Intellectual Property

Insulting the Monkey King

The Handsome Monkey King: not someone you want to mess with.

A Japanese production team was granted authorization by SARFT to film in Ningxia, Hunan, Gansu, Anhui, Guangxi, and Inner Mongolia for a new big-screen adaptation of Journey to the West. Like Japanese adaptations of the past, the role of Xuanzang, the monk who is escorted through 81 trials to obtain scriptures from the western heaven, will be played by a woman. There are even rumors of a romantic subplot between the monk and Sun Wukong, the Monkey King.

Not everyone is pleased by this, though reaction has been muted by the fact that (a) the adaptation is nowhere near as insulting as a recent Japanese game that took the cast of A Dream of the Red Mansions and turned them into sex slaves; (b) the movie hasn't actually come out yet, and when it does, it probably won't be shown in the mainland, anyway; and (c) people find it hard to get excited over Xuanzang, not the most charismatic character in the novel, as demonstrated by last year's disappointing A Chinese Tall Story, which focused on Nicholas Tse's monk.

However, two people involved with the classic 1980s TV version of Journey to the West have made vocal objections. Zhang Jinlai*, the actor who played the monkey in that series, has been speaking out for quite some time against the indiscriminate adaptation of China's great novels. Here's what he said to The Beijing News last week:

I have been giving lectures at universities, with the topic being a call to enact national law protecting traditional Chinese culture. Journey to the West is undoubtedly the soul of China's traditional culture; the attention toward Journey to the West on the part of foreign countries is a good thing, however you want to call it, but we must also prevent malicious spoofing of our traditional culture under the banner of "fashion" or "subversion". Actions such as these will hurt the feelings of the Chinese people. Some people say that today's Chinese youth and college students enjoy that sort of "comic" stuff; giving speeches at all those universities, I have found that this is an entirely mistaken claim. Our most traditional things remain what our college students.

Actually, I have reflected on this myself - why do we always say that we have a responsibility to protect traditional culture, but we never shoot anything? Next year I will shoot the movie Handsome Monkey King, still playing the role of Sun Wukong. Currently there is a Japanese film version shooting that has plans for a romance between a female Xuanzang and Sun Wukong. China's Hansome Monkey King is unique in the world - not just anyone can put on monkey fur and play his character.

Today, when this sort of international film company shoots this kind of material inside our country's borders, how are our administrative departments monitoring and controlling things? The US has a legal framework concerning famous works; if you wish to film their famous works, they will first look over the script, and you cannot violate the spirit of the original. If, as some adaptations of Journey to the West have done, you exaggerate Sun Wukong's devotion to love so that it far exceeds his conviction to obtain the scriptures from the west, then what is shot on film is not Journey to the West. American parents even tell their children that the story of Journey to the West is a vacation to the west taken by two monks and their pig and monkey; American children will believe that the Chinese were the first to have pets. You can film King Kong or Tarzan of the Apes - those are good and moving - but you can't spoof such a character as Sun Wukong, whose Chinese heroic character is so deep.

The scriptwriter and director of the 1980s version, Yang Jie, had this to say:

I have watched the previous television adaptation of Journey to the West from Japan, and in fact it was very far off the mark. This time, they're filming a movie, and it will definitely have its own perspective. Expecting fidelity to the source is not likely; we can't do anything about it.

Actually, the key point here is ourselves - why, for so many years, have Chinese people not treated their own famous works earnestly and seriously? Back when we shot Journey to the West, conditions were far more difficult than they are today, not to mention special effects, but we put effort into the script and story, so it should be said that the outcome was not too bad. Today, the country does not do much to protect its famous works: society is fickle, everyone has been dazed by their faith in money, and too many people try to entertain with junk. I truly fear that the next generation will completely misunderstand the true meaning of Journey to the West. Those who have the will to shoot Journey to the West have not the funds, and those who have the funds are unwilling to treat it seriously, leaving such a great story to go to waste!"

In past interviews with the media, Zhang has brought up French law as an example of what he'd like to see in China. He's mentioned Les Miserables as a book that requires permission to adapt, probably referring to a suit brought by Victor Hugo's heirs against the author of a sequel to the novel. In 2004, a French court of appeals decided that Hugo would not have authorized a sequel to his finished work and fined the author 1 euro, reversing a lower court decision.

Zhang's on less firm ground when he brings the US into the picture, since American copyright law does not have much to say about the moral right of the author. In addition, Journey to the West draws its material from earlier sources as well as folk traditions, meaning that Zhang's imagined law would be much broader in scope than even French moral rights. A Dream of Red Mansions could conceivably be protected from more extreme forms of adaptation by appealing to Cao Xueqin's right not to have his reputation impugned; would it be possible to pass a law saying that it is illegal to write a work that adapts traditional Chinese culture in a way that causes harm to China's reputation?

And if so, would such a law result in the banning of works of traditional Chinese culture that insult other works of traditional Chinese culture? Xu Lai, entertainment critic for The Beijing News, takes a look at how adaptation has been done throughout Chinese history:

Retelling need not be "not serious"

by Xu Lai / XJB#

SARFT authorized the Japanese film version of Journey to the West to shoot inside Chinese territory; the crew has already arrived in Ningxia. Reports swiftly attracted widespread attention on the Internet, and a significant proportion of netizens disagreed. In interviews with the media, the creators of the 1987 TV version* of Journey to the West, Yang Jie and Zhang Jinlai, said that it was obvious that the Japanese Journey to the West was maliciously spoofing an ancient classic; Yang Jie said that "currently, those with the finances are unwilling to give this topic serious treatment."

Actually, pulling out plot elements from Journey to the West for adaptation, or even changing the gender of characters in the original novel during the course of adaptation, is nothing too shocking. An example of the former is China's first paper-cut cartoon, Zhu Bajie eating watermelon; its plot was not directly connected to Journey to the West, but rather was taken from a folk tale. An example of the latter is Supplement to Journey to the West, written by the late Ming/early Qing novelist Dong Shuo. In this book, the author has the heroic Sun Wukong fall into the "Hall of 10,000 Mirrors," transform into a woman, and consort with the King of Chu. If this sort of stuff was made known to some online extremists, no doubt it would be called an act of malicious spoofing, and would be used as an example to demonstrate that Chinese people do not treasure their traditional culture.

The greater online population does not fully understand cultural history and the principles of artistic creation, so pointing to adaptations as malicious spoofing is still pardonable. But you'd think that the creators of the 1982 TV version of Journey to the West would be very familiar with the cultural history of Journey to the West; who would have thought that they'd say things like this - it truly has me flabbergasted.

As an important product of popular culture, production of television dramas has its own unique methods and rules. Adaptation of the script comes in just two ways: one strictly follows the plot of the original, proceeding through close adherence; the other picks out representative characters and plot elements, which are then adapted according to the demands of the creators. The goal of the former is to accurately reflect the classic story contained in the classic work, while the goal of the latter is to provide enough space for new creativity to take flight.

The process of retelling is, to a large degree, a process of subverting classic characters and classic scenes. It is because classic works are so familiar that they invite reasonable exaggeration of classic character traits, extensions in opposite directions, to further expand the structure of the work. More importantly, this type of modification gives the adapted work a sense of novelty in the eyes of the audience, leading to better results. This technique appears in movies and television, and it is not rare in the literary realm, either. Romance of the Three Kingdoms "tries to show off Liu Bei's generosity to the point that it seems fake and plays up Zhu Geliang's wisdom so much that he seems like a demon"* But this is within the framework of literary creation, the result of the retelling of that classic of history, Records of the Three Kingdoms. Shortly after that, Lu Xun in his own stories extended the images of Nuwa, Chang'e, Laozi, and Zhuangzi. These works are all adaptations, and some of them are not short of heterodoxy; written intentionally to shock, they have entered the literary canon a hundred years later, and may even have surpassed their "originals." It is obvious that this type of retelling cannot be dispatched simply by labeling it "malicious spoofing."

As for "unwilling to treat seriously," this is an even stranger matter. According to standard creative principles, adaptations largely increase the dramatic conflict of the original and augment the consequences of the drama; this type of activity is clearly more difficult than simply reading from the text. And if you say that people who engage in this sort of activity are not serious, you probably will have a hard time convincing anyone. Besides, even the 1982 version of Journey to the West intentionally played up everything from "comic Chang'e" and the "spiderweb cave" to the "bottomless pit" and the "Kingdom of Women." At the time, if I recall correctly, these scenes stirred up a debate over whether they were "serious," did they not?

Then there's this:

Where did Sun Wukong come from?

by Meng Xiaoshe (ferocious little snake)#

The always-peculiar Master Ke Yunlu* has once again taken flight, saying things like Sun Wukong's father was Buddha, and his mother was the Bodhisattva Guanyin. And there's someone who has proven that Sun Wukong was originally from Gansu - truly, in these cool autumn days, as snakes and insects take to their nests to sleep and create the next generation, the monsters and demons come out to write blogs.

So where did Sun Wukong come from? To use a really crude expression, he popped out of a crack in the rock. When I was young, one of my neighbors was the 90-something Old Grandma Jin, whose blind eyes did not prevent her from becoming a famous master storyteller in those parts. Our school even invited her to tell her stories to the entire student body. At that time, the school often had people come to give all kinds of presentations - things like the heroic warriors from Mount Faka, or excellent teachers - the most absurd was a professional speaker from out of town whose topic was "Climbers in Chains," but none of these people had as much of an effect on the assembly as did Grandma Jin.

According to Grandma Jin, in those days, Guanyin traveled about on her propitious cloud - that is, "cloud-sailing." When she arrived at the eastern seashore to look at the ocean, she carelessly fell asleep on a rock, and flew off once she awoke. The bodhisattva took a female form at the time - or more correctly, in order to investigate the conditions of the local monkeys, she took on the form of a female monkey. Bodhisattvas have substantial magical abilities, and can transform into thousands of things - transforming into a female monkey, or even a female louse, is nothing special. So as the bodhisattva was sleeping away, her "auntie" made a visit, and the blood ran onto the surface of the rock. She probably did not notice, since otherwise she probably would have wiped it clean before flying off.

With the bodhisattva's blood, the rock was no longer a common rock, but rather a magical stone.

Everyone knows the rest of the story - the magical stone took in the essence of heaven and earth, absorbed the radiance of the sun and moon, and eventually that stone tossed out a monkey.

The story of Journey to the West is actually quite simple; it reflects reports of official actions, or more specifically, the bitter history of the struggles of an official working in the ministry of foreign affairs. I own a dozen or so versions of Journey to the West, and I make annotations as I read them. My greatest stroke came when I realized that Journey to the West is a natural script for a role-playing game. If you've never played an RPG before, then perhaps you've read Lord of the Rings; Rings-like bands typically have the following characters: wizard, knight, warrior (strongman, barbarian), archer, mascot. Take another look at the five characters in Xuanzang's band of disciples: the pale, fat Xuanzang is just like the wizard-leader; however, he is an official master with substantial backing - the Tang emperor's sworn brother - and though he has no magical ability, he is imperially-authorized spiritual leader, similar to a chairman of the board or party secretary; the knight is the administrative leader, like a CEO, and this role is Sun Wukong's; the warrior's role naturally falls to the scruffy Sha Monk; the white dragon horse, at times the third son of the dragon king, at times a horse, could be the mascot that runs with the squad, but he also has fighting ability. So what role is lacking in this Journey to the West squad led by Xuanzang? Naturally, that of the incomparably handsome elf prince in Lord of the Rings, the archer. The squad's last remaining slot - that of the archer - falls to Zhu Bajie. But as everyone knows, Zhu Bajie uses a nine-toothed rake, so how is it that he can become an archer?

"God helps those who help themselves" - I found in Journey to the West the following description of when Zhu Bajie first comes on the scene:

Knotted and rolled his guts hung from his mouth,
His ears like fronded fans, his eyes flashed gold.
Ferocious teeth as sharp as steel files,
His open mouth as hot as brazier fire.
His golden helm hugged tightly to his cheeks,
A silken cord bound python-scale mail.
His hands held out a rake like dragon claws,
A half-moon bow circled about his waist.
Massing his might, he threatened Jupiter,
His towering will put challenge to the gods.

Do you see it? "His hands held out a rake like dragon claws, a half-moon bow circled about his waist." Zhu Bajie had a bow at his waist - he is the only bow-carrier among those in the band. Naturally, he is much uglier than the elf prince, but why is it that the elf prince's ears are so large and pointy? It's like an imitation of Zhu Bajie's big ears. From this we can see that source of the rules of AD&D in the west probably can be found in an eastern source. The great Tolkien perhaps found his inspiration in Journey to the West.

Note 1: When Zhang Jinlai is mentioned in the Chinese press, he is invariably called 六小龄童; his real name is rarely used at all. Since the stage name is awkward to translate, English-language reports typically use Zhang Jinlai instead. See his Wikipedia entry for more details.
Note 2: Shooting and airing of the pilot began in 1982, but it was only in 1987 that the series was aired in its entirety.
Note 3: 欲显刘备之长厚而似伪,状诸葛之多智而近妖. This assessment is from Lu Xun's critique of Romance of the Three Kingdoms in A Concise History of Chinese Fiction.
Note 4: The article by Ke Yunlu that Meng Xiaoshe refers to is here - a lengthy explication of the story of Sun Wukong as an allegory of human growth and maturation. The relationship between Monkey, Buddha, and Guanyin in the book is seen as representative of the typical relationship between a child and his parents. Monkey learns about life, throws tantrums, and receives both indulgence and punishment from his 'parents'.

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There are currently 13 Comments for Insulting the Monkey King.

Comments on Insulting the Monkey King

This kind of rubbish from Zhang Jinlai really gets my goat (but maybe not my monkey). Wasn't Wu Cheng'en's book itself a spoof of traditional cultural and religious themes?

People like Zhang have no right to pretend to be the inheritors of a legacy they don't understand.

I always get a laugh when I hear Chinese saying "it will hurt our feelings". Good heavens, grow up people! Satire isn't supposed to be kind, that's why it's satire!

I think Zhang's point on the US is based on misinterpreting the US Defense Department's practice of reviewing scripts for productions that request DoD participation or support (such as shooting on military bases, etc.) to ensure that they're not lending support to something that makes the military look bad. That's the only thing I can think of that comes close.

I'm not entirely sure how effective that policy has been. I think the DoD has been bamboozled on that point once or twice. Plus, you can always hire the Philippines Army to stand in, as Francis Ford Coppola did for Apocalypse Now. The producers of the Japanese Samurai epic Heaven and Earth shot in Canada for Japan. Tom Cruise in New Zealand. I can think of a few countries that could stand in for China.

The point being, the Chinese MOC --or whoever-- could tell world+dog that no one can come to China and bowdlerize their sacred works, but world+dog will happily film them elsewhere with a digital Forbidden City.

What Will said.

I don't think Zhang has any clue regarding the subtle differences between US military cooperation with civilian films and probably what he's been told or heard through the years regarding US law.

The self-assured ignorance of many "educated" Chinese regarding the United States continually astounds me.

Everything from "Every school child in the United States knows who Lei Feng is!" to "There are so many automatic clothes driers in the US because they have no balconies on which to hang their clothes" (both quotes verbatim from two (Chinese) university educated 30 and 40something Chinese who had visited and toured the US recently) astounds me.

Bottom line: Zhang's a one-trick pony who's apparently made a living playing the same role pretty much through his entire acting career. Change and unemployment scare the crap outta him, as most of us. Except he's too frigging proud and stupid to admit it.

My 29-year-old typically upwaredly mobile, Chinese, college educated girlfriend and her peers think he's a joke, though they have nostalgia for his role in their pasts. Kind of like me and William Shatner in Star Trek except Shatner has learned to laugh at himself.

I won't say my girlfriend and her pals are "typical" but if they are any indication they show more interest in spoofing the Monkey King than in Zhang's vapid, banal pronouncements.

Let the bawdy satires begin!

PS: this is exactly the kind of ignorant stuff I meant when I quoted the previous stuff about "every american school child knowing about lei feng" and why a shortage of balconies forces the need for automatic dryers.

Zhang: "American parents even tell their children that the story of Journey to the West is a vacation to the west taken by two monks and their pig and monkey."

American parents are more likely to tell their children that Snow White is about one kinky virgin taking on 7 mentally impaired misfit trolls than knowing diddley squat about Journey to the West.

"American children will believe that the Chinese were the first to have pets."

If they have any concept at all regarding Chinese and pets, American children will believe -- and with some cause -- that the Chinese were the first to eat their pets.

Direct quote from a conversation about childhood pets with my girlfriend.

"I had a pet rabbit when I was 7. But my uncle ate him."

I don't think Zhang fears that he's going to be out of a job - I'm sure he's pretty well taken-care of by residuals from his earlier Monkey King roles (he'd certainly have negotiated favorable terms for the late-90s sequel even if he didn't get too much of a cut from the first series), and he's actually done some relatively decent, non-JttW stuff.

In particular, in the past few years he's acted in various martial-arts costume dramas - I feel that he was actually quite good in Lian cheng jue as a spineless, sniveling fraud of a kung-fu warrior. See some photos at his official site.

This makes me want to pull an entry from my favorite China-bizarre-lit-blog, written by a (Chinese? Expat?) in Shenzhen. It's the second entry, from March 16, 2006 -

Wukong comes out of the mountain

The golden band was back on Sun Wukong’s head. After five hundred years under the mountain, and an overland journey of 36,000 miles, he once again returned from the western paradise bearing a message. He sold low mobile phone rates, posing for pictures on plastic cards; he advertised candy, batteries, detergent, insurance. He performed the stories of his exploits on television. Tens of millions came to take every treasure, and the wonderful monkey displayed the splendid benefits of them all. For many centuries, he had been loved for his irreverence, directness, and ultimately his sense of justice. He was a god with the sensibilities of a commoner. He was to be redeemed from the upheaval he had created in heaven. Before his mischief, he had been promoted to superintend the heavenly stables as an answer to his demands for a divine title. This strategy was different. He could be called whatever he wanted. Whenever he attempted to deviate from his mission, he became paralyzed by a terrible headache. The deities of serenity had ensured he could not be naughty.

It seems to me that this is exactly the sort of "subversion" Zhang was talking about. I'm not sure we can say it's "spoofing" the Monkey King, or Traditional Chinese Culture, or that it's "violating" the spirit of the original JttW. However, I can see how it might hurt the feelings of at least some Chinese people.

And if that doesn't, check out the July 27 entry on China's trophy city Shenzhen:

For me it's a LOL read, but I can see how it might hurt the feelings of some with more tender sensibilities.

Ok, now that I'm done shilling for that blog, I can move on to this one - Joel, your stuff is always good. Keep it up!

"Seven pairs of greedy little eyes fondled every centimeter of her long dark hair and snow white skin, like a madman licking cream cheese off a bagel.

'Lecherous midgets!' roared Sun Wukong, leaping out from where he had hidden himself as a louse on the dopeyest of his beloved's assailants. 'Fear not, dearest Xuanzang, for I shall not let them Rob you of your essential culture!' cried the Monkey King, beating them off with his mighty rod.

As his beloved monk witnessed his amorous spring into action, she momentarily wondered where he could have possibly hidden himself on something so obviously bald."

Thanks Mike.

I think what Zhang is worried about is the people making Sun Wu Kong too OOC. Like the paragraph above. Hmm. Okay, so the essential protectiveness of his master is not far off the mark, and killing off the evil demons is in character too, the 'dearest xuanzang' was a bit too OOC. I can see how it would offend some Chinese people (my parents, for example). There was an episode where Wu Kong clearly stated he had no interest and no knowledge of romantic stuff. To say that he falls in love with Xuan Zang (female) would be a complete distortion of his character. Now, if the romantic link was carefully developed and the character of Xuan Zang retained the basic characteristics of her male counterpart, I feel that this sort of thing could be justified. However, if Sun Wu Kong suddenly falls in love with Xuan Zang once he meets her, it would be like making King Arthur into a paedophile. Heh, but I think that people don't have to be so uptight about it. If a movie is good, people will watch it, and if it's bad, it'll just fade away into obscurity.

However, one point Yang Jie made was valid, that is, she feared that the next generation would completely misundertand the true meaning of Journey to the West. I think this is true, for if children only watched inaccurate adaptations or spoofs of Xi You Ji, they would certainly grow up with a skewed notion of the fundamental themes of Xi You Ji. Do people in Japan think that Xuan Zang was really a woman, I wonder? Do they know anything about his real life story?

To make my point, here's a thought experiment. Let's say a version of Lord of the Ring with Frodo and Sam being gay and Sauron being a sex-crazed maniac was popularized among the peoples of Asia. The new generation would surely grow up thinking that the novel of Lord of the Ring was just a pornographic novel. Maybe that sort of thing is what Liu Xiao Ling Tong and Yang Jie are scared of.

I am fascinated by this controversy about how Sun Wukong is/or isn't portrayed and am working on a story about the Monkey King for National Geographic and will be traveling to China soon to begin coverage. I'd be grateful for suggestions of people to interview there who are connected to the Monkey King either through profession (i.e. actor) or by passion and feel a deep connection to/or against him. Obviously Zhang Jinlai is a natural, but surely there are others? Am interested in everything from the president of a Monkey King Fan Club in China (if such thing exists) to a teacher who teaches the novel to a marketer who uses him to sell cars. Anything is fair game. Please contact me through my email [cnewman (at) ngs (dot) org]. Many thanks, Cathy Newman

Journey To the West is one of my favourite TV series. It was the first TV show that I enjoyed watching, and after almost 20 years, it still is. I've seen a few episodes of Japan's TV adaptation of JTW, and I must say that their adaptation, along with Hong Kong and Taiwan's, are quite ridiculous. I don't oppose to any attempts to adapt this Chinese classic, but I wish they could do the justice for JTW.

Im Chinese and i very much respect and understand what Zhang Jinlai was saying.
Monkey King it's not only a symbol but also an insperation for the chinese people. if foreign countries want to remake the monkey king they should at least respect this by not making all the ridiculous versions of the monkey king, it's a disgrace.
For all you racist haters out there, before you open your duck mouth to diss my commet dont bother because this shit it already closed with the name "TRUTH" Period.

Well, for an actual example of Western adaptation decay/distillation, there's Dynasty Warriors. (Aka pretty much how I think the average American will have heard of Romance of the Three Kingdoms... probably not under the RTK name, though.)

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