen and is heavily orientalized in his demeanor. While many of the characters feature outlandish costuming and makeup, Thunder was one of the few to actually have a more prominent speaking role. One which established him as a choppy accented, stereotypical Asian man. Highly in contrast to characters like Eddie or Wang Chi who speak in unbroken English and act more similarly to Jack then their Chinese counterparts.
Thus it seems quite fitting that he literally self explodes at film’s end and at the sight of Lo Pan’s dead body. Its as if onscreen, Carpenter has literally killed off the Fu Manchu villain and the tradition of “Yellow Peril” representation.
As the film finally concludes and ends its rollercoaster of an acid trip through Chinatown, we are met with a shot that includes, Jack, Gracie, Wang Chi and Miao Yin. As they have just made their escape, Wang Chi and Miao Yin embrace in a long needed passionate kiss framed by a divided Jack and Gracie. The shot itself is highly voyeuristic for both the audience and Jack who is looking on towards the action mid-frame.
In the end, while Wang Chi gets the girl and has saved the day, Jack is left with only his truck. He doesn’t get the girl nor was he the hero that we may have expected prior to viewing. The fact that Eddie and Margo seem to be coupled as well by film’s end only adds insult to injury. Thus for Jack, he essentially ends where he started. Driving alone through dark and stormy weather.
Thus the only thing left to address is the exact nature of Jack’s character, and how it falls in line with the cliffhanger ending and his defeat of Lo Pan. While for much of the film, Jack is merely a comedic supporting character, it would be downright false to label him as completely passive. Yes, he is ignorant and cocky to a large degree but there is a deeper complexity at work here.
Regardless of Jack’s inability to be a prominent hero or central figure to the narrative that unfolds, he isn’t completely passive nor ignorant. Jack with Wang Chi illustrates a more symbiotic relationship in line with current transnationalist trends. The notion that countries and nations can no longer simply ignore what they coin as external factors, especially in light of growing citizenship ambiguity, revolving door policies, and a growing foreign workforce.
Thus the easiest way to examine Jack is to see him as two-sided. With Wang Chi, he represents a more global image of national cooperation and acknowledgment of transnational trends. Not only does Jack provide pivotal albeit clumsy help, so does Wang Chi to Jack. Its not even merely a partnership as well as the film revolves around a whole ensemble cast.
On the flip side, Jack left to his own devices fails this cooperation and security of protection. Thus the ultimate cliffhanger which ends somewhat morbidly on the hitchhiking monster, demonstrates the inability for isolationist mindsets to function in this day and age.
Carpenter’s Big Trouble In Little China is quite the intriguing film. It met failure both at the box office losing to The Golden Child, but at the same time being grouped into the same category as these orientalist caricatures that root back to Yellow Peril flicks. Its quite a sad development given the film’s underlying themes and the very real fact that it has too often been ignored by scholars and subsequently been viewed as mere offense.
The ability for Carpenter to predict the coming global climate nevertheless is a powerful one. The very real commercial threat that China and other developing Eastern countries pose has never been more relevant, nor has our own dwindling economy today.
Rest of the Entries
Adam Batty @ Hope Lies at 24 frames per second…
Adam Cook @ The Bronze
Doc Oz @ The Third Act
Edouard Hill @ Allan Gray’s Imagination
Jake @ Filmbound
Josh Wiebe @ Octopus Cinema
Kurt Walker @ Walking In The Cinema
Tom Day @ Serious About Cinema
Witkacy @ Inertial Frame
Tags: china, indepth, john carpenter, kurt russell, the cineastes, transnationalism, united states
Incredible writing. As far as how you view the film, I’ll just take your word for it.
Amazing, almost makes me want to re-watch it… despite disliking it!
keep up the good work Eugene.
I don’t know, Eugene - you make a persuasive argument; but I can’t bring myself to imagine that either Gary Goldman and David Weinstein (the original writers), or WD Richter (the rewriter/script doctor) were capable of that kind of tricky allegorical satire…And Carpenter, for all his virtues when he was great, was never subtle, never much of a thinker, nor the type who plays tricks with established form. The foibles of the Jack Burton character here remind me completely of the kind of anti-hero Russell & Carpenter created in Snake Plissken…
I feel you. But the thing is I think most of what is at work here is how the director took the screenplay and injected his own commentary into it. And no Carpenter isn’t subtle and as sure as hell he isn’t here neither.
If there is satire at work, it isn’t hidden by any means but is rather explicit and blown up to super proportions. Its a similar thing to They Live actually, which I found equally campy but hard to ignore its blatant critiques of consumerist culture.
That’s about the best scholarly defense of a film I’ve ever read.
Thanks! quite flattered.