Shang-Chi and the Legend of the Ten Rings
What can diversity, heavy research, and attention to cultural details do for a movie? A lot.
By: Lisa Alexander
As a South Asian woman walking into “Shang-Chi and the Legend of the Ten Rings,” I was ecstatic. For one, Shang-Chi is the first-ever Asian superhero to be the main character in an MCU movie. I was thrilled to see a new superhero with a unique story to tell. Second, I thought that seeing Shang-Chi was a precursor to a slew of new heroes that looked like me, from Pakistani American Ms. Marvel to Rina Patel/Timeslip and many more. To me, going to see “Shang-Chi” was the beginning of a glorious new horizon of Marvel heroes that were not just white men. Not only did “Shang-Chi” deliver on this promise with a majority East Asian cast, but the content was sublime.
Through their attention to detail and extensive research, creators paid homage to both Chinese-American and ancient Chinese culture. Mythology, a huge part of Chinese culture, is pivotal in Shang-Chi. Shíshī (gigantic guardian lions), Huli Jing (nine-tailed white foxes), Qilin (a dragon-like horse), are just a few of the mythical animals that grace the screen in Shang Chi. According to Kevin Feige, the chief creative officer of Marvel, the Huli Jing in “Shang-Chi” has been mistaken for "ninetales" from Pokémon. The reality, however, is that the video game and now phenomenon in America took inspiration from the Huli Jing, which was first written about in the ancient text titled “Classics of Mountain and Seas” from 400 BC. The Shíshī is another mythological creature seen in “Shang-Chi” that is meaningful to traditional Chinese lore and the Chinese American experience. These guardian lions have been ancient sculptures guarding tombs in imperial China and iconic guardians of American Chinatowns. Additionally, Ta Lo, the interdimensional village, and the numerous mythological creatures previously discussed were stunning to look at. Reds, blues, pinks, greens, and infinite hues in between were brought to the screen to bring life to this transcendental village that looked like none other Marvel has previously created. So, not only was the cultural accuracy enjoyable for viewers with ties to Chinese culture, but they also literally brought a new color to Marvel movies – one that must be seen to fully appreciate (go see it, please, the visuals alone are so stunning).
The Chinese American experience represented in “Shang Chi” supersedes mythology alone. When Katy and Shaun sit down for breakfast with Katy's family, a viewer with a keen eye may notice that their breakfast looks vaguely familiar to the iconic breakfast that Mushu makes Mulan in another Disney classic (“Mulan”). This breakfast dish is called congee or jook and is a traditional dish in both Chinese and Chinese American homes. Also, the first action scene of Shang fighting one versus ten on a moving bus may remind viewers of American movies starring Chinese-American icon Jackie Chan. With this in mind, it is no surprise that the supervising stunt coordinator was Brad Allen. Allen literally trained under Jackie Chan himself in the years he first introduced America to traditional martial arts through film. I found the fusion of kung fu and martial arts to be some of the most captivating action scenes in the MCU.
And that brings me to the most novel and exhilarating part of this movie: the fight choreography. In past films such as “Thor,” “Captain America: The First Avenger,” and even “The Avengers,” the action was defined by European standards. Though explosions and medieval weaponry have always had their charm, watching the fusion of Kung Fu “Shang-Chi” brought with it a new flavor to Marvel's stories. The use of weapons and specific fist forms in Shang Chi's training flashbacks were an ode to intricate Shalini martial arts. Simultaneously, Wen Wu (Shang's father) used Hung Ga, a form of martial arts where practitioners will literally use iron rings, a non-mystical version of the ten rings, around their arms as a conditioning tool. Ying Li (Shang's mother) used Baquazhang, a form of martial arts that uses circular motions and open palm techniques. These opposing forms of martial arts allow the action in Shang Chi to also represent a central theme of the story, a new layer to storytelling unseen in previous MCU movies. WenWu and Ying Li's balletic battle at the beginning of the movie was a teaser to this struggle of balancing the darkness from his father's past and the light from his angelic mother that Shang would have to overcome later in the film. Spoiler, Shang finally finds his balance through help from his aunt, who teaches him to find himself through fighting. Shang masters his unique style, which closely resembles but still differs from his mother's Baquazhang techniques and utilizes Tai Chi.
However, to Disney, “Shang-Chi” represented something far less fantastic. For Disney, “Shang-Chi” was an experiment that would determine the release dates and forums of release (in theaters only versus also available on streaming services) for their coming movies. As disheartening as it is that the movie bringing newfound representation for millions across the globe is simultaneously a guinea pig for the mega-conglomerate that created it, “Shang-Chi” has prevailed. Not only has “Shang-Chi” broken the record for an opening movie on Labor Day weekend, a notoriously uncommon weekend for moviegoers, but it has also reached more than $320 million worldwide in less than three weeks.
Regardless of Disney's expectations, the audience's standard for Marvel movies has risen exponentially with the release of “Shang-Chi and the Legend of the Ten Rings.” Viewers will not settle for clunky and cliché explosions after seeing what masterful research and diversity can bring to action and fight choreography. Loyal fans now expect intoxicating visuals that portray a wide berth of cultures. Most importantly, the diverse watchers of the MCU will keep their eyes peeled for heroes with unique backgrounds that bring irreplaceable color and life to stories and the screen.