But there are times that even perfectly reproduced movies lack the original magicingredient.
Before the end of 2007, Sony Pictures released an Indian-language feature film,
, which at the time of its release directly competed with
Om Shanti Om
, which was locally produced.
was based on Fyodor Dostoevsky’s novel
was a song-and-dance production, lauded by critics as pure“Bollywood spice”.The rapid growth of India’s film industry and the country’s emerging economyhave inspired foreign investors to take a slice of the very lucrative Bollywood pie.But the disappointing commercial performance of
only remindsinvestors and viewers that marketing networks and financial resources are notenough to impress and capture the attention of audiences.In terms of remakes, this only says that while transferring films from Asianlanguages and cultures into American versions, the subtle elements vital to theAsian films’ success may not be conveyed; proven recipes for success do notalways work.But lately, the immense success enjoyed by certain genres in Chinese cinemaseems to prove otherwise.
If Japan has successfully exported its horror genre to Hollywood, banking on itsrich culture of ghost stories and storytelling, Chinese filmmakers have hadrelative success in bringing abroad films from the historical and
, or martialarts, genres. And compared to J-Horror, which need to be remade beforereleased in the West, these Chinese films are marketed as is, with only thebenefit of subtitles.Films of the historical genre that have succeeded in the West include ChenKaige’s
Farewell My Concubine
, Zhang Yimou’s
Raise the Red Lantern
, and most recently, Ang Lee’s
. Among recent
movies, Ang Lee’s
Crouching Tiger, Hidden Dragon
, has achieved the widestacclaim. It’s phenomenal success has prompted subsequent releases of martialarts films, such as
House of Flying Daggers,
, which, like Kurosawa’s
The Bad Sleep Well
, was loosely based on