"Breakthrough" actor James Shigeta passes away

James Shigeta and Flower Drum co-star Myoshi Umeki.

ONE OF the few Asian American actors in the last half-century who could play leading-man roles passed away today (July 29) at the age of 81. Here's the article about James Shigeta from the Daily Variety http://variety.com/2014/film/news/james-shigeta-dies-at-81-1201270730/. 

Shigeta played a lot of movie roles throughout the years - hero, villain, spear-carrier, etc. - and to his credit, he never had to resort to portraying a stereotype.

The role that he is best known for and the one that had the most impact on me was the musical "Flower Drum Song." Originally a Broadway musical, it was released as a motion picture in 1961, The musical and movie were not what we would call "politically correct." It had so many things wrong with it from a 21st century perspective. However, as a young boy, it was a revelation to see an all-Asian cast up on the silver screen singing and dancing and being (so anti-Asian stereotype) - gasp - sexy!

Having Nancy Kwan perceived as sexy is a no-brainer. Who can forget her brash, aggressive performance of "I Enjoy Being A Girl?" American culture has always linked Asian women to sex as in a provocative and sometimes demeaning way-- either as the Dragon Lady or as the exotic creature that will willingly do anything to satisfy men's needs.

But along came Shigeta, a handsome leading man with his deep, sexy voice and presence. He made women swoon. He went against the grain of our society's image of Asian males -- unsexy, geeky and unattractive. With our unfortunate pop-culture tendency to turn screen heroes into role models, Shigeta was the only male role model who looked a little bit like me and a whole generation of Asian boys.

Yeah, "Flower Drum Song," written by two white guys, Oscar Hammerstein and Richard Rogers, was a bit cheesy but it was also groundbreaking in its use of an Asian cast instead of having white actors play the roles in yellow-face and taped-back eyes. Credit the producers for insisting on Asian actors, singers and dancers play the roles.

What was amazing was that the rest of the populace, no matter what race, was also drawn to the musical and its story of culture clash, mistaken identity and love-overcoming-all. Somehow, along the way, despite its financial success, Hollywood never attempted anything like it again.

Thank you Mr. Shigeta for being a bright light as I came of age. He was a reminder that we can aspire to be more than the "acceptable professions" of doctors, engineers or businessmen (or, in my case, an architect). We can take risks. We can be actors, artists, poets, writers, singers, dancers or whatever else we want to be.