Crimson and the Reds

crimson peak

To China, where there are conniptions among Gothic-loving expats about the unavailability of Guillermo del Toro’s Crimson Peak in local cinemas. Initial coverage carped that the Chinese censor was “afraid of ghosts,” which are classified as an unwelcome superstition in the People’s Republic. In fact, the ban hammer was more likely to have come down because of the depiction of a particular relationship in the film [spoilers avoided], as well as the fact that it is scary. The Chinese censor is afraid of fear, for the simple reason that, under the yes/no Chinese classification system, films are either fine for all the family or for nobody at all.

Some of you may be wondering why this column so often drifts off into Chinese topics, when it is supposed to be about Japan. But China is becoming the prime mover of the contemporary film industry. It recently overtook Japan as the world’s second-largest movie market, and could be the biggest by 2018. There are a boggling ten new screens being added to the Chinese market every day. Craig Mazin, on the Scriptnotes podcast called this “the most profound change that has happened to the movie business since the creation of the movie business.” Chinese money is flooding into film production, and Chinese audiences can make or break a movie even if it flops in America.

220px-AoE_shuhua_milkThis in turn has led to the phenomenon of hyper-localisation, as supposedly “Hollywood” movies pander to unseen Chinese audiences. Iron Man gets a leg-up from some Chinese guy; the Transformers keep pushing a brand of Mongolian milk; Matt Damon doesn’t get off Mars without the Chinese lending a hand. And have you noticed there aren’t any Chinese baddies anymore?

Pickings have been historically low in the Chinese market. It is only recently that foreign rights holders have been able to cream 25% from their ticket sales, as opposed to the previous, paltry 13%, but 25% of the price on the door, for a film that can be digitally squirted at a million screens in a single day, is real money. Meanwhile, Japanese films, including anime, currently have to scramble against all other foreign films for one of the 34 slots available annually (14 of which have to be IMAX/3D). That was easy in the Miyazaki days, when any Ghibli got an instant thumbs-up. It’s substantially harder when most other Japanese “family” cartoons are hard-wired into a decade-long franchise, and Japan gets such bad press in China. Those China slots are the most valuable real estate in modern movies, and tits and tentacles won’t get a look-in. Does Japan have what it takes to elbow its way in, or is the Chinese market increasingly closed to it?

[Time Travel Footnote: After I filed this article, Julie Makinen of the LA Times published a piece about the Chinese market, revealing that 24 extra films had sneaked in as flat-fee exhibitions, which returned no profit to the owners beyond the original payment. The anime Doraemon was one of them].

Jonathan Clements is the author of Anime: A History. This article first appeared in NEO 146, 2016.

Martial Artistry

big troubleSpun off from my work on A Brief History of the Martial Arts, the Encyclopedia of Science Fiction gets to feel the benefit, with several new entries from me on Chinese authors. There’s a new thematic entry on Wuxia (martial arts fiction), as well as author entries on Louis Cha (a.k.a. Jin Yong), Ni Kuang and Wang Dulu, the author of Crouching Tiger, Hidden Dragon. I’ve now written well over 100,000 words in the SFE on the literature of China and Japan, and the work is still ongoing.

The Price of War

“Thus, while soldiers have heard that it is stupid to move too fast, it is also unwise to take too long. There has never been a long war that worked to the benefit of a kingdom […]

“Sending forces far away is a heavy expense to the homeland. Meanwhile, a military force nearby will raise prices, and high prices exhaust the wealth of the common people.

“Once impoverished, they are soon forced into service. Their strength drained and livelihood gone, homes are left deserted on the central plains. The cost to the common people will be three-tenths of their worth. For the treasury, the cost for broken wheels and worn-out horses; armour, helmets, arrows and crossbows; lances, shields, spears and tents; oxen and wagons will amount to four-tenths of their worth.”

From Sun Tzu’s Art of War, a new translation by Jonathan Clements.

Vinegar Joe

IMG_0063But why, I hear you ask, would anyone take a ridiculously hilly bend in the river, a thousand miles inland in jungle conditions, and build a massive city there? Everywhere else I have been in China has been carefully built on flat ground. Chongqing is like the map you delete on Sim City because you can’t work out where you are going to put any roads.

Well, for one, this is a bridging point for the Yangtze. Tankers stacked with containers can make it this far on the river, which is itself an amazing thought, thanks to the Three Gorges Dam downriver. But historically, Chongqing only ever flourished where there is no other hope for anywhere else in China. It was first conferred with city status in the Southern Song dynasty, when a game of musical chairs with the refugee Chinese emperors suddenly turned its local princeling into the ruler of what was left of China. And most famously, in the twentieth century, with the Japanese running riot all over the east coast like an outbreak of the walking dead, Chongqing was jury-rigged as the temporary capital, bastion of the Nationalists, kept alive by the infamous Hump airlifts across the Himalayas, which is why there is a wreck-strewn gorge in India called Aluminum Valley.

Chongqing, or Chungking as it was romanised back then, spent half a dozen years as the last hope of free China, landlocked and surrounded. Chiang Kai-shek was the general in charge, although all his dealings with his American supporters were smoothed by his wife, Soong May-ling, who had studied in America and spoke perfect English with a sexy Southern accent. Their best-known unit was the American Volunteer Group, a.k.a. the Flying Tigers, who were formed in secret in Burma in 1941 by “resigned” American pilots, and were hence ready for action a mere fortnight after Pearl Harbor, shooting the Japanese out of the sky in Kunming.

Regular readers of this parish will know about my obsession with the Flying Tigers, although it has never turned into a book because Daniel Ford has already written one that says everything I would say about them. The backs of their flying jackets were sewn with a blood chit, bearing the Nationalist Chinese flag (now only seen in Taiwan), and an oddly poetic statement in Chinese: “From beyond the ocean, he comes to aid in the Celestial war. Soldier and Citizen alike, aid and protect him.” It’s tough to translate; some will take issue with my version, but the choices of wording even in Chinese are a bit quirky and classical.

This is all going to come up again very soon in the media, since the new Bruce Willis film is called The Bombing, and is about the 100,000 people killed by Japanese air raids in wartime Chongqing. No, I can’t imagine why that has suddenly gone into production with Chinese money this year.

Chiang_Kai_Shek_and_wife_with_Lieutenant_General_StilwellI went to the former home of Joseph Stilwell, whose association with China began in 1911, and who was a military attaché in Beijing in the 1930s. He was sent back to China in WW2, over his own protests, because he was the only general Roosevelt had who could speak Chinese. And so he was stuck in Chongqing for several years, arguing with the Flying Tigers and getting increasingly exasperated with Chiang Kai-shek. There is a lovely photograph of him, Chiang and Soong May-ling, cracking up over some joke or other in the garden. The official portrait of the three of them has them all looking serious, but it’s the outtake that makes them all look human, pissing themselves about some long-forgotten fart joke or similar tomfoolery. Stilwell’s otherwise caustic sense of humour earned him the nickname Vinegar Joe, although he was also known as Uncle Joe, largely for his hatred of pomp and ceremony, and his insistence on wearing a uniform without rank or insignia.

His home is a bunker-like block of 1920s chic, set in a hillside on one of the many ridges overlooking Chongqing. It is refreshingly off the beaten track. I cause a traffic jam on the winding mountain road simply by stopping outside to pay my taxi, and inside there is a baffled caretaker washing a cabbage, next to a litter of mewling ginger kittens. Within, the house is wreathed in a jungle of creepers, and surrounded by banyan trees and palm trees, fizzing in the heat. It is a welcome change from the nonsense of so many other Chinese tourist sites, many of which appear to have been designed by the same committee who think that everything needs a shopping mall and a car park.

IMG_0119The exhibition inside includes details of Stilwell’s career, but also pushes his involvement with the Dixie Mission, an abortive attempt by the Americans to collaborate with the Communists, which was called off in 1947. The Chinese still remember, however, that the plane that flew in to Yan’an to evacuate the Americans came loaded with medical supplies to leave behind. Actually, they remember an awful lot about Stilwell, and there is an inscription on the wall about how when the guns are silent and the smoke has faded, only friendship remains.

Across the road, situated in such a way as to make Vinegar Joe spin in his grave fast enough to power all of Chongqing, there is a museum dedicated to the Flying Tigers, the air group who were a royal pain in his arse all the time he was in China. The staff were oddly fluent in English, as if they are used to coach parties of US servicemen rolling up to hear all about the American Volunteer Group and their shark-nosed planes.

220px-REB-AVG-CHIT-1I couldn’t resist buying some Flying Tigers tea from the gift shop and a couple of books, although I did balk at the crappily reproduced Flying Tigers T-shirts and baseball caps. I also bought my very own blood chit, advertising me as a man who has come from beyond the sea, although it does so in a pinkish manner that suggests it was run off on a laser printer. I also bought a book about the Hump airlifts, because I find them oddly interesting. There has been quite a lot written about them – the Berlin Airlift was masterminded by Hump veterans – and as the Hump exhibition at the Zhang family mansion in Changchun also mentioned, they didn’t get a lot of glory because there isn’t really a dramatic narrative in simply delivering fuel and fags to a bunch of soldiers, even if doing so involves caroming through narrow canyons in the Himalayas. Who am I kidding, it would make an awesome movie, particularly these days, when special effects could show all the crashes. I am rather surprised Hollywood hasn’t got involved already, since one Arnold Spielberg was a radio-gunner in a B-25 squadron in India, and his son Steven has become something of a name these days. The Hump, for what it’s worth, was set up by Colonel Merian C. Cooper, better known to posterity as the producer of King Kong, although I know him better as the chief of staff for Claire Chennault of the Flying Tigers.

Jonathan Clements is the author of A Brief History of China.

We Are Woman

bata00_p_01_04The first of two Chinese translations of my Empress Wu biography is now being advertised, with the title Zhennai Nuren  — “I am Woman” declined with an imperial first-person pronoun, like the Royal We. This Taiwanese edition translated by Lai Yeqian, is released this month by Gusa. There’s another translation coming in the People’s Republic sometime in the autumn.

From my introduction to the Taiwan edition:

“Even as I delivered the original manuscript of this book in 2007, I was fielding phone calls from a TV production company interested in adapting the story of Empress Wu into a drama series. Nothing came of that, but I have twice sold the rights to this book to producers hoping to reimagine it as a saga of intrigue to rival Game of Thrones. Perhaps I shall be lucky the third time.

“What is it about Empress Wu that excites such interest? For foreign producers, it’s the dual appeal of manly adventure and feminine wiles, but also the chance to present medieval China, a country often regarded as monolithic and homogenous, as cosmopolitan and multiracial. At the height of the Tang dynasty, there were ‘blue-eyed girls in the taverns of Chang’an,’ ambassadors from Bohai and Syria, and handsome refugees from Persia. There were Christian priests and Muslim traders, offering tantalising potential for any director wanting to present a diverse and vibrant society.

“Wu remains a lively topic, even today. Since this book was first published, Tsui Hark has brought the pomp and ceremony of Wu’s reign to the screen with Detective Dee and the Mystery of the Phantom Flame (2010, 狄仁傑之通天帝國) and its prequel. Archaeologists have found the grave of Shangguan Wan’er, and Chinese television has become embroiled in a new scandal fitting for its most infamous female sovereign. Low-cut dresses and flashes of cleavage in Fan Bingbing’s lavish Empress of China (2014-15, 武媚娘传奇) had made the PRC censor worried about a possible corrupting influence. Such stories are wonderful news to any historian – if anything lures in new readers of non-fiction, it’s the discovery that the Tang dynasty is ‘too hot for TV’ even in modern times.”

If you can read Chinese, there are several extracts available online, here, here, here, and here.

The World of Suzie Wong

cropped-the-world-of-suzie-wongThe World of Suzie Wong by Richard Mason is a glimpse of the world of 1957, when old soldiers could still talk of having had a “good war”, and the British Empire was still teetering on the brink. Kindle makes it possible for me to nab it within moments, although Suzie Wong is one of those subjects that I have heard mentioned all my life, but never actually encountered before – a bit like Fu Manchu and the Black &White Minstrels, it seems to have been airbrushed from history in more enlightened times.

Robert Lomax is filth in all but name (Failed in London, Try Hong Kong), a clueless wannabe painter in Hong Kong, who accidentally takes a room in the Nam Kok Hotel, which turns out to be a brothel. Readers of this parish may scoff, but are reminded that the Clements family also somehow managed to end up a few floors up from a knocking shop in Chengdu, so it’s not like it’s impossible.

mysterious_world_01Lomax falls for Suzie, a wilful, proud bar girl with a half-caste baby, and much of the story is taken up with their long, long, looonnng courtship, occasionally interrupted by other suitors and various dramas among the other bar girls. Mason has a matter-of-fact approach to dealings at the brothel, and that, coupled with the coy requirements of 1950s censorship, turn his account into a far less prurient tale than one might at first imagine. He certainly seems to know his way around the etiquette of the red light district, and has interesting observation about the peculiar protocols of the girls, who, for example, deride any sailor who doesn’t pick one girl and stick to her for the duration of his stay in town as a “butterfly”. It encourages comparison with Akasen Chitai (Red Light Zone), Kenji Mizoguchi’s last film, shot in a realist style in Toyko’s brothel district around the same time, just before prostitution was criminalised in Japan.

Curiously, the leading man is presented as somewhat ignorant of the East, which is exactly what I would expect from the average hack cranking out a Hong-Kong-hooker-with-a-heart-of-gold novel. But Mason was an old Asia hand, having fought in Burma in the war, and drafted to learn Japanese as a POW interrogator. It’s thus all the more impressive that he is prepared to present his leading man as a callow, nice-but-dim posh boy, drifting from plantation job to would-be artistry in Hong Kong, and failing to read a single squiggle. I don’t think I would have been able to resist the temptation.

Meanwhile, his slice-of-life of 1950s Hong Kong presents tantalising glimpses of a small town overwhelmed by a massive refugee influx from over the border. Suzie herself is from Shanghai, and there are whispers throughout the book that the girls are women fallen on hard times, forced to seek any job they can in order to escape the even greater miseries of (we now know) the Great Leap Forward.

stepsLomax is just as much an outsider among the British expat community, which he regards as stifling and hidebound, not the least for its refusal to accept mixed-race marriages – when he approaches a consul for a wedding certificate for him and Suzie, the consul is actually surprised to learn that he is allowed to marry them. He also has some deeply odd things to say about oriental femininity, such as suggesting that the attitudes of Asian girls are designed to support masculinity, while those of European women are designed to destroy it.

Really. Presumably, by “destroying it” he means the unhelpful willingness of European women to have ideas and opinions of their own, thereby threatening to shatter the fragile worldviews of thin-skinned men.

I’d say that the book could never be written today (except that there’s one about Thai bar girls, called Paradise Lust, which is basically the same story, and many of the same observations, from fifty years later). But certainly modern readers would tut in indignation at the sense of entitlement of Suzie’s suitors, one of whom spanks her for daring to look at another man (like that isn’t her job). Although the book does attempt to present the girls’ case and the girls’ view, it is largely the tale of Chinese women available for rent, to largely uncaring and callous men, often cheating on their wives, who are themselves presented as ghastly termagants.

20081209173338484338368380There have been two unofficial sequels, both of which seek to tell the story of Hong Kong as a whole through Suzie’s eyes. One wonders what a modern author would do with the same material. Guo Xiaolu, for example, author of A Concise Chinese Dictionary for Lovers, might take the title literally, and tell it solely through the eyes and words of Suzie herself, thick with detail about the China left behind and the intricacies of the Nam Kok, but as numb and uncomprehending of Lomax’s world as he is of hers.

Suzie Wong was adapted for the stage within a year of its publication (starring William Shatner in the initial theatrical run, imagine!), and then turned into a film. The book was apparently a best-seller, which perhaps explains why Richard Mason doesn’t appear to have worked all that hard at being a novelist afterwards – he died in 1997, living just long enough to witness the Hong Kong Handover, but despite listing him as a “novelist”, his obituaries only seem to come up with four books to his name, of which Suzie Wong was the fourth. In 1962, at 43 years old (my age), his writing career was apparently over, presumably because he was quids-in for the rest of his life. I might be wrong – other mentions of him online suggest that he had a day-job working for the British Council, so possibly lost interest in writing anything else.

Jonathan Clements is the author of A Brief History of China.