User:Cm0030/Journey to the West: Conquering the Demons

Contrasting Character Motives
The two protagonists, Sanzang and Duan, are oriented such that their own motivations and values are positioned against one another. This duality in ideologies is evident early on in the film and continues throughout. This duality in ideologies is evident early on in the film and continues throughout. There are two fundamental distinctions to be made between Sanzang and Duan in this regard. The first involves their motivations and methodologies for demon-hunting. The second is the way in which they each value and conceptualize love.

Demon-Hunting Motivation and Methodology
Sanzang believes that everyone, including demons, has an inner-goodness. Everyone comes from the same pure creation and, even in the presence of evil, this inner-goodness remains. Thus, for Sanzang, conquering demons does not entail violence and harm, but instead is the conquering of the evils themselves which have corrupted the once pure and good characters of their hosts. He believes that there is redemption to be had for these tormented souls. Moreover, Sanzang is outspoken against demon-hunting for fame and fortune. His motivation lies in a desire to help others

Duan does not seem to believe in Sanzang's view of inner-goodness being present in all beings. Thus, she does not adopt a similar method of conquering the evils within. Instead, she opts to conquer the demons themselves through violence and force, believing in the vanquishing of these tormented souls. Unlike Sanzang, Duan's motivation for demon-hunting does not come from a place of wanting to help others, but from a desire for money. She insists that donations are always welcome and seems to welcome the praise of others for her work.

The Value and Concept of Love
Sanzang divides love into two sorts: lesser and greater. Lesser-love refers to a romantic connection with another person, whereas greater-love is the type which brings one closer to Buddha and enlightenment. Sanzang expresses distaste for the former and aspiration for the latter. He strives for this greater-love.

Duan, on the other hand, strives for what Sanzang classifies as lesser-love. However, she does not have any concept of such a description. To her, it is simply love. Her wish in life is to find the man of her dreams and start a family with him.

Interaction and Development
Initially, in terms of methodology and motives for demon-hunting, Duan tends to look down on Sanzang's strategy, especially his use of a book of nursery rhymes. She thinks of him as being foolish and immature. Likewise, in terms of the value of love, Sanzang initially tends to look down on Duan's perpective. He believes that what she strives for is lesser-love and should not be considered to be of any value. In fact, he believes it is a detriment as it will deter one from their path toward Buddha and enlightenment.

Ultimately, both of these characters will alter their views. Duan comes to see Sanzang's motivations and methodologies as very brave and admirable. She looks up to him for combatting demons without violence, and doing so out of goodness and wanting to help others. As well, Sanzang will come to see Duan's striving for love as valid. He throws away his conception of a duality of love, greater and lesser, and instead adopts the principle that all love is love. No one type of love exists which is greater or lesser than another type.

Religious Connections in Journey to the West
The initial novel was interpreted as a religious text. Early examination of the novel displayed a cross-culture of religions, from the main Buddhist references to the addition of Confucianism and Taoism. The differences throughout the film with regards to the various Eastern religions have religious scholars having different outlooks on to the specifics of the religion displayed in the film. The mix of Taoist ideas of internal alchemy and the references to Buddhism create the greatest discord amongst the religious scholars.

Key Ghosts and Demons in Journey to the West
Please keep in mind that because of dialects and translations, you may encounter various ways of spelling the demons names that are described below.

Sha Wujing:


The Demon Sha Wujing is the first demon that we are introduced to in the film. Sha Wujing takes the form of a giant fish that begins by eating the villagers as they celebrate the killing of a giant manta ray, who they all believe, against Sanzang's pleading, is the demon. Also known as the 'Water Demon' in the literature, Sha Wujing's role in the film is to introduce us to Duan and Sanzang and their styles of demon hunting.

Zhu Bajie (Zhu Wuneng):
The Demon Zhu Bajie is the second formidable demon that is encountered in the film. In the film, his human form is that of a mute and playful inn keeper with a waxy visage. His demon form is that of a ferocious pig. Although he tries to trick Duan and Sanzang into becoming victims, Sanzang is able to see through Zhu Bajie's illusions and works with Duan in an attempt to defeat him.



Sun Wukong:
The final and most formidable demon that is encountered in the film is that of Sun Wukong, The Monkey King. Locked by Buddha in solitude in a hidden cave, The Monkey King first appear as a disheveled and awkward older man with monkey-like characteristics to his movements. Through many attempts at tricking Sanzang to release him, he finally succeeds, and we see The Monkey King restore himself to his greatest power and become the Demon Hunters' greatest threat.

The Monkey King as a character in the film adaptation of the classic Chinese literature, has further spawned many different sub-stories, including comics, graphic novels, musicals, and theater performances, amongst other works of entertainment.

Critical Reception
However, the film provides its audience with something beyond entertainment. As American author Grady Hendrix says, "Now a director, Chow ups the stakes and makes what might be his most emotionally compelling movie yet".