Richard Gere, the Hollywood heartthrob known for his roles in films like “Pretty Woman” and “An Officer and a Gentleman,” once found himself at the center of a diplomatic storm over a movie that was never even made. The project, titled “Red Corner,” was set to be a thriller about an American lawyer who finds himself wrongly accused of murder in China. However, the film’s production was plagued by controversy, ultimately leading to its cancellation and a tense standoff between the United States and China.
The film’s plot revolved around Gere’s character, Jack Moore, a successful attorney who travels to China to negotiate a business deal. After a night of partying, he wakes up to find his lover dead in his bed. Despite his innocence, Moore is arrested and thrown into a Chinese prison, where he faces a corrupt legal system and the threat of execution.
Gere, a vocal supporter of Tibetan independence, had long been a target of the Chinese government. His involvement in “Red Corner” further inflamed tensions between the two countries. The Chinese government viewed the film as a thinly veiled attack on their judicial system and a propaganda tool for the Dalai Lama, the exiled spiritual leader of Tibet.
In response to the film’s production, the Chinese government threatened to boycott American films and withdraw its cooperation from Hollywood productions. The Chinese government also pressured Gere to apologize for his support of the Dalai Lama, but he refused.
Ultimately, the controversy surrounding “Red Corner” led to its cancellation. The film’s director, Jon Avnet, was forced to drop out of the project, and Gere was unable to find another director willing to take on the controversial film.
The fallout from “Red Corner” had a lasting impact on Hollywood’s relationship with China. For years, American filmmakers were wary of producing films that could offend the Chinese government. This self-censorship led to a decline in the number of films set in China or featuring Chinese characters.
Despite the controversy, “Red Corner” remains a fascinating case study in the intersection of Hollywood and international politics. The film’s failure to materialize serves as a reminder of the delicate balance between artistic expression and diplomatic relations.
