A Thousand Ways to be Pissed Off: The Green Hornet

Dear Millicent,

Yesterday I had a kind of attack in the movie theater. It was like all my talk about the protagonist’s diet became real, finding me in a reckoning of blood pressure and sweaty hands. This movie was the straw that broke my hump with its the insistence that nobody but white dudes have full measure in the world.   It was a blindness spiral. I had to become an angry humorless feminist because they so severely reduced everybody except the lucky white male protagonist. This must happen in all kinds of movies, but this was the one for me that did it. I couldn’t see anymore because they couldn’t see, but I had given 11 dollars to be there, and all I got from them was a big fat dose of ire.

We talk a lot here about the rarity of the three dimensional female character in media, but that rarity extends to most groups who aren’t of the privileged white dude variety. The Green Hornet has become the blazing example of how bad of a thud that loss makes.

I get that The Green Hornet is a spoof, and enjoys poking at the rigidity of the super-hero genre.  After the first scene of the movie, I was in, happy to see a script (and a Franco) making fun of the stuff of movie villains, calling out wardrobe, names, and secret hideaways. I thought we were about to watch a smart movie with a lot of action and some 3-D icing on top. It seemed like a nice way to go braindead for the afternoon.

Instead, you get a tour of how great it is to be a privileged white guy. The movie could practically be a manual for how to move around with privilege and power built by race and gender. Seth Rogen, as the Hornet, becomes our very lucky white guy/textbook example of power and privilege. He has inherited his fortune from the empire building of his dad. He parties and likes to ruin things with abandon (there is a distinct joy in smashing plasma TVs in the movie).  He gets a super powerful job because of his family. He has little regard for how his actions affect others. He’s stupid, but it doesn’t matter. He never gets called on any of his trespasses.  The world changes on his time alone–it’s only when he realizes things matter that they actually matter.

Here’s a more of a breakdown of the roles in the movie:

Lucky White Guys:  the hornet, the hornet’s emotionally cold dad, the district attorney. The all wear suits and have huge offices with couches. They have POWER.

The criminals: corner criminals are all black or latino men.  The kingpin is named Chudnofsky and fights with Armenian and Korean kingpins, so all crime is controlled by foreigners.  Sexy assassin types are provided by Asian women who work in a massage and nail parlor. The one white criminal is a sweaty guy who makes crystal meth.

Edward James Olmos belaboredly announces in some rough exposition that he was Rogen’s father’s “most trusted friend for 46 years.” I think he starts as the chauffeur in the early scenes of Rogen’s childhood, but in present day is the savvy news editor who knows what is good for the paper, if only idiot Rogen would listen to him.  We all know he should be the real director of the paper, but Rogen takes that desk after his father’s death, and only gives it over to Olmos at the end as if bestowing a grand gift to a grateful man.  And, we are not supposed to be happy for Olmos, but happy for Rogen in that he has learned something and become a better man.

Kato: His character is from Shanghai, and he provides all of the action in the movie. He knows martial arts, builds machines, appreciates good coffee, and drives his motorcycle really fast.  In one way, it’s great to see an Asian man have a major role in a movie. But he has to be a servant for a man who uses all his ideas and takes credit for his successes. And the amount of jokes relying on the word “little” is ridiculous. He is constantly called “my little sidekick,” or “you are so cute and little,” as Rogen tries to insult/feminize him, or when Rogen is absentmindedly just sounding like an asshole. Plus, there is an amazing Devil Wears Prada moment when Rogen snaps back all of the cozy “we are brothers” friendship shit that he and Kato have been enjoying and reduces Kato back to his proper servant status (he asks him to get a coffee, something, that when he recruited him, he said Kato should never have to do again, ever), all because Kato dared talk to a girl he likes. The movie plays with the idea that the two men are equals, but Rogen’s character only lets that balance exist when it suits him,

Women:  Women in no way exist in this movie. We have: the Asian assassins (who walk around in the movie for about 30 seconds, but with daggers and lace!), the framed picture of the Green Hornet’s dead mother, one female editor who is at a meeting, girls at parties around Rogen, the girl he makes out with in his father’s cars, and Cameron Diaz, who is harassed so intensely throughout the piece that I wanted to slap everybody. Diaz shows up mid movie as a temp. She is all sweetness, even wearing a prim linen dress. Rogen refers to her instantly as “the hottie mctottie” who is quickly hired because of her fineness.  She never blinks at how he talks to her, and graciously takes the job.  During her interview, he asks her age and finds 35 to be ridiculously old.  The only chance her character has is to say that she doesn’t want to talk about it, which is barely respected.  Of course, she turns out to be smart and really good at research, so they rely on her for all facts about what the Hornet should do next.  They both hit on her constantly, fight over her, and she gets fired for the rumor that she slept with one of them.  Then they show up at her door and want refuge, calling her the “mastermind” of their escapades, as if that is some gesture at giving her character some actual value. You could take her out of the movie and nothing about the plot would be altered, and she is treated solely as a prop who wears very short shorts when at home alone. She does utter the words “I will sue you for sexual harrassment,” but it is only after Rogen has verbally harrassed her, fired her for an alleged sexual encounter, tried to walk into her house without invitation, leaned in for a kiss, so it all just seems like the worst.

The movie is also full of lines like “don’t be a pussy,” “you were penisless,” “girls are annoying, thank goodness there aren’t any here,” “this day is going to be balls” (a good thing), “I like my women with balls,” etc.

As a special companion to all of this, there is also an extreme thread of homophobia throughout. When Kato is introduced as “my man,” both men stumble on explaining that it’s not meant romantically.  This joke comes up often usually ending with the awkward assurance that it wasn’t meant “in that way.”

With every group shit on except the lovable goofy lead, I couldn’t take it anymore. I am fatigued. I know the Green Hornet is supposed to be an asshole. That might be why he manages to insult everybody except the other white men in the movie, and while I’d love to give the script this credit, I can’t do it.  It’s not calling out privilege, it’s celebrating it.  Nothing in the movie calls the Hornet on his assness. When he lashes out at Kato for hitting on Diaz, he lies and said he did it to keep their cover in the office. Kato accepts this as a reason, and though he warns him never to talk to him that way again, he lets the beef go. When the Hornet demands that he run the show, even though this ends up risking tons of lives, it’s fine. Nobody gets mad at him. When he fires Diaz for something she never did and he could never legally fire her for, she simply takes her job back with twice the pay, because he asked nicely and promised never to do it again.  The classic transformation of jerk to mature hero here isn’t even about all of his assholery. It all boils down to the dumb daddy issue that he thought his dad was a bad guy, but he really wasn’t.  The Hornet doesn’t have the epiphany that he mistreats others, he has the narcisstic awakening that his inheritance is something to be proud of, not pissed on.

And with all this, I feel broken. This movie is about white guys for white guys, and is a shining example of how clumsy and singular, and powerful, that frame of reference is. It erases all of us. I told Mr. Carla Fran as we left something that I am sure has been said thousands of times by thousands of people: I just want to see a mainstream big-budget movie that admits I exist.




6 Responses to A Thousand Ways to be Pissed Off: The Green Hornet

  1. Millicent says:

    Dear CF,

    Your visceral rage/fatigue sounds an awful lot like what I went through watching the Stark Trek reboot all those many moons ago. It sounds awful. Might the silver lining be that it shows the underlying perniciousness of those world views that make Judd Apatow’s particular brand of bromance possible?

    I concluded, with Star Trek, that I can’t support these movies. No more seeing them in theaters. No more letting studio execs get away with thinking that a movie about a dude is “neutral” or “universal,” or that a lame half-lampoon of the superhero genre that lets its protagonist skimp by on what we’ve come to see as the charm of slackerism is “broad comedy” when it’s self-indulgent and irresponsible bilge. Let them feel the economic consequences. Since they’ve already written us out of the plot, let’s write ourselves out of the market they think they’re targeting.

    Things that are worth seeing in theaters, and that we should probably talk about: True Grit.


    • Carla Fran says:

      Oh I know. This is also why my ire is so so high. I paid them eleven dollars for it. I encouraged them.
      True Grit, yes. Let’s do talk!

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  3. Subashini says:

    God, I loved reading this again now that I’ve actually seen this movie. I have a bit of an intense and emo soft spot for Eternal Sunshine of the Spotless Mind (it was the movie where I finally learned to like a Jim Carrey performance, for one thing) but Michel Gondry gets it so wrong here. Not helped, no doubt, by that limp as a dishrag dialogue/writing supplied by Seth Rogen and… some other co-writer dude.

    That’s an interesting point about Cameron Diaz’ character, although if I remember there is a part where she blinks, as it were, and that’s when Seth Rogen’s character refers to her age. But he tries to cover it up with more smarminess, and she graciously accepts the job, as you put it… as though implying that Seth Rogen is so DAMN CHARMING EVEN CAMERON DIAZ FINALLY GIVES IN. I know, it’s a tough economy we’re in and jobs are scarce, but still… Did it seem to you that she looked like she was in pain in every scene she was in, even when she was smiling? It’s a terrible role. I’ve not read the comics or seen the original TV series, so I’m not sure if she’s a new character or was part of the original . It felt like a superficial tacking on of what the writers think constitutes “modern day feminism” in which Diaz’ character gently chides Rogen’s character for being an ass but is grateful and sweet to him anyway, because he is a man with money and connections and he gives her a job and he’s so cute and a bumbling fool, etc.

    As for Jay Chou, mega Asian superstar – how terrible for him to play second fiddle to a Seth Rogen character. No doubt he did the movie to tap into the Bruce Lee legacy, but did he know the results would be so awful?

    • Carla Fran says:

      I’m with you Eternal Sunshine. It is one of those movies that I’ll keep in the vault of movies I love to watch for the rest of my life. And Gondry usually has something up his sleeve to wake his audience up. Not here though. I did hear a rumor that Rogen was a bit of an enfant terrible on the set, and pretty much demanded Gondry do his bidding, so maybe we can feel better, in a way? As for Chou, I heard he was courted for this movie because of growing audiences in China, and the hope that the movie would at least make a ton of money internationally, even if it bombed over here. And while critics panned it here, this strategy seems to have worked. Domestic take was $35 million, but $148 million worldwide.
      As for Diaz, oh jeez. I can only hope she got a big paycheck.

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