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Cries of cultural imperialism echo around the world.
For years, people outside the United States have
complained of America imposing its cultural views and values on
other nations.
In Hollywood, at least, that may be changing, as
the tide starts to move in the other direction. American filmmakers
and, more significantly, the studios which back them, more and more,
are borrowing a page from their overseas brethren.
Certainly the biggest story to come out of
Hollywood in the past 12 months is the phenomenal success of "Crouching
Tiger, Hidden Dragon," the Chinese-language
period drama which picked up three Academy Awards, including Best
Cinematography and Best Foreign Language Film, and earned Ang Lee
a best director nomination.
More significant from a commercial standpoint, was
the 128-million dollars the picture earned at the American box office,
unheard of for a subtitled film. "With that kind of money,
you aren't talking about a little hit, but something that has reached
the mass culture," declares Ziggy Kozlowski, a partner in the
Los Angeles public relations firm of Block-Korenbrot. "Crouching
Tiger" is only the latest example of a foreign-language film
being embraced by American audiences.
Other notable hits of recent years include
"Run Lola Run," "Amores Perros,"
"Life is Beautiful," "Like Water for Chocolate,"
"Cinema Paradiso" and "Il
Postino," although in terms of box
office performance "Crouching Tiger" far outdistances
the others. What effect, if any, has the growing popularity of culturally-diverse,
foreign-language films had on Hollywood? The most obvious is in
casting, although the studios have always been quick to snap up
intriguing and talented actors from abroad, witness Greta Garbo,
Marlene Dietrich and Charles Boyer.
Today's foreign-born stars --Juliette Binoche,
Antonio Banderas, Arnold Schwarzenegger and Jennifer Lopez (a U.S.
native but clearly identified as Latina) have recently been joined
by Spanish-born Penelope Cruz, and Franka Potente, the red-headed
star of "Run Lola Run." Potente, who can adopt a flawless
American accent, appeared in "Blow"
and will soon be seen in "The
Bourne Identity." Foreign directors,
too, are a hot commodity with American studios. But talent is only
one area of influence; international films have also had a powerful
impact on the way films are made in Hollywood. Block-Korenbrot's
Kozlowski points to the success of Steven Soderbergh's "Traffic,"
which raked in 126-million dollars domestically.
The film has a European sensibility uncommon in American-made movies.
Eschewing the Hollywood blockbuster's typical
formula of high concept and non-stop action, it tackles a serious,
multi-layered issue; emphasizes inter-personal relationships over
action; and uses English subtitles for numerous scenes which take
place in Mexico or involving Spanish-speaking characters. "It's
also political to a degree most American movies are not," notes
the publicist. Screenwriter and film critic F.X. Feeney. He draws
attention to Soderbergh's "very conscious and European palette:
the grainy 16mm look for Mexico, the hard blue for Ohio, and a rich,
suburban green for San Diego." In fact, all of the director's
pictures, from his powerhouse feature debut, 1989's "sex,
lies and videotape" on, reveal a
strong European influence.
Quentin Tarantino is another example of a filmmaker
heavily influenced by European and Asian masters. He even named
his production company A Band Apart, in homage to Jean-Luc Godard,
and his 1964 film "Bande a Part"
("Band of Outsiders"). Feeney recalls Godard's famous
dictum that films "have a beginning, middle and end, but not
necessarily in that order," noting, "that is a veritable
plot description of 'Pulp Fiction.'
Tarantino took Godard's idea and popularized it for American audiences."
This kind of cross-pollination is nothing new,
of course. Film Noir directors imitated Fritz Lang's use of shadow;
Kurosawa, who was himself influenced by John Ford, in turn influenced
every serious filmmaker who came after him. According to Feeney,
"John Ford had one style of directing until 1927, when he saw
F.W. Murnau's 'Sunrise.' Then
he went off and made 'Four Sons'
and you could see he was trying to copy all the neat stuff Murnau
had done. His exposure to Murnau improved the musculature of his
own eye." "Run Lola Run" director Tom Tykwer points
to the impact European films of the 1960s had on American filmmakers
of the late '60s and early '70s, when "Bonnie
and Clyde," "Five Easy Pieces," "The Last Picture
Show," "Carnal Knowledge," "The Conversation"
and "Taxi Driver"
burst onto the screen.
Writers and directors of that era were clearly
influenced by the humanism of Truffaut, the existential disorientation
of Antonioni, the conceptualism of Godard, the sexual frankness
and political daring of Bertolucci. Michael Barker, Co-President
of New York-based Sony Classics (which co-produced and distributed
"Crouching Tiger"), notes that most Hollywood directors
are film buffs and have seen thousands of movies. "Even some
of the foreign-language films that aren't successful have had a
deep influence on them." Sony Classics itself has introduced
dozens of foreign-language films to American viewers. This year's
release schedule includes Jacques Rivette's "Va
Savoir," Zhang Yimou's "Happy
Times," and "Dark
Blue World" from Czechoslovakian
director Jan Sverak, whose "Kolya"
won the 1996 Oscar for Best Foreign-Language
Film.
Miramax is another company which has long championed
foreign-language films, although David Brooks, Executive VP New
Ventures and Marketing at the mini-major, agrees that "Crouching
Tiger, Hidden Dragon" definitely raised the bar. "Each
time that happens, it re-invigorates an audience's acceptance and
awareness of films from other countries. Plus, Hollywood directors
are always looking for [new ways to] break out of more traditional
genres." Upcoming Miramax releases include the charming French
romance "Amelie,"
the quirky and ingratiating Swedish comedy "Italian
for Beginners" and "Heaven,"
which was penned by two Polish screenwriters;
directed by German filmmaker Tom Tykwer, shot in Italy, half in
English and half in Italian; and stars Australian-born actress Cate
Blanchett.
The influence of international cinema on American
films, both studio-made and independent, is pronounced, while the
American public seems to be increasingly willing to attend foreign-language
films. As Block-Korenbrot's Kozlowksi notes about what has clearly
become a trend over the past couple of years: "When foreign-language
films start getting Oscar nominations, that really says something."
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