Posts tagged ‘rab ne bana di jodi’

A God And A King: Chow Yun-Fat and Shah Rukh Khan

Chow Yun-Fat sparks it up, A Better Tomorrow, 1986

Chow Yun-Fat sparks it up, A Better Tomorrow, 1986

After viewing Rab Ne Bana Di Jodi, my first Shah Rukh Khan film, at this year’s San Francisco International Asian American Film Festival, I’ve been happily watching as many of his films as I can get my hands on. Since I’ve been living under a rock since my first daughter was born in 2000 I’d never had the pleasure of viewing one of Khan’s movies, though I’d heard of him before. His dominance in the Hindi-language film market reminds me of the heyday of Chow Yun-Fat, another flamboyant and charismatic actor who in his prime ruled supreme over his film industry and who in the 1980s and 90s was the undisputed lord of Chinese-language cinema. However, Shah Rukh Khan’s fate may be very different than Chow’s, as he’s so far chosen a different career trajectory than his suave Chinese counterpart.

The King of Bollywood looking suave, 2009

King Khan looking suave, 2009

Khan, also know as SRK or King Khan to his fans, is the reigning monarch of Bollywood, India’s Hindi-language commercial film business that turns out movie musical extravaganzas by the hundreds every year and that’s one of the biggest film industries in the world. Khan is by nature an exuberant, flashy actor who’s also able to turn in more subtle performances as befits the role he’s playing. Like most Bollywood stars he’s also an excellent dancer and he’s got great comic timing as well. Not to mention dramatically arched eyebrows, dimples to die for and a recently buffed-out bod featuring a killer six-pack. Shah Rukh Khan’s first name literally translates as “face of the king” so it’s fitting that he’s the top actor in Bollywood. The 43-year-old performer has appeared in over sixty films since breaking into the scene in 1992, including Dilwale Dulhania Le Jayenge, which has been running continuously in Mumbai theaters for a record-breaking 700 weeks since its release in 1995. Khan’s won seven Filmfare Best Actor statues as well as many other Indian film awards and his name is a virtual guarantee of box-office success throughout the subcontinent and beyond.

CYF in his prime, The Killer, 1987

CYF in his prime, The Killer, 1989

Similarly, from 1976-1995 Chow Yun-Fat appeared in more than 70 films in his native territory of Hong Kong and he was the standard-bearer for the heyday of Hong Kong cinema in the 1980s and 90s. His easy charm and screen presence, graceful athleticism and overall hotness garnered him huge critical and popular acclaim in classics like A Better Tomorrow, Hard-Boiled, and The Killer (all directed by John Woo), as well as City On Fire, Prison On Fire, and Full Contact (Ringo Lam), God of Gamblers and God of Gamblers Returns (Wong Jing), and An Autumn’s Tale (Mabel Cheung) and All About Ah-Long (Johnnie To). He was nominated ten times for Best Actor at the Hong Kong Film Awards, with three wins, for A Better Tomorrow (1986), City On Fire (1987), and All About Ah-Long (1989). Like Shah Rukh Khan, his name on the bill meant surefire ticket sales, not only in Hong Kong but throughout most of Asia. At that time the native film industries of Korea, Thailand, Vietnam and other Asian territories had not yet fully developed and audiences depended on Hong Kong imports for much of their cinematic fare. Chow was Asia’s biggest movie star and was commonly known as the “God of Actors.”

Thai Chow, Anna and the King, 1999

Thai Chow, Anna and the King, 1999

In 1997, Chow decided to try his luck in Hollywood, hoping to parlay his huge popularity in Asia into a successful career in the West. Things initially looked promising, with the Los Angeles Times declaring him “the coolest actor in the world,” before he had even appeared in a Hollywood movie. But his first U.S. films, including The Replacement Killers, The Corruptor, and Anna and the King, were less than successful and since then the roles he’s gotten have been a mixed bag. Hollywood has never really figured out what to do with Chow, as evidenced by his relatively paltry output of only nine movies in the twelve years since his trek across the Pacific (compared to his starring in ten films in Hong Kong in both 1986 and 1987 each). He’s been in a few successful films, including Ang Lee’s Crouching Tiger, Hidden Dragon, but his highest-grossing Hollywood film to date has been Pirates Of The Caribbean: At World’s End, where he played a sinister Fu Manchu-type character that was such a stereotypical caricature that the Chinese government trimmed ten minutes of his performance “for vilifying and defacing the Chinese” before allowing the film to screen in China.

Chow Hawai'ian, Dragonball: Evolution, 2009

Chow Hawai'ian, Dragonball: Evolution, 2009

CYF’s most recent film, Dragonball: Evolution, is a supporting, Mr. Miyagi-type role that’s a far cry from the towering heroes of his prime. Chow is obviously cognizant of his disappointing travails in Hollywood. In a recent tour of Asia in support of Dragonball: Evolution, he noted, “American audiences know only Chinese kung-fu movies and nothing else about us, and I am not a kung-fu actor. We (Asian actors) don’t get any non-kung-fu or non-gangster/fighting offers. We only get Asian-specific roles. They don’t offer anything non-ethnic to us, not like they would do for Denzel Washington or Will Smith.”  Chow has recently returned to Hong Kong cinema, appearing in Ann Hui’s The Postmodern Life of My Aunt (2006). His next role is the lead in the Chinese biopic of Confucius, the seminal Chinese philosopher and scholar, which began shooting this week.

Buff, toned and cut Shah Rukh Khan, Om Shanti Om, 2008

Buff, toned and cut Shah Rukh Khan, Om Shanti Om, 2008

At 43 years old Shah Rukh Khan is now about the same age as was Chow Yun-Fat when he left Hong Kong in 1997 to try to conquer Hollywood. Khan is at the top of his game both as an actor and as a producer, with his Red Chillies Entertainment putting out hit movies like 2008’s Om Shanti Om, which is the second-highest grossing Bollywood film of all time. In 2008 Newsweek named him one of the 50 most influential people in the world (Barack Obama topped the list).

With his fluent English and charisma to burn it might seem like SRK could be a crossover performer, yet when asked if he’s likely to try his hand breaking into Hollywood, Khan is philosophical, noting, “It’s not like Steven Spielberg is waiting with a script for me. I don’t think I’ll ever be offered a great international film in my lifetime, so I’d rather be a king here.”  However, SRK fans spotted him paired as a presenter with Slumdog Millionaire star Freida Pinto at the last Golden Globe Awards and in front of an international television audience he came off like a champ.

Khan may also be approaching Hollywood from a different angle, as a mogul rather than as a performer. At one point there were reports that Walt Disney Productions planned to invest $30 million in Khan’s Red Chillies production house. This might ultimately give him more creative control over any roles he might take in Hollywood, since money talks in Tinseltown.

I can’t help but think that SRK has learned something by observing Chow Yun-Fat’s frustrating attempts to break into the top ranks of Hollywood. Other Hong Kong actors also seem to have been watching Chow’s painful efforts and are either approaching Hollywood with caution or are sidestepping it altogether. Comedy superstar Stephen Chow Sing-Chi so far has simply re-packaged his HK product for the U.S. market (Shaolin Soccer; Kung Fu Hustle), though at one point he was slated to star in and direct the big-screen version of The Green Hornet. Instead of braving Hollywood, Francis Ng has polished up his Mandarin and is mostly taking roles in Mainland China productions. And the numbers of Asian American actors who have had to flee from the U.S. to Asia to find success are legion, including Daniel Wu, Daniel Henney, and of course Bruce Lee. Although times are changing and Slumdog Millionaire won Oscar’s Best Picture this year, roles for Asian lead actors are still non-existent in Hollywood (sorry, John Cho). If Chow Yun-Fat, God of Actors, with his mind-blowing charisma, talent, and good looks, has had to struggle to make it in the U.S. and is relegated to crappy films like Bulletproof Monk, why should lesser mortals expect any better?

NOTE: Thanks to my colleague Marlon Hom for the Chow Yun-Fat interview translation.

UPDATE: Rumor alert! I just heard that Chow Yun-Fat is possibly slated to portray Sun Yat-Sen in the new Peter Chan-produced HK blockbuster, Bodyguards & Assassins. No link yet–will update when confirmed.

UPDATE 2: Alas, rumors about CYF playing Sun Yat-Sen were inaccurate. He decided to take the part in Confucius instead. Though I’m sure he would’ve been great as both Chinese icons. Now Leon Lai Ming is rumored to be Sun Yat-Sen, which would probably suck, since Lai Ming is boring, can’t act and has no charisma. But he’s tall, so maybe that’s all that matters.

UPDATE 3: Maybe SRK is heeding Hollywood’s siren song after all. Reports state that he’s angling to meet “serious” film director Deepa Mehta in hopes of landing a role in one of her arthouse flicks, the better to possibly attract the attention of Oscar voters in the near future. If this is indeed true, let’s hope that King Khan fares better than CYF in his dalliance with Hollywood.

UPDATE 4: Go here to read about my night with Shah Rukh Khan, as an extra on his latest film, My Name Is Khan.

Here are a couple Shah Rukh Khan musical numbers for your viewing pleasure.

Dard E Disco (Pain of Disco), from Om Shanti Om:

Suraj Hua Maddham, from Kabhi Kushi Kabhie Gham, with Kajol:

April 1, 2009 at 5:39 am 25 comments

No Regrets: San Francisco International Asian American Film Festival, part two

 

 

Xun Zhou abuses her lungs, The Equation of Love and Death, 2008

Xun Zhou abuses her lungs, The Equation of Love and Death, 2008

I’m sick as a dog this week with a pernicious chest cold and I blame it all on the San Francisco International Asian American Film Festival. I’d just started recovering from version one of this malaise when the Film Fest started last Thursday. But I had so much fun at the Opening Night party, the screenings, the receptions and the afterparties that I made myself thoroughly ill again. So now I’ve got version two, with a hacking cough that won’t go away. I’m chugging Wal-Tussin straight from the bottle and using up all of my Tiger Balm to try to get some sleep at night. But I’ve got no regrets, even when I’m coughing uncontrollably at three in the morning.

The SFIAAFF was especially good this year, with an embarrassment of riches of Asian American and international features, documentaries and shorts. I previewed several programs before the festival but I also went to see a bunch during the festival itself. It’s a testament to the depth and quality of the programming that the festival could only find a slot at noon on Saturday for an excellent film like Cao Baoping’s The Equation of Love and Death, starring chain-smoking A-list Chinese actress Xun Zhou, which in other years or at other festivals might have been an Opening Night movie. It’s equally telling that the screening at the cavernous Castro Theater was crowded with viewers despite its off-hour scheduling. It was like that for every show that I went to, including a Wednesday night short film program, the romantically inclined It’s Easy Because You’re Beautiful, which included Object Loss, A. Moon’s excellent, wistfully sad meditation on adoption, loss and patterns of behavior, as well as several slick Korean shorts that played like miniature versions of Coffee Prince.

 

Anushka Sharma & Shak Rukh Khan get down, Rab Ne Bana Di Jodi, 2008

Anushka Sharma & Shak Rukh Khan get down, Rab Ne Bana Di Jodi, 2008

I also had the pleasure of experiencing my very first Shah Rukh Khan film, Rab Ne Bana Di Jodi, which has made me a fervent fan of the sexy and charismatic King of Bollywood. I’m a sucker for men who can dance and Shah Rukh Khan brings it on that count in spades.

 


The parties, social events, and casual meet-ups with old friends make up the other half of the festival and they were especially fun this year–sometimes the SFIAAFF feels like one big frenetic Asian American filmmaking convention. I talked to a half-dozen people who had specifically planned their vacations around attending the festival, including journalist, author and muckracker Pratap Chatterjee, who showed me his string of tickets to about two dozen festival shows.

 

Trendsetter

Trending

 

 

 

I also noticed the latest trend in headgear for fans of Asian American cinema. Everywhere I went there were stylin’ dudes sporting porkpie hats—at one party I counted twelve wearers of this little topper, including two of the bartenders.

 

Queues and toppers, San Francisco Chinatown, Arnold Genthe, 1895

Queues and toppers, San Francisco Chinatown, Arnold Genthe, 1895

Of course porkpies and other fashionable hatwear go way back in Asian American history. Turn-of-the-century San Francisco Chinatown was full of men in queues and felted hats.

 

Carlos Bulosan, fashion plate

Carlos Bulosan, fashion plate

 

 

 

 

 

Famed Pinoy author and poet Carlos Bulosan often wore a tasteful fedora in his publicity stills, and the porkpie was favored by other manongs as well.

Kaba hat, 2008

Kaba hat, 2008

 

 

 

 

 

And Kaba Modern brought the porkpie to last year’s edition of America’s Best Dance Crew on MTV.

 

Tad Nakamura and Kevin Lim, porkpiers

Tad Nakamura and Kevin Lim, porkpiers

 

 

 

 

 

 

 

So it shouldn’t be a surprise that the porkpie has found favor in the Asian American scene. Here’s a couple natty porkpie wearers at the festival.

 

Mas porkpie, Poleng Lounge, SFIAAFF 2009

Mas porkpie, Temple Nightclub, SFIAAFF Closing Night Party, 2009

 

 

 

 

 

 

And here’s the picture I wished I’d taken that I cribbed from the festival’s Best Photo contest website.

 

So I’m laid up with a cold this week, rewatching my collection of Francis Ng dvds and trying to keep up with my responsibilities like feeding my children and editing my film. But even though I overdid it, the festival only comes around once a year and I’m glad to have been able to participate in such an excellent, significant event. As someone once observed, Chuck D. claimed that rap music is the CNN of the black community and filmmaking has become the Asian American equivalent. Maybe it’s because it’s a little less scary for Asian American parents if their kids want to make movies instead of, say, becoming performance artists or abstract painters, but the Asian American film community is alive and kicking and the SFIAAFF’s continued health and well-being is a testament to that fact. Here’s hoping it continues to successfully channel our cinematic glories for many more years to come.

 

Update: Xun Zhou just won Best Actress at the Asian Film Awards in Hong Kong, for The Equation of Love and Death.

March 23, 2009 at 6:53 am 13 comments


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