 Other critics , such as Yen Le Espiritu and Huang <unk> , argue that Chan , while portrayed positively in some ways , is not on a par with white characters , but a " benevolent Other " who is " one @-@ dimensional . " The films ' use of white actors to portray East Asian characters indicates the character 's " absolute Oriental Otherness ; " the films were only successful as " the domain of white actors who impersonated heavily @-@ accented masters of murder mysteries as well as purveyors of cryptic proverbs . Chan 's character " embodies the stereotypes of Chinese Americans , particularly of males : smart , subservient , effeminate . " Chan is representative of a model minority , the good stereotype that counters a bad stereotype : " Each stereotypical image is filled with contradictions : the bloodthirsty Indian is tempered with the image of the noble savage ; the <unk> exists along with the loyal sidekick ; and Fu Manchu is offset by Charlie Chan . " However , Fu Manchu 's evil qualities are presented as inherently Chinese , while Charlie Chan 's good qualities are exceptional ; " Fu represents his race ; his counterpart stands away from the other Asian Hawaiians . " 
