 Some modern critics , particularly East Asian @-@ Americans , dismiss the Charlie Chan character as " bovine " and " asexual " , allowing " white America … [ to be ] securely indifferent about us as men . " Charlie Chan 's good qualities are the product of what Frank Chin and Jeffery Chan call " racist love " , arguing that Chan is a model minority and " <unk> " . Fletcher Chan , however , argues that the Chan of Biggers 's novels is not subservient to white characters , citing The Chinese Parrot as an example ; in this novel , Chan 's eyes blaze with anger at racist remarks and in the end , after exposing the murderer , Chan remarks " Perhaps listening to a ' Chinaman ' is no disgrace . " In the films , both Charlie Chan in London ( 1934 ) and Charlie Chan in Paris ( 1935 ) " contain scenes in which Chan coolly and wittily dispatches other characters ' racist remarks . " <unk> Huang manifests an ambivalent attitude , stating that in the USA , Chan " epitomizes the racist heritage and the creative genius of this nation ’ s culture . " Huang also suggests that critics of Charlie Chan may have themselves , at times , " caricatured " Chan himself . 
