Eastern tales retold: American adaptations of iconic Asian movies you need to watch now (Photo: IMDb)
Cover Eastern tales retold: American adaptations of iconic Asian movies you need to watch now (Photo: IMDb)
Eastern tales retold: American adaptations of iconic Asian movies you need to watch now (Photo: IMDb)

From ‘Oldboy’ to ‘Godzilla’, countless East Asian works have been reimagined by American directors, to varying degrees of success

Ask almost any cinephile from anywhere in the world, and one of their favourite films will most certainly come from Asia. Because of their unique style, voice, and imagery, Asian films have always been in rather high demand.

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While some directors just see these adaptations as a quick cash grab, others want to reinterpret the films they love to give them a personal touch or a new perspective. Let’s take a look at some of the most popular American remakes of critically acclaimed East Asian films.

‘Oldboy’ (2013)

Above The trailer for the Park Chan-wook-directed 2003 South Korean action-thriller film, ‘Oldboy’

Park Chan-wook’s 2003 film is a gripping thriller that follows a protagonist who was inexplicably imprisoned for over a decade as he seeks revenge and uncovers appalling secrets. The 2013 American remake, directed by Spike Lee, maintains the same core plot but recontextualises it for an American setting.

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While both films explore the heavy themes of identity, vengeance, and redemption, the original is more often praised for its impact and novelty.

‘The Ring’ (2002)

Above The trailer for ‘The Ring’, the Gore Verbinski-directed remake of the 1998 Japanese supernatural psychological horror film, ‘Ring’

The inspiration for this classic film, the 1998 film Ring, was also an adaptation of its own, having been based on a 1991 novel by Koji Suzuki. The original film follows a journalist and her ex-husband as they investigate a cursed videotape that causes viewers to die within seven days of watching it.

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Gore Verbinski’s American remake enhances the visual effects and expounds on the curse’s backstory. Both films are adored by horror fans and film critics alike and have made a name for themselves in popular culture.

‘Ghost in the Shell’ (2017)

Above The trailer for the Rupert Sanders-directed remake of the 1995 Japanese animated film of the same name, ‘Ghost in the Shell’

Starring Scarlett Johansson, Ghost in the Shell is a remake of the 1995 Japanese animated film by the same name, which is in turn an adaptation of the original manga by Masamune Shirow. The anime film follows a cyborg police officer as she hunts down a mysterious hacker.

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The American adaptation is a live-action film that retains the central plot and visual style but emphasises the action and simplifies some of the philosophical elements. The original is acclaimed for its philosophical depth, originality, and influence on sci-fi, while the remake is noted for its visual effects and accessibility.

‘The Departed’ (2006)

Above The trailer for ‘The Departed’, the Martin Scorsese-directed remake of the 2002 Hong Kong action thriller film, ‘Infernal Affairs’

Martin Scorsese’s Oscar-winning film is a remake of Infernal Affairs, a 2002 Hong Kong crime thriller about an undercover cop and a mole in the police force, each trying to unearth the other.

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The Departed brings this story to Boston, with new cultural nuances such as having an Irish mob boss instead of a triad boss. Both films explore the same narrative in different lights and have been praised by film fanatics, if for different reasons.

‘Godzilla, King of the Monsters!’ (1954)

Above The trailer for the Ishirō Honda-directed 1954 classic, ‘Godzilla, King of the Monsters!’

Ishirō Honda’s 1954 groundbreaking kaiju epic marks the introduction of the iconic Godzilla, who would eventually become the star of many more films, the first of these being Godzilla, King of the Monsters!. The 1956 film was a Japanese-American co-production, a combined effort between Honda and director Teddy O. Morse.

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While maintaining the core plot, the remake tones down the origins’s socio-political commentary, but is still well-liked for introducing Godzilla to Western audiences, albeit with a different emphasis.

‘The Lake House’ (2006)

Above The trailer for ‘The Lake House’ the Alejandro Agresti-directed remake of the 2000 South Korean fantasy romance film, ‘Il Mare’

Starring Keanu Reeves and Sandra Bullock, this is an American adaptation of the Korean film Il Mare. It weaves an enchanting tale of two individuals connected through a mysterious mailbox that bridges a two-year gap.

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The American adaptation brings a Western touch to the unique narrative. Both films capture themes of fate and longing and depict the magic of timeless love.

‘The Magnificent Seven’ (1960)

Above The trailer for ‘The Magnificent Seven’, the John Sturges-directed remake of the 1954 Japanese epic samurai action film, ‘Seven Samurai’

This American classic Western was based on Akira Kurosawa’s 1954 film Seven Samurai, which tells of a village of desperate farmers in the Sengoku period who hire samurai to fight off bandits that steal their crops.

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The Magnificent Seven places them as seven gunfighters who are hired to defend a Mexican village. Both films explore nobility, humility, and courage, and the American adaptation also adds racial themes, albeit minimally.

‘A Fistful of Dollars’ (1964)

Above The trailer for ‘A Fistful of Dollars’, the Sergio Leone-directed remake of the 1961 Japanese samurai film, ‘Yojimbo’

This film is an outlier on this list, as it was directed by Sergio Leone, who was Italian. However, it is distinctly American thematically and stars the all-American Clint Eastwood. Much like The Magnificent Seven, this spaghetti Western is based on an Akira Kurosawa film, Yojimbo. Kurosawa’s film follows a samurai again, who arrives in a small town divided by two gangs, playing both sides against each other to free the town.

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In A Fistful of Dollars, an unnamed man, played by Clint Eastwood, similarly arrives in a town divided by two warring families. The towns in both films are plagued by violence and corruption, though unique in their cultural contexts, with the protagonist being a catalyst for change. Kurosawa successfully sued Leone for the unauthorised adaptation, receiving 15 per cent of the film’s revenue.

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