Director Feng Xiaogang Seeks Western Recognition

CHINA May 01, 2006   (Credits– china.org.cn)

Chinese films have become hot tickets around the world, but few movie-goers outside China have even heard of the country's arguably most popular, or at least most populist, director.

Feng Xiaogang, 48, has been one of China's most beloved, bankable movie names for almost a decade by honing in on native tastes, while internationally celebrated directors like Zhang Yimou and Chen Kaige have faced criticism at home for pandering to Western audiences and awards committees. 

"I think it's most important to get Chinese audiences' approval. If you can't be accepted by your own people, it's hard to get others' respect," Feng told Reuters.

"The Banquet," Feng's newest project, represents his most serious shot at overseas markets, especially since he has cast Zhang Ziyi, China's hottest star, in the leading role.

"She has a lot of influence in Asia and around the world. I think if this move gets good worldwide distribution, she'll have a lot to do with it," he said.

With its elaborate period costumes, palatial sets and occasional bursts of action, the historical drama, set during China's tumultuous Five Dynasties period (907-960 A.D.), represents a major shift for Feng.

The director, a thin man with a signature mouth full of crooked teeth and the gravely voice of a heavy smoker, first won fame through light, overtly commercial contemporary comedies that debuted in time for Chinese Lunar New Year.

He reigned as king of the Chinese box office until Zhang Yimou shed his art-house reputation with the 2002 blockbuster "Hero," which became the China's highest grossing film and raked in over $50 million and an Oscar nomination in the United States.

The overseas market has proven less kind to Feng.

Lessons

In 2001, he collaborated with Columbia Pictures' Asian division to make the dark comedy "Big Shot's Funeral," in which veteran film icon Donald Sutherland played a film director believed to have died in Beijing, where his funeral becomes an advertising and media feeding frenzy.

The film's jabs at the social changes that have swept China since it embraced market reforms over two decades ago tickled domestic audiences, but went over heads when it debuted on small release in Europe and the United States in 2002 and 2003.

"Some Westerners said they didn't really understand it. In reality, I think they didn't get it because of a feeling of cultural superiority," Feng said.

"I don't believe Westerners don't understand that kind of humor, they didn't want to understand."

The lessons of "Big Shot's Funeral" informed Feng's decision to make "The Banquet," due to debut in China in September.

"It seems like Western audiences have an easier time accepting Asian stories set in ancient times. That's a reality. I don't think it's a good thing, but for me, I wanted to make that kind of change."

The genre shift, calculated or not, has already paid off. Japan's Gaga Distribution has paid $5 million for distribution rights to "The Banquet" and producers Huayi Brothers, China's biggest private film maker, has said it will promote the film for Oscar contention.

But Feng says regardless of style change or international interest, he will not change his basic focus on the masses.

"You can go from a comedy to a tragedy, but it shouldn't affect if a movie is good or not. I won't go and make an empty film that leaves people wondering what it meant after they see it. Like in my previous movies, my aim is to knock my audiences down," Feng said.

"I think the relationship between a director and the audience is like a boxing match. Either you knock them out or they'll pummel you."