【雙語(yǔ)閱讀】成龍為什么攻擊美國(guó)?.

　　Why Did Jackie Chan Body Slam America?

　　Jackie Chan is famous for his glorious on-camera recklessness leaping out of windows, crashing through walls and tumbling from rooftops for the sake of his millions of global fans. Recently, however, he&aposs made a habit of performing a somewhat less crowd-pleasing stunt: Shooting off his mouth.

　　The latest incident occurred last week, during an otherwise mundane interview on Qiang Qiang, a popular talk show on Hong Kong-based cable net Phoenix TV. After 15 minutes spent discussing Chan&aposs latest film, CZ12 (&aposChinese Zodiac&apos), the conversation turned to the action hero&aposs reputation for fervent nationalism, which has prompted criticism from some on the Internet.

　　&aposChinese are dissatisfied with many things, but you always say &aposChina is so good.&apos Now many people on the net are displeased with you,&apos said the talk show&aposs host, Dou Wentao. In response, Chan pointed out that while China has many problems, particularly with corruption, its ascent into global prominence has occurred only over the last dozen years. &aposIf you talk about corruption, does the entire rest of the world 岸 does America have no corruption?#America has the most corruption in the world!&apos

　　After the statement was translated into English by China-watching blog Ministry of Tofu, the Washington Post&aposs Max Fisher penned a commentary on Chan&aposs &aposanti-Americanism,&apos wondering how the star could &apossquare his criticism of the United States with his long embrace of the American film market.&apos

　　The article had the fect that anyone could have expected, generating over a thousand comments and a firestorm of social-media reaction, much of it decrying Chan&aposs &aposingratitude&apos and vowing to boycott his future creative output, in an uncanny echo of the last time a scandal erupted around an Asian pop icon&aposs bashing of America.

　　There are notable differences between PSY&aposs gaffe and Chan&aposs, however. PSY dropped his buzzbomb over a decade ago as a relative unknown, driven by youthful passion and the prevailing attitudes in his native country. Chan hardly has that excuse. He&aposs experienced enough to know that words have power, and he&aposs famous enough for his voice to carry as far as the Internet can reach, in every language in the world.

　　So what could possibly explain Chan&aposs willingness to alienate fans and risk his hard-won reputation with comments that, at the least, could be termed indiscreet? (It seems excessive to call his statement &aposanti-Americanism,&apos when Americans, including action stars like Chuck Norris, regularly spout far harsher charges against America&aposs culture, society and government 岸 but it was certainly poorly considered.)

　　I don&apost know for sure. But I can make a stab at guessing.

　　Back in 1997, I wrote a book called I Am Jackie Chan: My Life in Action 岸 Chan&aposs autobiography, and the first, and to this day only from-the-icon&aposs-mouth accounting of his humble beginnings and rise to international stardom. I spent the better part of that year traveling with him on and off, and listening to the anecdotes of his many-colored life, from his birth to rugee parents in Hong Kong, to his Dickensian years as a foster student at Master Yu Jim Yuen&aposs China Drama Academy, through his wild and woolly stuntman days, and finally his rocky (and then rocketlike) rise to global superstardom.

　　If there was a common theme across all of these many chapters, it&aposs this: Chan&aposs life has been an ongoing, obsessive quest for self-dinition. It&aposs why by the time he was an adult, he&aposd answered to a half-dozen different names, from Chan Kong Sang (&aposBorn in Hong Kong Chan&apos) to Yuen Lo (&aposYuen&aposs Tower&apos) to Chan Sing Lung (&aposBecoming the Dragon Chan&apos) to Fong Sing Lung (after his father let slip the secret that their true family name, obscured during wartime, was Fong); from &aposPaul&apos to &aposJacky&apos to Jackie.

　　It&aposs why he has always surrounded himself with a tight, nearly impenetrable circle of insiders, and why loyalty 岸 to him and from him 岸 is the primary trait of all his closest relationships. And it&aposs the reason why he was Hong Kong&aposs most ebullient cultural ambassador bore 1997 岸 and why now, after Reunification, he&aposs transformed into The New China&aposs most fervent public advocate.

　　Chan&aposs eagerness to belong was shaped by a history of repeated abandonments, separations and betrayals, both small and large. His parents, unable to care for him, signed him over at a tender age to a master who had the right to punish him &aposeven to death.&apos Then, after putting Chan through a decade of harsh training for stardom on the Chinese opera stage, his teacher announced that there was no longer a market for such skills, shut down the school and retired to Los Angeles, leaving his students to fend for themselves with minimal book learning and no adult supervision.

　　His early film years were marked by repeated humiliation and disappointment. Living in the shadow of the late, great Bruce Lee, Chan found himself forced to emulate Lee&aposs stoic screen image, with unconvincing and financially disastrous results. (Even the nom d&aposecran Chan chose for himself, &aposBecoming the Dragon,&apos rlects Chan&aposs youthful aspirations to rise to Lee&aposs heights.)

　　Breaking free from the clutches of Lo Wei, the &aposmillionaire director&apos who would later claim both Lee and Chan as proteges, Chan created the persona that would endear him to millions: Both Everyman and Ubermensch, an ordinary joe with extraordinary abilities hidden beneath his plain surface. But while it served him well in Asia, where he became the biggest and most bankable star of his generation, it did nothing to break him through to the world&aposs largest movie market, the U.S. The forays Chan made into Hollywood 岸 the dull &aposBig Brawl,&apos the clownish &aposCannonball Run&apos films, the misguided &aposProtector&apos 岸 again forced him into roles and contexts that were ill-suited for his abilities and personality.

　　And Chan&aposs youthful interactions with American studio execs and members of the U.S. media during that run, which ranged from dismissive to condescending to straight-up racist, gave him a bad taste that he has never quite been able to wash away.

　　In 1998, &aposRush Hour&apos gave Chan the American success he&aposd long been seeking. But his experience on the film also confirmed many of his suspicions about Hollywood: He has privately expressed resentment over the fact that his costar Chris Tucker&aposs paycheck for the Rush Hour sequels 岸 $20 million and $25 million plus a portion of the gross for RH 2 and 3 respectively 岸 far outstripped what he was paid, even though Tucker has had almost no box-office success outside the RH trilogy, and even though Tucker risked little more than a case of drymouth, while Chan put his fortysomething body on the line in every other scene. (He still rers to the &aposRush Hour&apos films as his &aposleast favorite movies.&apos)

　　So Chan has a bit of bitterness about America, how it treats foreigners, its sense of value and its sense of values. Combine that with his lifelong desire to be an acknowledged and appreciated member of his &aposhome team&apos 岸 channeled into a self-appointed role as chi evangelist for The New China, a place that is lifting itself up by its bootstraps, that&aposs fixing its problems and that&aposs poised to shape the future of the world 岸 and you get a formula for unpredictable blurts of an impolitic nature.

　　In 2004, Chan called the election that gave independence advocate Chen Shui-Bian the presidency of Taiwan &apospathetic&apos and an &aposinternational joke.&apos In 2009, he called for greater restriction of freedoms on China, pointing to Taiwan and Hong Kong as examples of the &aposchaos&apos that occurs when the people are not &aposcontrolled.&apos He has expressed support for China&aposs censorship policies, unleashing angry responses from Chinese Internet users.

　　And yet, despite, or maybe because of his verbal eruptions, Chan&aposs star in China continues to rise. CZ12, by most accounts a mediocre addition to Chan&aposs canon, had a record opening weekend and continued to soar, ultimately becoming China&aposs second-highest-grossing domestic film ever, with over $130 million in total box office.

　　If there&aposs one thing that Jackie Chan has learned how to do in four decades of action, it&aposs falling on his feet.

　　【中文對(duì)照翻譯】

　　成龍?jiān)阢y屏上以“拼命三郎”的形象著稱──為了全球數(shù)百萬(wàn)粉絲，他跳出窗戶，撞穿墻壁，從屋頂翻滾而下。而最近他還經(jīng)常表演嘴皮子上的特技，說(shuō)一些不那么討人喜歡的話。

　　2012年12月10日，成龍作為嘉賓參加香港鳳凰衛(wèi)視(Phoenix TV)的熱門脫口秀節(jié)目“鏘鏘三人行”(Qiang Qiang)。節(jié)目前十五分鐘討論的是成龍的最新影片《十二生肖》(CZ12)，一切似乎都很正常，但隨后話題逐漸轉(zhuǎn)向這位功夫英雄的愛國(guó)言論，結(jié)果引發(fā)了部分網(wǎng)民的批評(píng)之聲。

　　“鏘鏘三人行”的主持人竇文濤說(shuō)：“他們有一些，至少是因?yàn)楸热缯f(shuō)覺得中國(guó)現(xiàn)狀有很多他不滿意的地方，但是你老說(shuō)中國(guó)現(xiàn)在這么這么好，他看著你就有點(diǎn)不順眼?！背升?jiān)诨卮鹬兄赋?，雖然中國(guó)有很多問(wèn)題，尤其是腐敗，但中國(guó)成為世界強(qiáng)國(guó)的真正成功是這十幾年。“你講貪污，全世界──美國(guó)有沒有貪污?……世界最大的貪污!”

　　該言論被關(guān)注中國(guó)新聞的博客“豆腐部”(Ministry of Tofu)翻譯成英文后，《華盛頓郵報(bào)》(Washington Post)國(guó)際事務(wù)評(píng)論員費(fèi)雪(Max Fisher)撰文評(píng)價(jià)成龍的“反美主義”，質(zhì)問(wèn)這位電影明星“長(zhǎng)期擁抱美國(guó)電影市場(chǎng)，怎能如此直率抨擊美國(guó)”。

　　這篇文章一出，反響可想而知，后面跟著一千多條評(píng)論，在社交媒體上也引起軒然大波，大多數(shù)是指責(zé)成龍“忘恩負(fù)義”，并發(fā)誓要聯(lián)合抵制他今后的影片。這與近期韓國(guó)藝人“鳥叔”樸載相(PSY)因十年前反美演出而引發(fā)的美國(guó)公眾抨擊如出一轍。

　　然而，鳥叔的失當(dāng)行為與成龍的反美言論有很大不同。鳥叔十年前還沒怎么出名，年輕氣盛，滿腔愛國(guó)熱血。成龍則找不到這種借口，他世情練達(dá)，理應(yīng)知道言多必失，而且他的名氣足以讓自己的言論通過(guò)互聯(lián)網(wǎng)以每一種語(yǔ)言傳播到世界各地。

　　那么，成龍為什么甘愿與美國(guó)粉絲分道揚(yáng)鑣，讓自己好不容易在美國(guó)建立起來(lái)的聲譽(yù)和形象受到影響呢?他的這種言論至少可以說(shuō)是輕率的。(將其言論打上“反美主義”的標(biāo)簽有些過(guò)于夸張;美國(guó)人自己，比如動(dòng)作演員查克?諾里斯(Chuck Norris)，也經(jīng)常抨擊美國(guó)文化、社會(huì)和政府方面的各種問(wèn)題，有時(shí)候說(shuō)得還更難聽。不過(guò)，成龍說(shuō)的這番話肯定會(huì)引起美國(guó)公眾的反感。)

　　我不敢百分之百確定這里頭的原因，但愿意嘗試猜上一猜。

　　1997年，我寫過(guò)一本書，叫做《我是成龍──我的功夫人生》(I Am Jackie Chan: My Life in Action)。這是迄今為止唯一一本由他親口講述自己如何從一個(gè)小人物成長(zhǎng)為國(guó)際巨星的傳記。那一年，我大部分時(shí)間都陪著成龍四處奔波，一路聽他講多姿多彩人生的奇聞?shì)W事：父母是逃到香港來(lái)的難民，小時(shí)候去香港的中國(guó)戲劇學(xué)院(China Drama Academy)拜于占元為師，當(dāng)替身演員的艱難奮斗，以及成為國(guó)際影星的坎坷之路(但后來(lái)如火箭般一飛沖天)。

　　然而，在成龍豐富的人生篇章中，自始至終貫穿著一個(gè)不變的主基調(diào)：孜孜以求地自我界定。這就是為什么他從小到大用過(guò)六個(gè)不同的名字，包括陳港生、陳元樓、陳仕龍、房仕龍(當(dāng)時(shí)成龍父親說(shuō)出一個(gè)秘密，自己家族其實(shí)姓房，在戰(zhàn)爭(zhēng)時(shí)期改為陳);此外，成龍的英文名也經(jīng)歷了從“Paul”到“Jacky”最后到“Jackie”的過(guò)程。

　　這就是為什么成龍身邊有一個(gè)由內(nèi)部人組成的緊密小圈子，外人幾乎不可能突破進(jìn)去;這就是為什么成龍要求自己最親密的朋友對(duì)自己忠誠(chéng)，而他也會(huì)以忠誠(chéng)相待;這就是為什么成龍?jiān)?997年前是香港最活躍的文化大使，而在香港回歸大陸后，現(xiàn)在又轉(zhuǎn)變成為新中國(guó)最熱心的支持者。

　　成龍這種對(duì)歸屬感的強(qiáng)烈追求是由不斷發(fā)生在他身上的大大小小的拋棄、分離和背叛所造成的。成龍的父母無(wú)力撫養(yǎng)他，從小就把他托付給一個(gè)有權(quán)力把他“打到死”的師傅，在戲臺(tái)上經(jīng)過(guò)長(zhǎng)達(dá)十載的艱辛訓(xùn)練后，他師傅宣布現(xiàn)在已經(jīng)沒有他們所學(xué)技藝的用武之地，把學(xué)校關(guān)掉，去洛杉磯安度晚年，而讓這幫沒念過(guò)幾本書的徒弟在沒有成年人看護(hù)的情況下自謀生路。

　　在早年的從影生涯中，成龍不斷受到各種各樣的羞辱和打擊。在功夫巨星李小龍的陰影籠罩之下，成龍發(fā)現(xiàn)自己不得不模仿李小龍的銀屏形象，結(jié)果不但沒有獲得認(rèn)可，而且生存得也十分艱難。(成龍這個(gè)藝名也有“成為李小龍”的潛臺(tái)詞，反映出他年輕時(shí)渴望達(dá)到李小龍那樣的成功高度。)

　　從“百萬(wàn)富翁導(dǎo)演”羅維的枷鎖中掙脫出來(lái)之后(羅維后來(lái)聲稱李小龍和成龍都是自己一手帶出來(lái)的)，成龍創(chuàng)造出了讓數(shù)百萬(wàn)影迷為之青睞的角色定位：一個(gè)普通人和超級(jí)英雄的結(jié)合體，表面平凡無(wú)奇，實(shí)則深藏不露。這種定位讓成龍?jiān)趤喼奘袌?chǎng)一炮走紅，成為他那個(gè)時(shí)代影響力最大也最叫座的天皇巨星。不過(guò)，這依然不足以讓他打入美國(guó)這個(gè)全世界最大的電影市場(chǎng)。成龍?jiān)诤萌R塢推出三部作品，但都不甚理想：《殺手壕》(Big Brawl)平淡無(wú)奇，《炮彈飛車》(Cannonball Run)演得像個(gè)小丑，《威龍猛探》(Protector)容易使人誤解。成龍?jiān)谶@些影片中的角色和劇本內(nèi)容都與其能力和個(gè)性不相符合。

　　在闖蕩好萊塢的過(guò)程中，成龍與美國(guó)電影制片商和媒體有過(guò)不少交鋒，給人留下或狂妄自大、或委曲求全、或種族主義傾向的不好印象，而這種印象一旦形成，就很難被扭轉(zhuǎn)過(guò)來(lái)。

　　1998年的《尖峰時(shí)刻》(Rush Hour)給成龍帶來(lái)了夢(mèng)寐以求的成功，但拍攝這部影片的過(guò)程也印證了他對(duì)好萊塢的諸多疑慮：成龍?jiān)?jīng)私下抱怨，和他搭檔的影星克里斯?塔克(Chris Tucker)在《尖峰時(shí)刻2》和《尖峰時(shí)刻3》中分別拿到2000萬(wàn)美元和2500萬(wàn)美元的片酬，外加一部分票房提成──遠(yuǎn)遠(yuǎn)超過(guò)成龍的片酬，而塔克除了《尖峰時(shí)刻》系列之外幾乎沒什么票房成功之作，而且塔克不過(guò)是在影片中動(dòng)動(dòng)嘴皮子，而他得拖著四十多歲的身軀在每個(gè)場(chǎng)景中摸爬滾打。(成龍至今依然把《尖峰時(shí)刻》系列稱為自己“最不喜歡的作品”。)

　　因此，成龍對(duì)美國(guó)這個(gè)國(guó)家、對(duì)美國(guó)人如何對(duì)待外國(guó)人、以及對(duì)美國(guó)的價(jià)值觀是有點(diǎn)意見的。在這種背景下，結(jié)合他畢生追求的“組織認(rèn)可”，成龍給自己貼上新中國(guó)首席宣傳官的標(biāo)簽，宣傳中國(guó)正在從底層一步步崛起，正在解決各種問(wèn)題，勢(shì)必能夠影響世界未來(lái)等等。由此看來(lái)，他時(shí)不時(shí)脫口而出一些冒失言論也情有可原。

　　2004年，成龍不滿支持臺(tái)獨(dú)的陳水扁當(dāng)選總統(tǒng)，說(shuō)臺(tái)灣總統(tǒng)選舉讓人悲哀，是個(gè)國(guó)際笑話。2009年，他號(hào)召在中國(guó)對(duì)自由加以更多限制，說(shuō)太自由就會(huì)像臺(tái)灣和香港一樣，變得很混亂，中國(guó)人還是需要被管的。此外，他還公開支持中國(guó)政府的審查制度。成龍的這些言論引起中國(guó)網(wǎng)民的一片罵聲。

　　不過(guò)，即使說(shuō)過(guò)這些話，甚至可能正是因?yàn)檎f(shuō)過(guò)這些話，成龍?jiān)谥袊?guó)的星途依然熠熠生光?！妒ぁ分徊贿^(guò)是成龍的中等水平之作而已，但開映第一周就創(chuàng)下票房紀(jì)錄，而且持續(xù)升溫，最后總票房達(dá)到1.3億美元，成為史上第二賣座的國(guó)產(chǎn)影片。

　　在成龍四十年的從影生涯中，如果有一件事情他很擅長(zhǎng)的話，那就是高空落地，化險(xiǎn)為夷。

　　Why Did Jackie Chan Body Slam America?

　　Jackie Chan is famous for his glorious on-camera recklessness leaping out of windows, crashing through walls and tumbling from rooftops for the sake of his millions of global fans. Recently, however, he&aposs made a habit of performing a somewhat less crowd-pleasing stunt: Shooting off his mouth.

　　The latest incident occurred last week, during an otherwise mundane interview on Qiang Qiang, a popular talk show on Hong Kong-based cable net Phoenix TV. After 15 minutes spent discussing Chan&aposs latest film, CZ12 (&aposChinese Zodiac&apos), the conversation turned to the action hero&aposs reputation for fervent nationalism, which has prompted criticism from some on the Internet.

　　&aposChinese are dissatisfied with many things, but you always say &aposChina is so good.&apos Now many people on the net are displeased with you,&apos said the talk show&aposs host, Dou Wentao. In response, Chan pointed out that while China has many problems, particularly with corruption, its ascent into global prominence has occurred only over the last dozen years. &aposIf you talk about corruption, does the entire rest of the world 岸 does America have no corruption?#America has the most corruption in the world!&apos

　　After the statement was translated into English by China-watching blog Ministry of Tofu, the Washington Post&aposs Max Fisher penned a commentary on Chan&aposs &aposanti-Americanism,&apos wondering how the star could &apossquare his criticism of the United States with his long embrace of the American film market.&apos

　　The article had the fect that anyone could have expected, generating over a thousand comments and a firestorm of social-media reaction, much of it decrying Chan&aposs &aposingratitude&apos and vowing to boycott his future creative output, in an uncanny echo of the last time a scandal erupted around an Asian pop icon&aposs bashing of America.

　　There are notable differences between PSY&aposs gaffe and Chan&aposs, however. PSY dropped his buzzbomb over a decade ago as a relative unknown, driven by youthful passion and the prevailing attitudes in his native country. Chan hardly has that excuse. He&aposs experienced enough to know that words have power, and he&aposs famous enough for his voice to carry as far as the Internet can reach, in every language in the world.

　　So what could possibly explain Chan&aposs willingness to alienate fans and risk his hard-won reputation with comments that, at the least, could be termed indiscreet? (It seems excessive to call his statement &aposanti-Americanism,&apos when Americans, including action stars like Chuck Norris, regularly spout far harsher charges against America&aposs culture, society and government 岸 but it was certainly poorly considered.)

　　I don&apost know for sure. But I can make a stab at guessing.

　　Back in 1997, I wrote a book called I Am Jackie Chan: My Life in Action 岸 Chan&aposs autobiography, and the first, and to this day only from-the-icon&aposs-mouth accounting of his humble beginnings and rise to international stardom. I spent the better part of that year traveling with him on and off, and listening to the anecdotes of his many-colored life, from his birth to rugee parents in Hong Kong, to his Dickensian years as a foster student at Master Yu Jim Yuen&aposs China Drama Academy, through his wild and woolly stuntman days, and finally his rocky (and then rocketlike) rise to global superstardom.

　　If there was a common theme across all of these many chapters, it&aposs this: Chan&aposs life has been an ongoing, obsessive quest for self-dinition. It&aposs why by the time he was an adult, he&aposd answered to a half-dozen different names, from Chan Kong Sang (&aposBorn in Hong Kong Chan&apos) to Yuen Lo (&aposYuen&aposs Tower&apos) to Chan Sing Lung (&aposBecoming the Dragon Chan&apos) to Fong Sing Lung (after his father let slip the secret that their true family name, obscured during wartime, was Fong); from &aposPaul&apos to &aposJacky&apos to Jackie.

　　It&aposs why he has always surrounded himself with a tight, nearly impenetrable circle of insiders, and why loyalty 岸 to him and from him 岸 is the primary trait of all his closest relationships. And it&aposs the reason why he was Hong Kong&aposs most ebullient cultural ambassador bore 1997 岸 and why now, after Reunification, he&aposs transformed into The New China&aposs most fervent public advocate.

　　Chan&aposs eagerness to belong was shaped by a history of repeated abandonments, separations and betrayals, both small and large. His parents, unable to care for him, signed him over at a tender age to a master who had the right to punish him &aposeven to death.&apos Then, after putting Chan through a decade of harsh training for stardom on the Chinese opera stage, his teacher announced that there was no longer a market for such skills, shut down the school and retired to Los Angeles, leaving his students to fend for themselves with minimal book learning and no adult supervision.

　　His early film years were marked by repeated humiliation and disappointment. Living in the shadow of the late, great Bruce Lee, Chan found himself forced to emulate Lee&aposs stoic screen image, with unconvincing and financially disastrous results. (Even the nom d&aposecran Chan chose for himself, &aposBecoming the Dragon,&apos rlects Chan&aposs youthful aspirations to rise to Lee&aposs heights.)

　　Breaking free from the clutches of Lo Wei, the &aposmillionaire director&apos who would later claim both Lee and Chan as proteges, Chan created the persona that would endear him to millions: Both Everyman and Ubermensch, an ordinary joe with extraordinary abilities hidden beneath his plain surface. But while it served him well in Asia, where he became the biggest and most bankable star of his generation, it did nothing to break him through to the world&aposs largest movie market, the U.S. The forays Chan made into Hollywood 岸 the dull &aposBig Brawl,&apos the clownish &aposCannonball Run&apos films, the misguided &aposProtector&apos 岸 again forced him into roles and contexts that were ill-suited for his abilities and personality.

　　And Chan&aposs youthful interactions with American studio execs and members of the U.S. media during that run, which ranged from dismissive to condescending to straight-up racist, gave him a bad taste that he has never quite been able to wash away.

　　In 1998, &aposRush Hour&apos gave Chan the American success he&aposd long been seeking. But his experience on the film also confirmed many of his suspicions about Hollywood: He has privately expressed resentment over the fact that his costar Chris Tucker&aposs paycheck for the Rush Hour sequels 岸 $20 million and $25 million plus a portion of the gross for RH 2 and 3 respectively 岸 far outstripped what he was paid, even though Tucker has had almost no box-office success outside the RH trilogy, and even though Tucker risked little more than a case of drymouth, while Chan put his fortysomething body on the line in every other scene. (He still rers to the &aposRush Hour&apos films as his &aposleast favorite movies.&apos)

　　So Chan has a bit of bitterness about America, how it treats foreigners, its sense of value and its sense of values. Combine that with his lifelong desire to be an acknowledged and appreciated member of his &aposhome team&apos 岸 channeled into a self-appointed role as chi evangelist for The New China, a place that is lifting itself up by its bootstraps, that&aposs fixing its problems and that&aposs poised to shape the future of the world 岸 and you get a formula for unpredictable blurts of an impolitic nature.

　　In 2004, Chan called the election that gave independence advocate Chen Shui-Bian the presidency of Taiwan &apospathetic&apos and an &aposinternational joke.&apos In 2009, he called for greater restriction of freedoms on China, pointing to Taiwan and Hong Kong as examples of the &aposchaos&apos that occurs when the people are not &aposcontrolled.&apos He has expressed support for China&aposs censorship policies, unleashing angry responses from Chinese Internet users.

　　And yet, despite, or maybe because of his verbal eruptions, Chan&aposs star in China continues to rise. CZ12, by most accounts a mediocre addition to Chan&aposs canon, had a record opening weekend and continued to soar, ultimately becoming China&aposs second-highest-grossing domestic film ever, with over $130 million in total box office.

　　If there&aposs one thing that Jackie Chan has learned how to do in four decades of action, it&aposs falling on his feet.

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