Can we put an end to the American savior theme?

As a ’90s kid, I was a wholehearted fan of the Olsen twins, like many girls my age. I fell in love with So Little Time aired on television, and one day when I was shopping with my parents, they let me pick a DVD, and of course, I went with the Olsens. By coincidence, I chose Passport to Paris, which became my first encounter not only with the Olsen motion pictures but also with the theme of American savior in France.

The 1999 movie tells the story of sisters Alyson and Melanie Porter, whose parents become dissatisfied with their lack of interests other than gossiping and social drama. They agree their daughters need to broaden their horizons, and as a solution, they send them to visit their grandfather, who serves as the American ambassador in Paris. Sisters are initially thrilled to go, but the excitement quickly fades away as they realize that people in the embassy are unpleasantly uptight and their sense of humor is non-existent. They are also displeased with the French cuisine served at the embassy portrayed as disgusting. In the beginning, the girls follow a tight schedule of visiting museums, starting with the Louvre, which they consider captivating at first, but later too dull, even though they finish between lunchtime. Soon as the opportunity presents itself, Alyson and Melanie escape their guardian Jeremy when two French boys they met by accident propose to show them the “real“ Paris. When they manage to get Jeremy on their side, the twins begin to introduce the French people from their grandfather’s entourage to the American (and better) way of life. At the embassy, they challenge the close-minded, prestigious French chef to try food from McDonald’s and teach him how to eat fast food correctly. Of course, it means the American way. The stay in Paris ends with a state dinner, crucial for the ambassador who is supposed to convince the French foreign minister that France should sign the clean water treaty. During the banquet part of the dinner, the guests are delighted with the chef’s burgers named after Melanie. Later, the girls help their grandfather persuade the minister into signing the treaty with a characteristic, inspirational speech. As expected, everyone is impressed with the sisters and their American lifestyle changing their lives forever.

Looking back, one could be surprised the movie wasn’t state-funded, but it’s a standard way of dealing with the European complex. It wasn’t even new for the Olsen twins. This approach to the French had appeared in an earlier movie Billboard Dad from 1998, where sisters try to play the role of matchmakers for the widowed dad. Without any hesitation, the father cancels the date with a French woman the moment he sees her unshaven armpits revealed when waving at a server. The message? French women might appear more sensual, but they are unhygienic, of course, in contrast to their American counterparts.

One has to admit that this wouldn’t mention anyone who lived twenty years ago. Stereotypical, offensive, or simplified representations of different nationalities and minorities were considered normal and widely accepted. In the early 00s, most people would probably applaud the movies’ approach as funny and whimsical, but the times have changed. The movie industry has grown awareness and does its best to portray diverse cultures accurately. It was a significant change for those who could only see their representation on the screen as merely supporting and often offensively contrasting. Yet, it did not apply to everyone.

Anyone who keeps abreast of the internet trends came at least once across memes about Netflix putting as many queer and black characters in the productions as possible. At the same time, the same Netflix premiered Emily in Paris, portraying Europeans in the same old-fashioned, ignorant way as Passport to Paris did back in 1999. The only difference is the age gap between the main characters, worryingly indicating it’s the older audience that opts for that kind of entertainment. Unfortunately, none of the bitter words from the French critics and France-based people, not even a letter from the Ukrainian minister of culture, could stop Emily from another comeback. Despite all the criticism, the show has been renewed for two seasons by the streaming service. It seems that when it comes to Europe, the movie industry has been stuck for twenty years.

When I speak to people who enjoy Emily in Paris, they rebuke the stereotypes but at the same time defend the show as a guilty pleasure where exaggeration allows to create an easy-to-watch, satisfying fantasy of living in Paris. Nobody would say the same thing to justify, for example, wearing blackface or depicting Asians as asexual, alternative geeks. While it’s easy to understand that Europeans receive less compassion than POCs who have suffered from incomparably more discrimination, it’s not an excuse to display any nation in a deriding, disrespectful manner since tolerance can only thrive when it’s reciprocated.

And what about the fantasy part? Is it impossible to savor the Parisian dream without being obnoxiously biased? There are hundreds of possibilities to create great movies about Paris, but it requires giving up on the American savior theme for good. Maybe it’s high time the American-centric movie industry dealt with the deeply hidden fear of losing its American identity to reach out for what’s beyond and embrace other cultures as equals. I would welcome with the greatest joy even something as simple as a French version or copy of Lena Dunham’s Girls or HBO’s Euphoria realistically depicting the life of young Parisians. Not only would it be more interesting from a plot point of view to show issues more complex than a reality show drama, but it would also allow foreign spectators to explore the undeniable charm of a diverse Parisian society.