Watching Ghost in the Shell, in Asia

 

While I do like to write reviews on occasion, I usually go for lesser-known books and movies particularly if there is a focus on China or Asia. Generally speaking, while I do have my fanboy side, I think enough has already been written about big Hollywood blockbusters and my point of view won’t add much.

However, with all the recent controversy surrounding the now-bombing remake of Ghost in the Shell, I feel it may be worth sharing my perspective as an American abroad in Asia. Hope I’m not too late to the game.

First of all, I am a longtime fan of the original manga and anime. I wrote about my manga habit here, about the brilliant mangaka Masamune Shirow creator of Ghost in the Shell. I find the source material even better than the acclaimed 1995 anime film directed by the great Mamoru Oshii, but suffice to say that is one perfect film. The explorations into the nature of sentience, cyberpunk critiques of tech in society, and the philosophical themes about identity are all amazingly ahead of their time. (Actually,  just rewatched the original film for old time’s sake… And that only makes me loathe the remake more.)

Directed by Rupert Sanders, the new film is certainly interesting in the visual sense but so extremely dumbed down that it there is just no reason for the movie to exist. There’s already an excellent adaptation of the manga, not to mention plenty of episodes of the spinoff series and concurrent animations. Why do we need this live-action film?

I suppose that could start a discussion about the nature of any adaptations. Even if we were to go down that road and I’d grant that it’s worth rebooting these things for the sake of finding a new audience, I still feel the one currently out in theaters fails on its own merits.

The film doesn’t work. The streets of Hong Kong–or some ambiguous setting–full of holographic advertisement bombardment seems to be the only thing Sanders cares to add with any interest. There’s not even any nudity. The acting is stiff, pretentious, and not believable. Scarlett Johansson does not come across as well a reserved cyborg warrior with deeper notions of trying to understand herself. Batou, played by Pilou Asbæk, is inconsistent with his accent and not in the same league as the anime character whatsoever. Overall, it’s just like that other recent remake that was such a big deal, Disney’s Beauty and the Beast. Because ultimately the only thing these nostalgic movies succeed at is that they make you want to go watch the original classic animated versions.

But just being another lame Hollywood scifi action blockbuster isn’t the real reason why this film has been so controversial, and is failing so badly. Let us address the elephant. The whitewashing.

First of all, I was quite willing to give this universe’s version of the Major a chance. Fine, Scarlett Johansson is playing a character inspired by a Japanese character but named Mira Killian. She wouldn’t literally playing a person of another race in this version’s world, right? She even said so in interviews. I mean, after all the awareness of whitewashing the producers couldn’t be stupid enough to actually have her play an Asian?

I’d announce a spoiler alert, but in fact the trailer gave it away a long time ago. In more of the film’s stupid choices for originality, instead of the fascinating cybernetic lifeform Puppet Master as villain it turns out that the Hollywood plot is of course a complete Robocop ripoff. The evil corporation experimented on her and she has to try to get back her memories. The Section 9 team doesn’t do anything but get manipulated, and bring nothing constructive to the world of the film. So why root for them?

In any case, the trailer gave that away and it wasn’t a good storyline. But what’s worse, if you finally watch the movie the only surprise left s that the Major’s true self turns out to be.. wait for it… a Japanese girl named Motoko Kusanagi.

Oh, come on. Who on earth thought that would be a good idea? So there you have it, in your face whitewashing. Scarlett in yellowface. White privilege casting through and through, full of supremacist implications considering that cybernetic engineers “perfect” their experiments by turning them white, and with assumptions of whiteness as default thrown in.

That was just so much worse than it needed to be. Why Hollywood, why?

 

As a disclaimer I should probably say that I am a white person myself. Yet I do recognize the fact Hollywood clearly marginalizes minorities and that the idea of ‘white’ as the default is a supremacist trope which must be challenged. The media has a responsibility to be fair, and empathetic humans should care about these issues no matter what we look like or where we come from.

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