HONG KONG — There are essentially two versions of North Korea available to cartoonists, filmmakers, political analysts and Jon Stewart. The first is the Acme-rocket, Wile E. Coyote kind of place where the leisure-suited, bouffant-haired dictator receives daily injections of the blood of young virgins and makes a dozen holes-in-one during his first-ever round of golf.
The second version of North Korea is a baleful gulag of a country that’s perpetually railing against the running-dog American imperialists and threatening to turn Seoul into a sea of fire. A million goose-stepping troops in the North can’t wait to get it on with the traitors in the South, and the Kim family’s nuclear missiles are always kept on hair-trigger alert.
A new film, “Red Dawn,” a remake of the 1984 cult classic, in opting for the latter caricature mixes “bargain-bin special effects, bad acting and politics,” as Manohla Darghis says in her review this week in The Times.
The original film in ’84 had Soviet shock troops invading the United States — the bipolar Cold War was still in geopolitical play, of course — and they are eventually defeated by a flannel-shirted and letter-jacketed posse of patriotic and exceedingly attractive Michigan farm kids. Among these children of the corn are Patrick Swayze and Jennifer Grey, pre-“Dirty Dancing.”
“Back in a simpler time, the enemy was simpler,” Dan Bigman writes in Forbes. “They didn’t own all of our debt or build our iPads or have way better airports than we do. They were the vaunted Soviets, their cars sucked, they didn’t have cable and sometime around 1984, they invaded the United States in a desperate attack aimed at messing up Patrick Swayze’s hair.”
Hairstyles and history change, of course, so the script for the remake replaced the Soviet marauders with heathen hordes from China. The film was shot in 2009, but when MGM suddenly found itself facing a fiscal cliff, the movie was shelved.
By the time new financing was secured, China had become the fastest-growing market for Hollywood films — and the second-largest market in the world after North America.
Mainland moviegoers were not likely to pay their hard-earned yuan for a film featuring Chinese villains. (More likely, they’d wait for pirated copies on DVD.)
The censors in Beijing also were not likely to be happy. Nobody puts Beijing in a corner.
So the “Red Dawn” producers did some fast nipping and tucking, digitally morphing the invaders into North Koreans.
The film historian Peter X. Feng said on a Yahoo blog that this sort of political switcheroo dates to World War I, when Cecil B. DeMille had a Japanese villain in his 1915 film “The Cheat.” By the time the film was reissued in 1923, Japan had become an American ally, so the bad guy was turned into a Burmese.
“Without a single word from Chinese authorities, the U.S. studio spent another $1 million to re-edit its film,” said a story in Global Times, a mainland newspaper affiliated with the Chinese Communist Party.
“But no matter what villains the U.S. film producers choose, ‘Red Dawn’ and many more films involving conflicts with foreign countries often reflect Americans’ stubborn Cold War mindset.
“In their imagination, there is always an aggressive and ideologically different state that is trying to spy on or wage war with the U.S. The heroic American people always fight back and wipe out the villains.”
As Rendezvous reported in July, a number of changes have been made to major Hollywood films to appease the Communist censors. Laundry hanging outside in Shanghai was cut from “Mission: Impossible III.” Scenes from a shootout in Chinatown were whacked from “Men in Black 3.” And highly skilled Chinese engineers were written into “Salmon Fishing in the Yemen,” even though no such characters were in the original book.
Such artistic “compromises” carry a financial logic. The Chinese movie market, worth more than $2 billion last year, is seen as increasingly vital for Hollywood filmmakers: One film-industry expert said Chinese moviegoers can bump a film’s box-office receipts by as much as $50 million.
“We were initially very reluctant to make any changes,” Tripp Vinson, one of the movie’s producers, told The Los Angeles Times. “But after careful consideration we constructed a way to make a scarier, smarter and more dangerous ‘Red Dawn’ that we believe improves the movie.”
But the director of the original “Red Dawn,” John Milius, told The Los Angeles Times that a remake was “a stupid thing to do.”
“The movie is not very old,” said Mr. Milius, who saw the first script of the new film. “It was terrible. There was a strange feeling to the whole thing.” He said the remake was “all about neat action scenes and has nothing to do with story.”
And Manohla says in her review that “thinking adults will find a North Korean invasion the stuff of wing-nut fantasies.”
David Axe, writing on the Danger Room blog of Wired magazine, calls the new remake “the dumbest movie ever.”
“If you want to watch good-looking young men gun down hapless North Korean soldiers against the backdrop of your local schools, churches and shopping malls, the Milius-free ‘Red Dawn’ could be just the thing,” says Mr. Axe. “But act fast. This is one cinematic invasion almost certain to collapse quickly.”
