Feng Xiaogang: the Chinese Spielberg

Every Chinese New Year, a huge migration takes place. Families reunite, they eat dumplings, they set off firecrackers – and they watch a Feng Xiaogang film. Often dubbed “the Spielberg of China”, Feng has become a national institution. While his early years as a film-maker were defined by family-friendly comedies poking fun at China’s materialistic culture, recently he has turned to weightier, big-budget epics, produced by the Wang brothers, China’s answer to the Weinsteins. With 15 box office triumphs in 20 years, Feng is unquestionably the best-known – and most beloved – director of mainstream cinema in China.
 
Abroad, he is virtually unknown, despite Donald Sutherland, Adrien Brody and Tim Robbins starring in his films. It’s an oversight that the BFI hopes to address with this month’s retrospective, part of its “Electric Shadows” cultural collaboration with China. And it’s one that the Chinese government, aware of the poor ratings of the country’s films at foreign box offices, hoped to rectify by backing Feng’s Back to 1942 as the country’s official Oscar submission for Best Foreign Language Film this year.
 
Yet, while the director seems sanguine about the ambivalence of audiences abroad, he has become increasingly fed up with unwanted scrutiny at home. “In the past 20 years, every Chinese director [has] faced a great torment,” Feng said last year at the China Film Directors’ Guild Awards, “and that torment is [bleep].” The censors bleeped out the word “censorship” – no irony intended. His speech went viral. Many declared that, at last, someone had “painted eyes on the dragon”, a phrase used to describe the moment a work or idea takes on a life of its own.
 
China’s long list of cinematic no-nos (any­thing from ghosts and Kate Winslet’s boobs to police brutality and corruption) are justified internally by the absence of an age-rating system – adults are, in effect, treated as children. Feng believes that Back to 1942, a film about a devastating famine in Henan in which nearly three million people died, was the best film he could make, given the restrictions: “I would have made it darker, more cruel, if I could have.”
 
But darkness isn’t an easy sell, with Chinese audiences thirsting for lightweight movies. “Entertainment on its own is just a glass of water with sugar,” says Feng. When Back to 1942 was beaten at the box office by Lost in Thailand, a Hangover-inspired comedy and the highest-grossing movie ever shown in China, Feng took to Weibo (China’s equivalent of Twitter) and wrote: “I am not proud of my nation any more.”
 
What may have appeared to be professional sour grapes was, Feng insists, a lament for the modern Chinese audience’s unwillingness to confront the realities of their history: “It took me ten years to be able to make this film, because this isn’t what we learned at school. We were always taught we were a great nation. But the more you learn about society and yourself, you can’t be so blindly happy about everything.”
 
Feng’s artistic ideals seem at odds with his previously unabashed commercialism. During the 1990s, while art-house films struggled to get past the censors and “main-melody” films (those in tune with orthodox socialist ideology) failed to connect with audiences, Feng believed in the market and entertainment. “Business is first, art is second,” he said back then.
 
It paid off. Feng’s hesui pian or New Year comedies helped start a “back to the cinema” wave that has been growing ever since. When his career began, the Chinese box office took 100 million yuan ($16.5m) a year. It now takes 20 billion yuan ($3.3bn). Last year, it overtook Japan to become the second-largest market in the world. Some estimate that it will surpass the US by 2018; there has been a 30 per cent annual growth in box office takings in the past decade. Cinemas are popping up at the rate of ten a day.
 
“The Chinese government is always reminding us that there are more and more foreign films being imported and that they are stealing the market,” Feng says. “But because of censorship, we have so many things to consider. Hollywood directors can do what they want. It’s not a fair competition.”
 
While all films – foreign and domestic – are subject to the same scrutiny in China, the size of the market is irresistible. Max Michael, an American talent agent in China, summed it up: “Where there is money, there’s co-operation.” Although seven of the top-ten highest-grossing Chinese films were homegrown last year, many Hollywood producers are more than happy to tweak or reshoot their films to appease Chinese distributors and secure screen time.
 
Feng has come full circle with his latest film, Personal Tailor. Like his first hit, Dream Factory (1997), it involves a group of actors who make people’s dreams come true. One of the characters is a successful director who, tired of winning awards such as “Sell-Out Screenplay of the Year”, craves critical recognition over popularity. Personal Tailor generated one of the most lucrative openings in Chinese history.
 
It is this tension that defines Feng’s career. “I want to make films because I’m interested in the subject, not to make money. I’m past all that now,” he says, before adding: “But you still have to think of the investors and producers. They need to make a profit to keep the market going.”