John Cho’s portrayal of Sulu in J.J. Abrams’ 2009 Star Trek reboot was a significant moment, propelling him from a recognizable character actor to a more widely known name, particularly within certain demographics. This role reimagined Sulu, originally played by George Takei, and presented a departure from typical Asian character portrayals in mainstream cinema.
Traditionally, Asian actors in Hollywood were often confined to roles as supporting, often quirky, side characters, relegated to tech-centric tasks while their white counterparts took center stage in action sequences. However, Abrams’ Star Trek offered a refreshing change. Sulu was depicted as the action-oriented member of the Enterprise crew, showcasing martial arts skills. His fencing background, mentioned in the film, added a layer of sophistication to his combat prowess.
Beyond Star Trek, Cho’s filmography includes a diverse range of roles, albeit sometimes in projects that didn’t quite reach critical acclaim.
Exploring John Cho’s Diverse Movie Roles
TOTAL RECALL (2012)
The 2012 remake of Total Recall, starring Colin Farrell, offered a reimagined take on the Arnold Schwarzenegger classic. In this futuristic action film, John Cho appeared in a smaller role as a character named McClane. While the role itself wasn’t particularly substantial, it placed Cho in a big-budget science fiction setting, further expanding his presence in mainstream cinema. Interestingly, his appearance featured him with blonde hair, a visual departure from his typical look.
SELFIE (2014)
Transitioning to television, Cho took on a leading role in the ABC sitcom Selfie. This role was particularly noteworthy as it positioned Cho as a romantic lead, a rarity for Asian actors in American television at the time. As highlighted in a Washington Post article from that period, the show had the potential to make history by featuring the first Asian romantic lead on network TV. Despite the buzz and Cho’s performance, Selfie was unfortunately canceled after just 13 episodes, cutting short the exploration of his character’s romantic arc.
The premise of Selfie, however, shares some thematic similarities with Tina Fey’s Unbreakable Kimmy Schmidt. Both shows touch upon the evolving landscape of romantic pairings on screen. Kimmy Schmidt notably features a romantic relationship between Ellie Kemper’s character and Dong Nguyen, played by Korean-American actor Ki Hong Lee. While Dong’s Vietnamese background and the actor’s Korean ethnicity present a somewhat unconventional casting choice, it contributes to the broader trend of Asian men being featured in romantic storylines.
While shows like The Walking Dead have also depicted interracial relationships with Asian men, the broader representation in popular media remains limited. The significance of roles like Cho’s in Selfie and characters like Dong in Kimmy Schmidt lies in their contribution to broadening the spectrum of how Asian men are portrayed in romantic contexts on screen.
SEARCHING (2018)
A significant milestone in John Cho’s career is the 2018 thriller Searching. This film marked a true leading role for Cho in a critically acclaimed and commercially successful movie. Searching is notable for its innovative narrative structure, unfolding entirely on computer and phone screens. Cho’s compelling performance as a father desperately searching for his missing daughter garnered widespread praise and further solidified his status as a leading man.
The Ongoing Evolution of Representation
John Cho’s career trajectory reflects the slow but ongoing evolution of Asian representation in Hollywood. While a truly definitive, leading man role in a major blockbuster has remained elusive, his consistent presence in diverse projects and his critically lauded performance in Searching point towards a more inclusive future. Fan-generated content, such as digitally altered movie posters imagining Cho in iconic roles like James Bond, further illustrate the desire for and potential of seeing Asian actors in traditionally white-dominated leading roles. The journey towards full and equitable representation is ongoing, but John Cho’s filmography serves as an encouraging indicator of progress and the exciting possibilities ahead.
