Modern critics, particularly Asian-Americans, continue to have mixed feelings on Charlie Chan. Fletcher Chan, a defender of the works, 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." Yunte Huang manifests an ambivalent attitude, stating that in the US, 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.