Agreed, but it is interesting that its blatant ludicrousness did not prevent it from being used, which may be an even more disturbing signifier of yellow-face than the actual disguise itself.
I think audiences today are willing to suspend disbelief as well–but their reasons for doing so might be a little different. More than physical verisimilitude, I think for viewers today more depends on how authentic they feel the characters and story are. To go back to a film I mentioned earlier: the phoniness of the backgrounds in MARNIE will never be a problem since the authenticity of the story of male/female dominance/submission that Hitchcock tells is overwhelmingly authentic.
Yes. No longer is there the thrill of a house’s facade falling down and Buster Keaton standing in the single, exact spot necessary for a window to spare him.
First, I will admit that being taken out of story is something that rarely happens to me since I generally do not get caught up in plot (Dardennes Brothers films are the main exception). I tell people that I still go to HAMLET even though I know he dies at the end (my husband is just the opposite–if a plot does not grab him in the first few minutes–forget it. He has dubbed the art films I love “French poetry movies” no matter their country of origin).
Regarding the scene in question: the fight between the two characters was authentic to me in terms of the two opposing visions they represented with the physical realism of the fall being secondary–the fight could have been staged anywhere since this argument is very much alive today in the Black community.