A new documentary, 'Wham! 10 Days In China,' is set to reveal the complexities and challenges of the pop duo's historic 1985 tour of China, marking the first time a Western pop act performed in the country. The film, which includes previously unreleased footage and new commentary from surviving member Andrew Ridgeley, delves into the awkward encounters, cultural misunderstandings, and unexpected events that defined the groundbreaking trip.
When George Michael and Andrew Ridgeley took the stage in Beijing on April 7, 1985, an audience of 15,000 gathered at the Workers' Gymnasium. However, the duo was met with an unexpected silence, leading to confusion for the performers. "I remember looking at George and I could read his face. There was confusion in his eyes," recalled backing singer Shirlie Holliman. The film captures moments of discomfort and awkwardness, including fans being removed for dancing and a scene where a naked George Michael is massaged while discussing life in a Communist state.
Director Mike Christie described the film as more than a straightforward celebrity documentary, aiming for an authentic account that includes the less comfortable aspects of the journey. Ridgeley, now 63, provides commentary, offering his perspective on the ten days that reshaped Wham!'s global profile. The decision to tour China was a strategic move orchestrated by co-manager Simon Napier-Bell, who sought to fast-track Wham!'s success in the United States by achieving a significant first in China. This ambition was fueled by Michael's desire to avoid the slow grind of smaller venue tours in America.
Napier-Bell spent 18 months and made 13 trips to China to secure the performance dates. In a notable maneuver, he presented Chinese officials with brochures of both Wham! and Queen, with the former's wholesome image proving more palatable than Freddie Mercury's flamboyant persona. Ridgeley recounted an incident where he pulled Mercury away from the edge of the stage at Live Aid, humorously claiming to have saved his life.
Ridgeley expressed reservations about the China tour at the time, calling it "cynical" and feeling they were there under "false pretenses." The band's hired director, Lindsay Anderson, known for his work on kitchen sink dramas, reportedly clashed with the young pop stars. Anderson, according to Christie, had little respect for Michael and Ridgeley, even noting in his diary that he was only doing the film for the money. Ridgeley described the pairing as a "marriage made in the very depths of hell."
Footage shows the duo at the Great Wall and attending a reception hosted by the British ambassador, but Ridgeley noted that being led through contrived scenes was not comfortable. Michael was also grappling with personal issues, including his future with Ridgeley and his yet-to-be-publicly-acknowledged sexuality. In one scene, Michael walks off, leaving Ridgeley to handle the press and fans alone, which Christie interpreted as Ridgeley protecting a fragile Michael.
The cultural differences were stark. Many in the Beijing audience were unfamiliar with Western pop music's loudness and energetic performances. When the breakdancing act Trevor performed, it was perceived as strange by authorities who worried about potential unrest, leading to an announcement for the audience to remain seated. Upon Wham!'s appearance, the silence persisted, with some audience members covering their ears. Chinese singer Cheng Fangyuan noted that the audience didn't know how to react, wanting to move but not knowing how. When one man did dance on his seat, he was removed by police, a moment Napier-Bell described as making the concert political. Michael reportedly called the Beijing concert "f***ing horrible," and Ridgeley found the lack of response disheartening.
The tour faced further turmoil when trumpet player Raul D'Oliveira had a mid-air breakdown and stabbed himself during the flight to Guangzhou. The plane was forced to return, an event journalist David Wigg described as a moment where "we all thought we were going to die."
Guangzhou, being closer to Hong Kong, proved more receptive to Western culture, and the audience there responded enthusiastically. The publicity generated by the China concerts paid off, as Wham! subsequently embarked on a successful U.S. tour.
While authorities reportedly offered the duo payment in the form of 6,000 bicycles, the offer was declined due to the impracticality of currency export. Ridgeley humorously noted that the freight costs would have been excessive.
After viewing a rough cut, Michael and Ridgeley sacked director Lindsay Anderson, finding his footage too ponderous and focused on "agricultural workers and riverboat workers." Anderson's original documentary was never released. However, Christie has utilized Anderson's extensive footage for his new documentary, including the candid scene of Michael discussing Communism while being massaged. The film is set to be released in cinemas on July 28.
Despite the initial difficulties, Michael later reflected on the significance of the Beijing concert, calling it a "great privilege" to be the first to introduce Western pop music to that audience.
