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Red Corner (1997)

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An American attorney on business in China is wrongfully arrested and put on trial for murder, with a female defense lawyer from the country the only key to proving his innocence.

Director:

Jon Avnet

Writer:

Robert King
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Cast

Cast overview, first billed only:
Richard Gere ... Jack Moore
Bai Ling ... Shen Yuelin
Bradley Whitford ... Bob Ghery
Byron Mann ... Lin Dan
Peter Donat ... David McAndrews
Robert Stanton ... Ed Pratt
Tsai Chin ... Chairman Xu
James Hong ... Lin Shou
Tzi Ma ... Li Cheng
Ulrich Matschoss Ulrich Matschoss ... Gerhardt Hoffman
Richard Venture Richard Venture ... Ambassador Reed
Jessey Meng Jessey Meng ... Hong Ling
Roger Yuan ... Huan Minglu
Chi Yu Li Chi Yu Li ... General Hong
Henry O Henry O ... Procurator General Yang
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Storyline

Jack Moore is an American attorney having talks in Bejing about founding the first satellite TV joint venture. Suddenly he is arrested, accused of murder and has to prove it was a frame-up together with his court-appointed attorney Shen Yuelin. Written by Anonymous

Plot Summary | Add Synopsis

Taglines:

....severity for those who resist. See more »

Genres:

Crime | Drama | Thriller

Motion Picture Rating (MPAA)

Rated R for some violence and a scene of sexuality | See all certifications »

Parents Guide:

View content advisory »
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Details

Official Sites:

MGM

Country:

USA

Language:

English | Mandarin

Release Date:

31 October 1997 (USA) See more »

Also Known As:

Justiça Vermelha See more »

Filming Locations:

California, USA See more »

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Box Office

Budget:

$48,000,000 (estimated)

Opening Weekend USA:

$7,403,362, 2 November 1997

Gross USA:

$22,459,274

Cumulative Worldwide Gross:

$22,459,274
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

DTS | DTS-Stereo | Dolby SR

Color:

Black and White (flashbacks)| Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Trivia

Production designer Richard Sylbert took two research trips to China, where he took over 1,500 photographs in order to provide himself with real-life references for the film's massive sets. See more »

Goofs

At the very beginning of the film, the little girl looks up at the sky and blocks out the sun with her hand. But it is totally obvious that she is blocking out nothing, for there is no shadow of her hand across her eyes. See more »

Quotes

[first lines]
Shen Yuelin: When I was a child I would come to this park and play, and my grandmother would tell me why the bamboo was here. She said, it is waiting for the wind to touch it. It is filled with emotion. Listen to the sound, and you can feel that.
See more »

Crazy Credits

The opening title is first displayed in Chinese "letters" (called hanzi) which then change into English. See more »

Connections

References Star Trek (1966) See more »

Soundtracks

I Heard It Through The Grapevine
Written by Norman Whitfield and Barrett Strong
Performed by Marvin Gaye
Courtesy of Motown Record Company, L.P.
By Arrangement with PolyGram Film & TV Licensing
See more »

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User Reviews

Boxer Rebellion in Madison Square Gardens?
26 April 2004 | by philipdaviesSee all my reviews

Essentially what we are shown here is not the classical American court drama. When our 'Mr. Deeds' goes to town, the town is Beijing, and his case becomes a show-trial in the cockpit of a new Chinese revolution that is taking place between the old-guard Maoists and the modernisers.

Richard Gere's American is an alienated, rootless 'Rick' caught in the cultural cross-fire between two power blocs. It is his enforced engagement with the reality of another world-view and the struggle of an intelligent Chinese woman to redeem the revolutionary excesses of her culture that lead directly to the Casablanca-esque ending, where love is sublimated beyond the personal to an ideal understanding and identification - 'You have a family here' - with the historical plight of a people.

This explains Richard Gere's unusually selfless performance, where he has had the taste and intelligence to let the women, particularly his Chinese defence lawyer, dominate every situation and every scene. Indeed, this feminist tendency in the film is also reflected in the consistently hostile view taken of the militaristic structure of Chinese state power as so much authoritarian posturing. As symbol of a new China the young woman lawyer is most effective: The ancient Greeks also saw the spirit of unbiased law as female, and Shakespeare's Portia is another such paradigm. And the actress portraying her illuminates the screen with her passionate intellectual intensity.

There is an effective parallelism to the revolutionary acts which destroyed the young lawyer's father during the time of the Cultural Revolution, leaving her with crippling and unresolved guilt, and the barrel of a gun in the hands of the murdered girl's father which alone can resolve the historical tensions at work in the courtroom, and reverse all the political lies in a new revolutionary act, additionally realising the great potential of a young China, by freeing that stirring Chinese conscience from its historical contradictions.

So this is an intelligent political thriller, although those of a more Costas-Gavrian or Godardian intellectual purity do seem to resent seeing a crisis of the Left viewed even from a very disengaged American viewpoint, disliking the humanist American strain of populist appeal in a political context, and resenting the smooth professionalism of the presentation as a mere circus. Even stranger are the objectors to Gere's Buddhism, who seemingly take fright at the intrusion of other perspectives into their own blinkered focus! In any case, Buddhism seems clearly not to be an issue to the scriptwriter.

This film in no way presents itself as the last word on its subject - but it is an intelligent and engaging movie, which, far from slandering the Chinese in the manner some vintage Korean-War tub-thumper about the 'Yellow Peril', goes out of its way not to identify the Chinese people with their masters. Curiously, this is exactly what the film's detractors do!

There is a sly reference to the Boxer Rebellion that began China's long road to modernisation, in the person of the trusty who was sent to beat up or even kill the American, but who comes to see that the real foreign devils in this instance are the corrupted Chinese officials who have sold out to the worst foreign traits of cynicism and greed by doing back-door deals with an unscrupulous Western communications company, and who finally confesses his error with true selfless revolutionary earnestness.

The fact that this Boxer Rebellion is played out in the blockbuster film equivalent of Madison Square Gardens, and is mightily entertaining throughout, has led many critics to assume that all they have been presented with is a superficial entertainment unworthy of such a serious subject. Actually, the film is fully engaged with the tragedy and passion of the Chinese people as they try to work out their destiny, and the proof of this is that, to any unbiased observer, the film leaves one with a new respect for the Chinese people, caught up in the complexities of their own history, and struggling for a better life. There is nothing patronising; there is emphatically no United States Cavalry riding to the rescue.

And I should have thought the contempt shown throughout towards official American diplomacy and state policy would have appealed to the most anti-American leftist. But are the critics just taking fashionable left jabs at their own right-wing bogies? - and I do mean Humphrey! Let us leave these obsessives to their futile shadow-boxing, forever engaged with an opponent entirely constructed from the straw which evidently bulks out their own brain-pans.


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