The Foreigner

Jackie Chan’s Quan is the “foreigner” not just because he’s “the chinaman” (as it happens: the politically incorrect title of the source novel)  but because he is the only main character of principle and honour. All the other figures — whether in politics or in terrorism —eagerly betray each other. Ethics and loyalty are foreign to them all. 

In the initial contrast, Quan dedicates himself to avenging the bomb killing of his last daughter (his other two having been killed by Thai pirates). Meanwhile, the ex-IRA Hennessy, now the Deputy Minister for Ireland, betrays his wife and marriage with an affair. His mistress betrays him on behalf of the new Irish terrorists. As tit for tat, Hennessy’s wife betrays him both maritally and politically. When she seduces Hennessy’s nephew, blood runs thinner than betrayal. Unfaithful in love, Hennessy is unsurprisingly exposed as a political turncoat as well. On all sides. 

The film presents modern civilization as a snake pit. For Quan, the one person of integrity, “Politicians and terrorists, they are just two ends of the same snake.” Hennessy’s difference:  “One end bites and the other doesn’t.” As Hennessy ultimately learns, the politicians can be as destructive and dishonourable as the terrorists.

Here’s the interesting point. At a time when the West is hung up on radical Islamic terrorism, abandoning their principles in fear of coloured attackers, this film establishes an Asian as its hero and moral centre, while resurrecting the all-white terrorism the Irish inflicted upon the British. This film refutes with history and drama the hypocrisy of white supremacy.
     This excellent thriller smartly addresses our times.