Introduction
Nowadays, the field of cinematography is gradually developing and becoming more diverse. At the same time, several decades ago, when globalization only began its rapid growth, movies that integrated a multicultural prism were considered innovative. In the three movies, First Strike, Supercop, and New Police Story, from Jackie Chan’s filmography, many cultural aspects are demonstrated. In the three motion pictures, cultural components contribute not only to a better understanding of various cultures but also add more depth to the plot and make scenes more entertaining and engaging. By investigating a range of cultural facets and themes through the lenses of these movies, one can clearly observe global cooperation, intercultural cooperation, societal shifts, and the development of Jackie Chan’s character representation.
First Strike (1996)
Films with Jackie Chan have countless episodes demonstrating cultural diversity and multinational environments, incorporating characters from different backgrounds. One of the well-known earliest works of Jacky Chain is the film First Strike. It is the fourth volume of the Police Story franchise, a 1996 action-comedy film that follows the adventures of Special Agent Jackie, played by Jackie Chan (First Strike).
In the film, the agent tries to locate a nuclear warhead that went missing (First Strike). When delving deeper into the film, the audience can observe not only the international cooperation of characters from Ukraine and the United States but also cultural elements, such as martial arts and stunts, as well as stereotypes. Such elements allowed the director to create a successful combination of cultural pieces while creating an engaging and comedic plot. Without the integration of adventures in different countries, the films would lack diversity and entertaining pieces.
International Cooperation
The first element that deserves careful consideration is international cooperation. First Strike demonstrates the growing international collaboration and globalization that characterized the 1990s. Being a special agent, Jackie Chan cooperates with the Central Intelligence Agency, which implies that he will be on a mission in several locations. More specifically, in order to complete his assignment, Jackie Chan’s character must travel to several nations, including Australia, Ukraine, and Russia.
Due to having poor knowledge of Russian and Ukrainian languages, the character is frequently seen struggling. For instance, while with a taxi driver, Jackie tries to ask the driver to wait for him while using his hands and gestures. Moreover, in another scene, Jackie is seen struggling while reading signs in Ukrainian to help other CIA agents locate him. After the protagonist spelled the signs and explained the letters, Ukrainian forces helped decode the details and find the place, with the American agent saying, “We’re on our way” (First Strike 10:44). Such a moment demonstrates the collaboration and reaction of a person in an unfamiliar environment. While the foreign settings in the film highlight local peculiarities, the main character manages to resolve issues.
Martial Arts and Stunts
Another element that must be discussed involves martial arts and stunts, which are the fundamental components of almost all of Jackie Chan’s works. In this case, similar to many of Chan’s works, First Strike features his remarkable stunt work and martial arts prowess. Traditional Chinese martial arts techniques are incorporated into the movie through Jackie Chan’s utilization of acrobatics and carefully planned fight scenes. Sometimes, a filmmaker discovers a novel approach to fulfill an ingrained convention (Bordwell 7).
For example, martial arts filmmakers explored the possibility of the pause/burst/pause pattern in response to the desire to make fight scenes thrilling (Bordwell 7). In one scene, Jackie is seen fighting with Ukrainian mobsters, with the battle being demonstrated by shattered glass and destroyed furniture. With the help of the protagonist’s skills, he was capable of not only enduring the pain but masterfully escaping the men who were determined to murder him. Thus, it can be argued that aspects of martial arts show China’s vast martial arts history culturally. In addition, they serve as thrilling components of the film.
Cultural Stereotypes
Cultural stereotypes are the third cultural element in the film, and one of the most obvious ones that can be observed in the film is to weather. For example, when Jackie visits Russia and Ukraine, both countries are shown to have cold winters with lots of snow (First Strike). Meanwhile, when the protagonist travels to Australia, the director highlights the warmth of the country, as well as its ocean, flora, and fauna (First Strike). In one scene, when communicating with his superior on the phone and walking around his presidential suite in a hotel, Jackie says, “Hold on a second, my koala bear just came out” (First Strike 26:37). Such a moment can be viewed as stereotypical as well since the director accentuates the presence of country’s symbols.
Moreover, Australian people are typically portrayed as carefree and adventurous, yet Russian characters are frequently shown as stern and serious (First Strike). By involving Russian, Ukrainian, and Australian environments, the director masterfully contrasts the nations. The contrasting contexts and different challenges faced by the protagonist make the work more engaging and entertaining for the audience. Overall, even if they are not always subtle, these stereotypes highlight cultural differences and enliven the story.
Supercop (1992)
Another film that has much resemblance to First Strike is Supercop. The action-comedy Supercop was released in 1992 and highlights Jackie Chan’s trademark fusion of martial arts, slapstick humor, and exhilarating stunts (Supercop). Police officer Ka Kui, played by Jackie Chan, works undercover in a Chinese prison to investigate a narcotics syndicate (Supercop). They proceed to Hong Kong and infiltrate the gang with the support of another undercover agent, who is portrayed by Michelle Yeaoh (Supercop). When Ka Kui’s partner unintentionally discloses his true identity, the operation is put in danger (Supercop).
The given film provides the audience with a mix of humor and carefree moments in between the stressful action scenes. There are many similarities between Supercop and First Strike, which can be observed not only in motion pictures’ demonstrations of cross-cultural collaboration but a unique depiction of the Hong Kong environment, which highlights the identity of the city and community. Through masterfully depicted elements, the director achieved an authentic yet engaging atmosphere.
Cross-Cultural Collaboration
The first similarity between First Strike and Supercop is the cross-cultural collaboration, as seen in the cooperation between law enforcement agencies and separate officers. For instance, the relationship between Michelle Yeoh’s Inspector Jessica Yang and Jackie Chan’s character in the film serves as a prime example of the cooperation that exists between Hong Kong law enforcement and foreign organizations. In addition to showcasing cross-cultural knowledge, skill, and resource sharing, the movie highlights the value of international collaboration in the fight against crime. When being introduced to Inspector Yang, the protagonist discusses how he can “also train in boxing, taekwondo, jiujitsu, karate” (Supercop 15:33).
Together, the two partners from different backgrounds combine their expertise and experience to put an end to the drug cartel’s existence. The characters stand for the values of justice and heroism since they are shown to be strong, brave, and morally pure. Thus, one can see the traditional values of the local cultures that are highlighted throughout the film, separating good from evil. Similar to First Strike, collaboration is the main element of the film that stresses the beliefs and values in China.
Urbanization and Modernity
While both Supercop and First Strike emphasize cross-cultural collaboration, the former tends to focus more on mainland China, especially the burgeoning urbanization in Hong Kong. More specifically, Supercop captures the speed at which Hong Kong was modernizing and urbanizing in the 1990s (Supercop). The film’s setting includes frantic action scenes against a backdrop of contemporary infrastructure, as well as busy cities and tall buildings. The urban landscape of Hong Kong is depicted here in a way that acknowledges the changes in society and culture brought about by economic growth. For example, as the agents were undercover in a hotel with members of the drug cartel, one could observe the innovative technologies, billboards, and growing role of tourism (Supercop).
The adoption of “Hong Kong as an actual physical territory” adds more depth to the film (Vojkovic 5). As a result, unlike the first film, the given motion picture focuses more on the trajectory of the Chinese mainland city, its growth, and its role within the frame of the film’s plot. In this case, it was feasible to eliminate unnecessary details in the film and highlight a recognizable environment for both the characters and the audience.
Representation of Hong Kong Identity
When delving deeper into the presence of the culture and metropolitan atmosphere of Hong Kong, it is crucial to mention the representation of the city’s identity. While First Strike demonstrates various settings, ranging from Ukraine to Australia, Supercop captures the cultural milieu of Hong Kong throughout the 1990s. This is a period marked by change and growing ties with other countries (Stokes et al. 3). The given film emphasizes Hong Kong’s status as a global metropolis and its interactions with many cultures, demonstrating the city’s cosmopolitanism.
It is necessary to mention the role of Jackie Chan in creating such a perception of Hong Kong and Chinese identity. As mentioned by David Bordwell, Jackie Chan has been and is viewed in many films as “a Hong Kong everyman” (Bordwell 36). A combination of the Hong Kong environment and an embodiment of Chinese values in the face of Chan’s character adds authenticity to the film. While Chan’s protagonist in First Strike is an element in the overall multicultural piece, Supercop’s character is symbolic of Chinese culture. Thus, both pieces are different in terms of the scope of cultural representation.
New Police Story (2004)
Unlike the previous two films that incorporate genres of comedy and action, the third motion picture has a completely opposite view. The crime-action film New Police Story delves into the darker and more dramatic facets of Jackie Chan’s filmography. The piece explores the psychological costs that law enforcement officers experience. The main character, a police officer, is the sole survivor of a trap that he unintentionally leads his fellow officers into (New Police Story). He finally is paired with a new partner who is discovered to have his own secrets, all while drowning his remorse in alcohol (New Police Story).
When comparing New Police Story with First Strike, the audience can see only differences in perspectives of the films. While the latter emphasizes the changing cultures and diversity in all its shapes, the former critiques modern society and narrows its focus to a personal path of transformation. At the same time, New Police Story, too, highlights cultural aspects that allow the audience to immerse themselves in the atmosphere of violence in the streets of Hong Kong.
Deterioration of Traditional Values
The first difference between First Strike and New Police Story lies in the depiction of values. While in the former film, the values of integrity, collaboration, and justice are maintained, in the latter one, they are shown to be disintegrating in modern society, with the younger generation being affected by the bad influence of local gangs. More specifically, the film tackles issues of moral deterioration, societal shifts, and the challenges encountered by law enforcement in a contemporary metropolitan setting, reflecting the cultural milieu of early 2000s Hong Kong.
In other words, it speaks to the fears and difficulties of modern life. For instance, in one scene, the audience observes how a woman was mugged by two adolescents who stole her purse. The two boys knocked Chan’s character down and, seeing that he was drunk and weak, mugged him as well. After one boy took the protagonist’s wallet, he said, “Oh, he’s a cop!” (New Police Story 35:51). As a result, he punched him in the stomach, exclaiming, “Eat this!” (New Police Story 35:53). With the help of such scenes, which are recurrent in the film, the director shifted from the ideal perception of law enforcement and demonstrated disintegrating values.
Redemption and Personal Growth
Moreover, another aspect that makes New Police Story different from First Strike is the fact that the former focuses on the personal growth of the protagonist and his life trajectory, while the latter highlights a separate operation of the special agent. At first, Jackie Chan’s character is presented as a broken police officer who is battling personal demons. After having experienced a tragedy that led to the loss of all of his friends and coworkers in the team, the character becomes fixated on revenge (New Police Story). As the new partner of the main character mentions, “You were capable of great things. Forget the past and use your pain.” (New Police Story 36:50). Consequently, with the efforts of the young partner, Chan’s character musters strength to seek transformation.
Overall, the film delves into the character’s blindness and presents a more nuanced and poignant performance by Jackie Chan. The central theme of the film is Jackie Chan’s character’s quest for self-awareness and atonement. Reflecting broader cultural ideals of resilience and a pursuit of personal integrity, it tackles themes of perseverance, sacrifice, and the possibilities for personal progress.
Realism
Finally, the film in question additionally has a darker and more dramatic approach, concentrating on the protagonist’s emotional and psychological development. Unlike First Strike, which focuses on the progress of the plot, the given motion picture gives more attention to how the main character’s challenges fit into the culture’s perception of growth. The plot of the film departs from the humorous tone of the previous two movies and explores themes of loss, atonement, and human transformation. With a stronger focus on realism and the psychological effects of violence, the film centers on tense and realistic action sequences.
Violence is especially evident when the audience gets a glimpse of the criminals who were responsible for the death of the protagonist’s team death. As one of the criminals said when referring to violence and murder, “You know, guys, when you found that one thing that gets you really excited, it’s higher than any drug in the world” (New Police Story 56:45). Consequently, it becomes evident that the film accentuates a more realistic side of the modern culture.
Conclusion
In summary, by examining a variety of cultural aspects and issues through the prism of films, it is possible to discern societal changes, worldwide cooperation, multicultural cooperation, and the evolution of Jackie Chan’s character depiction. A plethora of Jackie Chan films feature characters from various backgrounds and multicultural settings, showcasing cultural variety. The movie First Strike is among Jacky Chain’s most well-known early creations. First Strike serves as an example of the 1990s’ increasing globalization and multinational cooperation. As the foundation of nearly all of Jackie Chan’s works, martial arts, and stunts are another cultural aspect. The third cultural element in the film is cultural stereotypes, and one of the more evident ones is related to the weather.
Supercop is another movie that shares a lot of similarities with First Strike. The works share a lot of parallels, which are evident in both movies’ portrayals of cross-cultural cooperation and their distinctive portrayal of Hong Kong, which helped to emphasize the locals’ sense of identity. At the same time, viewers are only able to discern variations in the films’ points of view when contrasting First Strike with New Police Story.
Works Cited
Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. 2nd ed., Irvington Way Institute Press, 2011.
First Strike. Directed by Stanley Tong, performance by Jackie Chan, Golden Harvest, 1996. Web.
New Police Story. Directed by Benny Chan, performance by Jackie Chan, Emperor Motion Pictures, 2004. Web.
Stokes, Lisa Odham, and Rachel Braaten. Historical Dictionary of Hong Kong Cinema. Rowman & Littlefield Publishers, 2020.
Supercop. Directed by Stanley Tong, performances by Jackie Chan and Michelle Yeoh, Orange Sky Golden Harvest, 1992. Web.
Vojkovic, Sasha. Yuen Woo Ping’s Wing Chun. Hong Kong University Press, 2009.