Tag Archives: hollywood

Next up on visualizAsian.com: Tamlyn Tomita, leading lady of AAPIs in Hollywood

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Tamlyn TomitaErin and I are taking September off from doing interviews for visualizAsian.com, our series of live conversations with leading Asian American Pacific Islanders. But we’re kicking off October with a star: Tamlyn Tomita, whose inspirational career as an actor spans movies, television and the stage, and whose leadership and activism spans the Japanese American and Asian American Pacific Islander communities.

Our conversation with Tamlyn Tomita will be on Tuesday, October 6 at 6 pm Pacific Time (7 pm MT, 8 pm CT and 9 pm ET) is archived as an MP3 and is available for download for a limited time.

When we thought of starting visualizAsian.com, Tamlyn was the first person we thought of to interview, because of her prominence and passion, and because we’d met her on the set of “Only the Brave,” Lane Nishikawa’s powerful movie about the Japanese American soldiers of the 100th Battalion/442nd Regimental Combat Team.

She was funny, approachable, salty and very real. I have a very vivid memory of her during the filming, taking a break between scenes by sitting in her pickup truck (this was a low-budget production — no trailers for the stars). She was yelling and screaming and so animated we thought something was wrong. It turned out she’s a huge LA Lakers fan, and was listening to the playoff game in progress.

Last year, we saw her again at the Democratic National Convention, when I was one of the emcees at an APIA Vote Gala along with Tomita and Joie Chen, formerly of CNN. She’s a passionate, exciting and entertaining public speaker, and I’ve since seen her on video (just search YouTube) giving lots of speeches and serving as an emcee on many Japanese American and Asian American community events. Continue reading →

Paramount offers apology for racism in “The Goods”

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Sometimes, protesting works. It took about a week of buzz on the blogosphere to get the attention of Paramount Studios for the obnoxious racism disguised as satire in the trailer for the comedy starring Jeremy Piven, “The Goods: Live Hard, Sell Hard.”

The scene shows car salesmen worked up by the thought of Pearl Harbor being attacked by the Japanese and chanting “never again,” until they all pounce on an Asian character in the film. Piven’s character then tries to make light of the hate crime by trying to blame the Asian.

It’s a clumsy reprise of anti-Japanese sentiment from 70 years ago, with a scary flashback of the 1982 murder of Vincent Chin, who was beaten to death by two Detroit autoworkers who thought he was Japanese (he wasn’t) and somehow directly responsible for them losing their jobs.

Well, enough outrage over this scene built thanks to coverage from Asian American blogs including Minority Militant, Angry Asian Man and 8Asians, that the JACL released a statement expressing outrage a couple of days ago, and several national organizations announced a protest yesterday. (There were also letters of protest sent around by individuals like actor Ken Narasaki and Soji Kashiwagi.)

The protest was held yesterday, and though I haven’t noticed if national mainstream media had picked up on the issue, Paramount has heeded the protest. A little while ago, I received this email from JACL:

PARAMOUNT APOLOGISES TO THE JACL

Los Angeles — The Japanese American Citizens League (JACL), the nation’s largest and oldest Asian American civil rights and community advocacy organization, welcomed Paramount Pictures’ apology for “racially demeaning language” in its recently released film, The Goods: Live Hard, Sell Hard. Continue reading →

“Slumdog Millionaire” opens in India, nominated for 10 Oscars

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The British film "Slumdog Millionaire," a rags-to-riches story about an orphaned child in Mumbai, India, has been nominated for ten Academy Awards.

On the eve of its release today in India, the British independent film “Slumdog Millionaire” was nominated for 10 Academy Awards. It’s already won four Golden Globes: Best Picture, Best Director, Best Screenplay and Best Score. The movie’s up for all of those categories at the Oscars, and may well win some if not all of them, and then some.

We saw the film just last weekend and I was stunned by its power and eloquence, and for me, its sheer entertainment value in spite of the grimness of the life it portrays. It deserves its kudos.

If you haven’t heard of it, it’s the story of a two orphaned brothers from the slums of Bombay — now Mumbai — and their relationship as they survive their childhood and grow into their destinies. One, Jamal, played as an adult by the boyish Dev Patel, falls in love with an orphaned girl, Latika (luminously played as an adult by Freida Pinto).

Poster for "Slumdog Millionaire"Jamal’s devotion to Latika, even though they’re repeatedly separated, sometimes for years, and his dedication to finding her again, is the film’s narrative thread.

But “Slumdog”‘s visual leitmotif is the chaotic and tragic backdrop of modern Indian life. The story follows the characters from childhood through their teen years and into adulthood, in and out of the utter poverty that pervades the teeming slums. It’s structured as a series of flashbacks with Jamal, who’s been arrested for suspicion of cheating after winning 10 million rupees on India’s version of “Who Wants to Be a Millionaire,” explaining to a detective how he came to know all the answers he was asked on the show.

His life experiences coincidentally gave him the knowledge and prepared him to reach the next day’s final question, for a possible payoff of 20 million rupees.

Almost immediately, viewers are taken on a breathless tour of the shantytown as a group of kids are chased by police, the camera moving as if the audience is one of the fleeing kids, looking for the next escape route. Then the view shifts to the cops’ perspective, or others in the alleys, even a sleeping dog who’s not the slightest bit fazed by all the commotion. The colors, the clatter and closed-in settings convey claustrophia … and incredible excitement.

The movie opens up visually and feels pastoral only when the brothers get out of town atop a train and live like hobos, then spend some time scamming tourists at the Taj Mahal, and in one striking scene where the grownup Jamal meets up with his brother Salim (played by Madhur Mittal), now a low-level gangster, in a skyscraper construction site high above where their shantytown had been located.

Modern Mumbai’s financial wealth has paved over the poverty and pushed the poor elsewhere.
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‘Gran Torino’: Clint Eastwood among the Hmong

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Clint Eastwood in a scene from his new movie, "Gran Torino."

Clint Eastwood, who looked at one of the most famous battles of World War II through the eyes of doomed Japanese soldiers in the 2006 film, “Letters from Iwo Jima,” is now lookng at Asian Americans and racism in an upcoming movie, “Gran Torino.”

Eastwood plays a racist Korean War veteran and retired Ford factory employee, Walt Kowalski, who’s been beaten down by life. The only two steadfast things in his life are his 1972 Gran Torino, an artifact from the glory days of Ford muscle, and his M-1 rifle, an artifact from the glory days of American muscle. Everything else around him is going to hell: his wife has recently died, he’s estranged from his grown kids, and to his dismay, his rundown neighborhood is becoming over-run by Asians.

The incoming foreigners are Hmong, not Korean. Eastwood’s character gets to know the Hmong family that moves in next door after their 16-year-old son tries to steal his Gran Torino as part of a gang initiation. Predictably, Eastwood at first hates them but then grows close, and protects them against the gang.

The movie’s trailer shows some typical interactions between a cranky white man and black neighborhood punks and scary-looking Asian gang members. Knowing Eastwood, I bet the plot is more complicated than the predictable scenes in the trailer, though.

This is the first time a Hollywood movie has taken a deep dive into the Hmong community, so it’s an opportunity to teach Americans about their history and culture, and of the AAPI culture of second generation Hmong Americans.

Besides Eastwood, the movie stars a group of first-time actors, most if not all Hmong (no hiring of non-ethnically accurate actors just for the right “talent” or “star power” a la “Memoirs of a Geisha”), and the casting was featured in a series of interviews in a Hmong news site, Suab Hmong Radio:
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Keanu Reeves as a samurai: Is it still ‘yellowface’ if the actor is hapa?

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Actor Keanu Reeves, who is half-Asian, will play a samurai in an upcoming move, 47 Ronin.The Hollywood news source Variety reported yesterday that Keanu Reeves, everyone’s favorite hapa actor (his father is Hawai’ian-Chinese) is going to play the lead role in a samurai epic, “47 Ronin.”

The 47 Ronin is the celebrated 18th century story from Japanese history, of a group of masterless samurai who avenged the death of their feudal lord, or daimyo, after a year of planning and then committed seppuku, or ritual suicide, to maintain their warrior code of honor, or bushido. The story’s been told a lot in Japanese movies, in variations of the title “Chushingura.” The most recent remake in Japan was “47 Ronin” (“Shijushichinin no shikaku”) in 1994, written and directed by Kon Ichikawa.

It’s cool to think that Hollywood is going to tell this story, with the the spectacle of the “Lord of the Rings” trilogy and the star power of Reeves.

Keanu Reeves played Siddhartha in the 1993 film Little Buddha.But it makes me wonder about the choice of Reeves. Yeah, he knows martial arts (and proved it in the Matrix movies), and he’s part Asian. But he’s not Japanese. And, hellooo, he doesn’t look very Asian.

When “Memoirs of a Geisha” was produced with Chinese women in the lead roles, it bothered some in the Japanese American community, including me. (It also caused a stir in China, where the women were criticized for playing Japanese roles.) Could it really have been so hard to find qualified Japanese actresses (which was the filmmakers’ excuse)?

I definitely get that Reeves brings a big name-brand to the samurai film so he’s important. But his one previous role playing an Asian was downright surreal, and it makes me apprehensive about how this one will go.
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