May 24, 2018

Wolf Warrior II

One of the biggest films of 2017 was a movie you might not have heard about. Unless you live in China. To be sure, as far as cinematic works of art go, Wolf Warrior II isn't one. Then again, neither was The Force Awakens, the only movie to earn more in a single market ($937 million in North America in 2015).

Wolf Warrior II raked in $854 million in China alone.

It certainly held my attention better than any Star Wars installment since 1980. Though, to tell the truth, my reaction to the whole bloody (literally) shoot-em-up verged on a ho-hum shrug—until the penultimate scene.

As I said, it's no cinematic work of art. But it is a decidedly important political statement delivered in the decidedly non-political package of a by-the-numbers actioner.

As with every action movie of this stripe, Jing Wu (acting and directing) plays Leng Feng, an ex-special forces guy who got himself court-martialed for Standing Up For The Little Guy and now is a Lone Wolf doing missions Nobody Else Can Do. He's Rambo with better martial arts skills, more charisma, and a less somber mien.

This really is the saving grace of the movie. Bruce Willis takes himself seriously in Tears of the Sun (2003) a movie that takes itself more seriously than it should. Sylvester Stallone takes himself seriously in Rambo 3, a movie that is impossible to take seriously, despite being about a serious subject.

Jing Wu doesn't take himself too seriously in Wolf Warrior 2, a movie that doesn't take itself too seriously either, despite having a way higher on-screen body count than Stallone's war movie about an actual war. The intricately choreographed gun fu and kung fu at times turn the non-stop violence into a bizarre ballet.

Though it does get numbing after a while. Jing Wu needed somebody on the set to wave his arms now and then and shout, "Enough already!" They must have ordered squibs by the container ship. I got to wondering who was responsible for cleaning up all the fake blood and doing the laundry.

Anyway, Wolf Warrior II borrows plot points from Tears of the Sun, in which Bruce Willis leads his SEAL team into war-torn Nigeria to evacuate a pretty doctor (Monica Bellucci) from a besieged hospital.

Having exiled himself to a fictional African country that soon plunges into a brutal civil war, Leng Feng steps up to rescue a pretty doctor (Celina Jade) from a besieged hospital. He was supposed to rescue her boss but the boss got killed first. (This happens an awful lot when you're getting rescued by Leng Feng.)

Although he starts out as a one-man army, Leng Feng gains a couple of allies along the way, including PLA veteran He Jianguo (Wu Gang). The unqualified respect shown for this character (who thankfully manages not to get killed) is a good indicator of where the movie is thematically headed.


Meanwhile, the entire (shiny and modern) Chinese Navy is camped out in the Gulf of Aden, all ready to pitch in and help as soon as they get permission from the United Nations. Here is where we depart from the Hollywood formula. No American Man of Action needs permission from the United Nations to do anything.

For good reasons, as the movie amply illustrates.

In Japanese military actioners too, the United Nations makes a convenient moral cover for whatever means are justified by the ends. And if you're Jing Wu, it probably is more politic to point at third parties obstructing the hero's journey and not your own national government (local government is a whole different matter).

Which may also explain a puzzling hole in the plot, namely what exactly is motivating "Big Daddy" (Frank Grillo) and his merry band of sociopathic mercenaries. What they're after can be easily inferred, but this isn't a genre known for subtlety. A stereotypical appearance from Big Pharma would have fit the bill here.

But vilifying Big Business isn't in the cards either (though like local government, little business catches a few sharp elbows). Instead, the bad guys are bad guys because they're, well, really really bad.

Well, in any case, the whole purpose of this foot-dragging is to raise the dramatic stakes. When permission comes, it's a regular fireworks show. Guided missile destroyers sure are neat! (And uncannily accurate.)

As Leng Feng races his convoy of survivors to safety, there's one last battlefield to cross. In a scene that could have been inspired by Eugène Delacroix, he ties a Chinese flag to his arm and perches atop the cab of a truck. The warring parties part like Moses at the Red Sea. Because Nobody Messes With China!


To be honest, I found the scene quite stirring. Unabashed, unironic patriotism is an endangered species these days, and it casts the movie in its own unique light.

A brief coda at the end sledgehammers that message home. Across the image of a Chinese passport, the text tells the citizens of China that "no matter what corner of the world you may find yourself in, your country will always have your back."

This "reminder" ties into a scene early in the movie, in which a Chinese businessman tells Leng Feng he's ditching his citizenship in the name of profit—and then backtracks when all hell breaks loose and a Chinese-flagged ship is the only available refuge. He gets to stay alive because he made the right choice.

Welcome to the century of Chinese exceptionalism.

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