Anna May Wong, third-generation Chinese American woman, started in Hollywood films at the age of 17 and made the leap from silent cinema to talking movies during the golden age of Hollywood film production in the first half of the 20th century. She was one of a handful of non-white actors appearing in American movies before WWII, and she was typecast into the role of the treacherous yet seductress "dragonlady" stereotype--starring with such luminaries as Douglas Fairbanks, Rudolph Valentino, and Marlene Dietrich.
[I chose one of the few photos of Wong that doesn't overtly sexualize/stereotype her--although that mask in the upper left hand corner is interesting/odd...]
Anna May Wong was vastly underappreciated for her talents during her time--and is only now being rediscovered through biographies and documentaries about her life.
Although many of the celluloid portraits were gross caricatures and Orientalized and exoticized two-dimensional figures, she did what Asian Americans, indeed what many non-white actors did in the early 20th century (and what many non-white actors continue to do to this day)--she took what roles she could get and did the best she could with them. If you get a chance, watch Shanghai Express, because I really think she makes the film--much more than Marlene Dietrich.
I'll leave you with just a tease from the film (I love the line about respectability and her diss of the boardinghouse lady!)
Now, lets just jump ahead from the early 20th century to the turn of the 21st century with the latest Hollywood stoner-comedy flick, Harold and Kumar Escape from Guantanamo Bay.
Now, a lot of people have already weighed in on the (de)merits of the second installment of the Harold and Kumar series--the first was Harold and Kumar Go to White Castle. And I admit that when I saw the first Harold and Kumar movie in 2004, I thought "YES! It's about time!" because you see, Asian Americans are so rarely cast in any films and even more Rarely are they cast as leads and even more RARELY are Asian American men cast as leads and romantic love interests. So the first Harold and Kumar film was resoundingly embraced by the Asian American community and the second installment eagerly awaited with baited breath (OK, maybe that's a bit much, but I DID go see the film in its opening weekend, something I rarely do nowadays).
So what did I think of Part II?
Well, not to cop out, but I largely agreed with both Poplicks and Racialicious [warning: there are spoilers in these links, especially in the comment sections]. I wanted to like it much more than I did. Because at the end of the day, I just can't stomach that much gratuitous female nudity. Yes, it's a stoner flick. Yes, it's target audience are teenage and young adult men (and maybe some women). But the misogyny (and homophobia) outweighed some of the slier humor of poking fun of the U.S. government/homeland security, of mocking the stereotypes of Asian Americans (and others), and the enjoyment of seeing Kal Pen and John Cho be first and foremost Harold and Kumar rather than Asian American guys.
And perhaps, the most radical thing the film does, is that it allows us to see Asian Americans as just guys and to see this film not as the be all and end all of Asian Americans in film--but that Asian Americans can be in mediocre films too.
Of course, the only problem with saying that is assuming that there are CHOICES that Asian Americans have for starring in mainstream Hollywood productions...(sigh).
I wanted to end on an upbeat note, but the truth is, in almost a century of Asian Americans being represented and acting in Hollywood cinema, not much has changed as far as mainstream media.
Calgon, take me away!
[for anyone who doesn't understand that reference, lets just say, you either didn't group up with American television in the 70s and/or you are far younger than me].
