The last time I saw Flower Drum Song on a big screen was at the Asian Pacific American Studies event at New York University, spurred on by David Henry Hwang's Broadway revival which received favorable reviews except for one paper. I was invited because my father created the film titles. Socialogical connotations at the event were discussed: cultural and generational conflicts, old and new set in the City on Golden Hill, the quest to achieve, etc. I have seen the original musical, the film many times, and the revival which deserved a longer run. Then the film began. I was impressed by Nancy Kwan's acting and others, memorable musical numbers and the opening and closing title paintings by my father, Dong Kingman. In many ways a beautiful film, and a case can be made, a pioneering one. Okay so it is a bit corny, a few young members of audience uneasily snickered at the stereotypes, scenes could have been cut, especially one fantasy sequence. Yet the Flower Drum Song endures and to enjoy. Rating is 7 1/2, plus half star more for dad.
66 Reviews
New DVD Resuscitates Rodgers and Hammerstein's Quaintly Entertaining East-Meets-West Musical
EUyeshima7 November 2006
As a Japanese-American raised in the 1960's, I always had mixed feelings about the 1961 film version of Rodgers and Hammerstein's Chinese-American musical comedy. Although it was refreshing to see so many Asian faces in a mainstream studio movie (granted several Japanese-American actors in Chinese roles), the portrayals always struck me as trite and catering to pre-existing stereotypes. Now that it has finally come out on DVD forty-five years after its initial release, I can appreciate it much more without raising my eyebrows as much, perhaps because it now seems so much a nostalgic product of Eisenhower-era sensibilities. Another reason is that the DVD contains a pristine print that balances the saturated use of color throughout. Moreover, there is the music, which while not grade-A material from the legendary team, has enough of their recognizably melodious style to make the whole affair quite entertaining now.
Set in San Francisco's Chinatown in the late 1950's, the soufflé-light story, written by Joseph Fields, is a family-oriented, musical-chairs romantic comedy focused on East-West cultural differences primarily in the well-to-do Wang household headed by the ultra-traditional Master Wang. It starts with pretty Mei Li, who has stowed away on a Chinese steamer with her professor father to become a mail-order bride for nightclub owner Sammy Fong. En route, they end up staying in the Wang home where she develops a crush on eldest son Wang Ta. But he is infatuated with saucy showgirl Linda Low, who is intent on making Sammy jealous enough for him to propose after five years of non-commitment. Wang Ta and Linda turn out to be a mismatch, which would be good news if only Mei Li's marriage contract were not so binding. If that situation is not complicated enough, dressmaker Helen Chao has a lifelong crush on Wang Ta as well.
An all-Asian cast was assembled, a rarity in itself back then, and it helps that most perform within the constraints of the movie quite well. Looking like a porcelain doll brought to life, Miyoshi Umeki lends her uniquely plaintive quality to the role of Mei Li, and she sings with quiet clarity on her trademark song, "A Hundred Million Miracles". As Wang Ta, James Shigeta, also a pleasant singer, is sincere with the matinée idol looks to match, although his naïve character seems excessively dim when it comes to women. Both, however, are overshadowed by the shenanigans provided by Nancy Kwan, at her pin-up cutie peak, as Linda, and Jack Soo in full Dean Martin mode as the cynical Sammy. Even though their stormy relationship seems to be lifted completely from Nathan and Adelaide's in "Guys and Dolls", they provide the lion's share of the entertainment with the domestic fantasy, "Sunday" a particular highlight.
While dubbed, Kwan performs the boudoir classic, "I Enjoy Being a Girl", with sexy flair, and she dances with graceful exuberance on "Fan Tan Fannie" and especially on "Grand Avenue" with a virtual battalion of dancers. Benson Fong, who memorably played Charlie Chan's #3 son in his youth, brings the necessary bluster to Master Wang, while Juanita Hall, Bloody Mary from "South Pacific", stays mainly on the sidelines as the understanding Auntie Liang except when she solos on "Chop Suey". Of the supporting cast, two performers stand out - teenaged Patrick Adiarte dancing energetically as younger son Wang Tan, and as the lovelorn Helen, Reiko Sato leads a stunning ballet on the show's best song, "Love, Look Away" (her voice is dubbed by legendary soprano Marilyn Horne). The opening credits showcase a series of striking watercolor paintings from artist Dong Kingman, and Russell Metty's richly colorful cinematography can finally be appreciated with the DVD.
The 2006 DVD extras are generous starting with a solid commentary track from Kwan and British film historian Nick Redman. Even though Kwan sometimes gets derailed by her life story, she and Redman partner well in bringing out intriguing aspects of the production and cast. There are five featurettes which feel like components of one feature-length documentary since the same participants show up in all five. The first one talks about the story's transition from the original novel by C.Y. Lee to the Broadway musical directed by Gene Kelly to the 1961 movie to the 2002 Broadway revival developed by David Henry Hwang. The other shorts focus on the casting, the score, sets and costumes, and a more personal look at Rodgers and Hammerstein. It's interesting how veteran filmmaker Henry Koster is barely mentioned since he directed the film, though his pedestrian direction is truly the least impressive part of the movie.
Set in San Francisco's Chinatown in the late 1950's, the soufflé-light story, written by Joseph Fields, is a family-oriented, musical-chairs romantic comedy focused on East-West cultural differences primarily in the well-to-do Wang household headed by the ultra-traditional Master Wang. It starts with pretty Mei Li, who has stowed away on a Chinese steamer with her professor father to become a mail-order bride for nightclub owner Sammy Fong. En route, they end up staying in the Wang home where she develops a crush on eldest son Wang Ta. But he is infatuated with saucy showgirl Linda Low, who is intent on making Sammy jealous enough for him to propose after five years of non-commitment. Wang Ta and Linda turn out to be a mismatch, which would be good news if only Mei Li's marriage contract were not so binding. If that situation is not complicated enough, dressmaker Helen Chao has a lifelong crush on Wang Ta as well.
An all-Asian cast was assembled, a rarity in itself back then, and it helps that most perform within the constraints of the movie quite well. Looking like a porcelain doll brought to life, Miyoshi Umeki lends her uniquely plaintive quality to the role of Mei Li, and she sings with quiet clarity on her trademark song, "A Hundred Million Miracles". As Wang Ta, James Shigeta, also a pleasant singer, is sincere with the matinée idol looks to match, although his naïve character seems excessively dim when it comes to women. Both, however, are overshadowed by the shenanigans provided by Nancy Kwan, at her pin-up cutie peak, as Linda, and Jack Soo in full Dean Martin mode as the cynical Sammy. Even though their stormy relationship seems to be lifted completely from Nathan and Adelaide's in "Guys and Dolls", they provide the lion's share of the entertainment with the domestic fantasy, "Sunday" a particular highlight.
While dubbed, Kwan performs the boudoir classic, "I Enjoy Being a Girl", with sexy flair, and she dances with graceful exuberance on "Fan Tan Fannie" and especially on "Grand Avenue" with a virtual battalion of dancers. Benson Fong, who memorably played Charlie Chan's #3 son in his youth, brings the necessary bluster to Master Wang, while Juanita Hall, Bloody Mary from "South Pacific", stays mainly on the sidelines as the understanding Auntie Liang except when she solos on "Chop Suey". Of the supporting cast, two performers stand out - teenaged Patrick Adiarte dancing energetically as younger son Wang Tan, and as the lovelorn Helen, Reiko Sato leads a stunning ballet on the show's best song, "Love, Look Away" (her voice is dubbed by legendary soprano Marilyn Horne). The opening credits showcase a series of striking watercolor paintings from artist Dong Kingman, and Russell Metty's richly colorful cinematography can finally be appreciated with the DVD.
The 2006 DVD extras are generous starting with a solid commentary track from Kwan and British film historian Nick Redman. Even though Kwan sometimes gets derailed by her life story, she and Redman partner well in bringing out intriguing aspects of the production and cast. There are five featurettes which feel like components of one feature-length documentary since the same participants show up in all five. The first one talks about the story's transition from the original novel by C.Y. Lee to the Broadway musical directed by Gene Kelly to the 1961 movie to the 2002 Broadway revival developed by David Henry Hwang. The other shorts focus on the casting, the score, sets and costumes, and a more personal look at Rodgers and Hammerstein. It's interesting how veteran filmmaker Henry Koster is barely mentioned since he directed the film, though his pedestrian direction is truly the least impressive part of the movie.
Worth the wait - director Henry Koster's Rodgers & Hammerstein's "Flower Drum Song" finally available on DVD as Special Edition
ruby_fff2 December 2006
The 1961 musical "Flower Drum Song" is a fabulous Ross Hunter [1] production (top-notch art direction, cinematography, costume design, set decoration, film editing and sound). I found myself enjoying it more and more. I do like "The King and I" "Oklahoma!" "Carousel", yet "Flower Drum Song" is culturally diverse, 'oriental USA' and very much San Franciscan. Directed by Henry Koster [2], music and lyrics from the popular pair of Richard Rodgers and Oscar Hammerstein 2nd, with Alfred Newman supervised & conducted the music score which included a wide spectrum from Asian 'flower drum song' tune, to jazzy rhythm, strings orchestral for ballet/dance pieces, to montage songs and cabaret show numbers / big band melodies; associate vocal music arranger Ken Darby, and simply marvelous choreography by Hermes Pan.
Such a stellar cast: Nancy Kwan as Linda Low and Jack Soo as Sammy, Miyoshi Umeki as Mei Li and James Shigeta as Ta, Juanita Hall (of "South Pacific" 1958 fame) as Madam Liang / 'my wife's sister,' Benson Fong as Ta's father / 'my sister's husband,' Reiko Sato as Helen Chao (the seamstress), and what an amazing, versatile dancer Patrick Adiarte is (his debut role was in "The King and I" 1956 as the eldest prince opposite Yul Brynner). The musical numbers and songs are catchy and entertaining, matching key segments of the storyline: A Hundred Million Miracles; (What Are We Going To Do About) The Other Generation; Chop Suey; I Enjoy Being A Girl; Sunday (Sweet Sunday); Fan Tan Fannie; Grant Avenue; Love Look Away (sung by Marilyn Horne); Don't Marry Me; and more. Turning on the subtitles feature, one can see the lyrics and easy to sing along, too.
Based on C.Y. Lee's novel of the same name, Joseph Fields (also associate producer) wrote an engaging screenplay, blended humor and 'coined' words of the times within the dialogs. Juanita Hall's grocery food order ("four pounds of seahorse, two pounds of dry snake meat, a box of longevity noodles") over the phone ending with "and a dozen thousand-year eggs, and be sure they're fresh" is an absolute gem. Imagine TV turned out to be a resource of solution to our heroines and their beaus romantic predicaments. Unforgettable: Mei Li said to Ta, "tomorrow we must go to Temple of Tin How and thank the Goddess of Heaven for television." Such quality produced films are rare these days. If you don't usually watch musicals, give "Flower Drum Song" a try, it's drama and humor would provide an enjoyable time.
[1] Memorables produced by Ross Hunter: "The Chalk Garden" 1964 (d: Ronald Neame; Hayley Mills, Deborah Kerr, John Mills); "Pillow Talk" 1959 (with Doris Day, Rock Hudson, Thelma Ritter, Tony Randall); "Imitation of Life" 1959 (d: Douglas Sirk; Lana Turner, Juanita Moore, Sandra Dee)
[2] Favorites directed by Henry Koster: "Three Smart Girls" 1936 with Deanna Durbin; "The Singing Nun" 1966 with Debbie Reynolds. Highly recommend - intelligent drama with suspense (in B/W, not a musical): "No Highway in the Sky" 1951with James Stewart as an aeronautical engineer who's steadfast and persistent, Glynis Johns as the sensible and caring air hostess, and Marlene Dietrich as only Dietrich could. (VHS only as yet)
Such a stellar cast: Nancy Kwan as Linda Low and Jack Soo as Sammy, Miyoshi Umeki as Mei Li and James Shigeta as Ta, Juanita Hall (of "South Pacific" 1958 fame) as Madam Liang / 'my wife's sister,' Benson Fong as Ta's father / 'my sister's husband,' Reiko Sato as Helen Chao (the seamstress), and what an amazing, versatile dancer Patrick Adiarte is (his debut role was in "The King and I" 1956 as the eldest prince opposite Yul Brynner). The musical numbers and songs are catchy and entertaining, matching key segments of the storyline: A Hundred Million Miracles; (What Are We Going To Do About) The Other Generation; Chop Suey; I Enjoy Being A Girl; Sunday (Sweet Sunday); Fan Tan Fannie; Grant Avenue; Love Look Away (sung by Marilyn Horne); Don't Marry Me; and more. Turning on the subtitles feature, one can see the lyrics and easy to sing along, too.
Based on C.Y. Lee's novel of the same name, Joseph Fields (also associate producer) wrote an engaging screenplay, blended humor and 'coined' words of the times within the dialogs. Juanita Hall's grocery food order ("four pounds of seahorse, two pounds of dry snake meat, a box of longevity noodles") over the phone ending with "and a dozen thousand-year eggs, and be sure they're fresh" is an absolute gem. Imagine TV turned out to be a resource of solution to our heroines and their beaus romantic predicaments. Unforgettable: Mei Li said to Ta, "tomorrow we must go to Temple of Tin How and thank the Goddess of Heaven for television." Such quality produced films are rare these days. If you don't usually watch musicals, give "Flower Drum Song" a try, it's drama and humor would provide an enjoyable time.
[1] Memorables produced by Ross Hunter: "The Chalk Garden" 1964 (d: Ronald Neame; Hayley Mills, Deborah Kerr, John Mills); "Pillow Talk" 1959 (with Doris Day, Rock Hudson, Thelma Ritter, Tony Randall); "Imitation of Life" 1959 (d: Douglas Sirk; Lana Turner, Juanita Moore, Sandra Dee)
[2] Favorites directed by Henry Koster: "Three Smart Girls" 1936 with Deanna Durbin; "The Singing Nun" 1966 with Debbie Reynolds. Highly recommend - intelligent drama with suspense (in B/W, not a musical): "No Highway in the Sky" 1951with James Stewart as an aeronautical engineer who's steadfast and persistent, Glynis Johns as the sensible and caring air hostess, and Marlene Dietrich as only Dietrich could. (VHS only as yet)
Fun film with lots of enjoyable songs
guidafamily28 May 2001
Many of the songs are very well done and enjoyable, especially Nancy Kwan's "I Enjoy Being a Girl." Yowza! All the actors are fabulous and the lines are a ball. Not only is it a love story but a great tale of modern vs. traditional values and absolutely suitable for all ages.
Frothy and Enjoyable Minor R&H Musical
evanston_dad24 October 2006
Popular consensus holds that "Flower Drum Song" is a weak link in the Rodgers and Hammerstein canon, and that's mostly true. It doesn't have as important a story to tell, and since it's not a period piece it's the most badly dated. And certainly, in cinematic terms alone, the film version is one of the worst of the stage-to-screen R&H adaptations.
But all of that aside, there's something about this film that utterly charms me. A great deal of that charm resides in Nancy Kwan, who looks sexy and gorgeous in this and played a large role in many an adolescent fantasy as a result of her appearance in this film. But beyond her, there's much to like about the movie. It tells a sweet, simple story that may not be profound, but is certainly harmless enough. The score, while not R&H's best, is still full of enjoyable and hummable tunes. And there are a couple of truly memorable production numbers, like the "Sunday" sequence, or the lengthy and trippy ballet in the middle of the film, that stops the show even if it feels somewhat out of place.
All in all, you could do much worse.
Grade: B
But all of that aside, there's something about this film that utterly charms me. A great deal of that charm resides in Nancy Kwan, who looks sexy and gorgeous in this and played a large role in many an adolescent fantasy as a result of her appearance in this film. But beyond her, there's much to like about the movie. It tells a sweet, simple story that may not be profound, but is certainly harmless enough. The score, while not R&H's best, is still full of enjoyable and hummable tunes. And there are a couple of truly memorable production numbers, like the "Sunday" sequence, or the lengthy and trippy ballet in the middle of the film, that stops the show even if it feels somewhat out of place.
All in all, you could do much worse.
Grade: B
Started out great but fizzled
rudolphjalapeno30 September 2021
I thought that I would really enjoy this movie. It began really great with two immigrants sneaking into the country. The first song was beautiful and I was enjoying the Chinese culture and the acting. What kind of spoiled it were the numerous modern dance numbers so typical of the late fifties and early sixties, like the ones that almost spoiled West Side Story where the men were leaping and twirling and waving their arms in a manner that looked like some grotesque combination of ballet and modern break dancing. I never cared for that kind of expressionistic dance, I found it a vulgar and cheap hybrid assault on the eyes. Also, this type of dancing took away from the oriental charm that the movie started out with. I loved the acting and anything with Jack Soo and Nancy Kwan is good, but in the end the attempt to blend Chinese culture with those expressionistic dance numbers just didn't work out.
I also was disappointed in the ending. I won't spoil it, except to say I think the son married the wrong girl, and I won't tell you which one, you'll find out.
I also was disappointed in the ending. I won't spoil it, except to say I think the son married the wrong girl, and I won't tell you which one, you'll find out.
My Very First Musical
bkoganbing24 July 2005
Flower Drum Song holds a special place for me because it was the first Broadway show I ever saw. And I don't think it's been given the proper place in the pantheon of Rodgers&Hammerstein shows.
Back then minority players had a hard time getting parts and Flower Drum Song certainly filled a need there in the same way Porgy and Bess has done for black people. This was the first time a Broadway show was completely cast with oriental players. A milestone not to be overlooked.
Several of the Broadway cast made it to the film version. Juanita Hall, Patrick Adiarte, Keye Luke and most of all Miyoshi Umeki repeated their roles. Miyoshi was very big news then. When I saw the play she had just won her Best Supporting Actress Oscar for Sayonara. Also a significant milestone, very significant in the repair of Japanese- American relations from World War II.
Jack Soo also made it from Broadway. But on Broadway the future Detective Nick Yemana of the bad coffee, was the "Commodore" from the Chinese nightclub. Here he is one of the male leads in a part originated by Larry Blyden on Broadway. Soo's deadpan delivery that made him so popular on Barney Miller is working undertime here. If you liked him on Barney Miller, he's great here.
James Shigeta took the place of one Ed Kenney from Broadway. Shigeta was at the start of a long career as probably THE Oriental leading man in American films for many years.
The big hit song from Flower Drum Song is I Enjoy Being a Girl which was and is the anti-battle cry against feminism. Doris Day had a big hit record of it (she would), but today feminists would be picketing the show with the message that conveys. I mean, really, the goal of the American woman is to be barefoot and pregnant at the "home of a brave and free male." Gloria Steinem would have cardiac arrest.
Nancy Kwan does wonderfully in the role of Linda Low who lip syncs those sentiments previously mentioned. Right around this time, Kwan, France Nuyen, and Nobu McCarthy all came along at the same time and seemed to battle for the same parts.
Two songs that are overlooked gems are You Are Beautiful which Johnny Mathis sang beautifully on record and Love Look Away. The latter is sung offscreen by Metropolitan Opera diva Marilyn Horne. That's not to be missed.
And neither is Flower Drum Song.
Back then minority players had a hard time getting parts and Flower Drum Song certainly filled a need there in the same way Porgy and Bess has done for black people. This was the first time a Broadway show was completely cast with oriental players. A milestone not to be overlooked.
Several of the Broadway cast made it to the film version. Juanita Hall, Patrick Adiarte, Keye Luke and most of all Miyoshi Umeki repeated their roles. Miyoshi was very big news then. When I saw the play she had just won her Best Supporting Actress Oscar for Sayonara. Also a significant milestone, very significant in the repair of Japanese- American relations from World War II.
Jack Soo also made it from Broadway. But on Broadway the future Detective Nick Yemana of the bad coffee, was the "Commodore" from the Chinese nightclub. Here he is one of the male leads in a part originated by Larry Blyden on Broadway. Soo's deadpan delivery that made him so popular on Barney Miller is working undertime here. If you liked him on Barney Miller, he's great here.
James Shigeta took the place of one Ed Kenney from Broadway. Shigeta was at the start of a long career as probably THE Oriental leading man in American films for many years.
The big hit song from Flower Drum Song is I Enjoy Being a Girl which was and is the anti-battle cry against feminism. Doris Day had a big hit record of it (she would), but today feminists would be picketing the show with the message that conveys. I mean, really, the goal of the American woman is to be barefoot and pregnant at the "home of a brave and free male." Gloria Steinem would have cardiac arrest.
Nancy Kwan does wonderfully in the role of Linda Low who lip syncs those sentiments previously mentioned. Right around this time, Kwan, France Nuyen, and Nobu McCarthy all came along at the same time and seemed to battle for the same parts.
Two songs that are overlooked gems are You Are Beautiful which Johnny Mathis sang beautifully on record and Love Look Away. The latter is sung offscreen by Metropolitan Opera diva Marilyn Horne. That's not to be missed.
And neither is Flower Drum Song.
Rodgers and Hammerstein in Chinatown, San Francisco
SimonJack13 June 2019
Musically, Richard Rodgers and Oscar Hammerstein didn't write a bad stage or film musical. But some stories, screenplays and scripts weren't exceptional which then relegated the play or film to less than a smashing success. "Flower Drum Song" fits in that in-between category. It was a good enough stage production that it made it to the silver screen. But the film just covered its budget at the box office.
The plot is interesting - about a Chinese girl and her father who stow away on a ship to come to America, where she is to wed in a pre-arranged marriage. The setting is Chinatown and around San Francisco. The screenplay is just average, and except for the musical numbers, there isn't much life in the film or characters. Two songs from the show became popular and were recorded by various singers of the day - "I Enjoy Being a Girl," and "Love, Look Away." One other catchy song was popular from the show - "A Hundred Million Miracles."
The production qualities are good, and the color is especially vibrant of the Chinese sets. The opening credits are very nice with beautiful water color paintings. The film is okay but nothing like the quality of the major Rodgers and Hammerstein films. Perhaps it's just the story that doesn't resonate well for a lively musical production.
Here are some favorite lines form the film.
Mei Li: Oh, my father. It is so wonderful. San Francisco. Dr. Li: Yes, but how do we know what kind of city it is? Mei Li: It is named after a saint, so it must be a very holy place."
Madame Liang: How is your octopus today? Tradesman (fish vendor): Oh, it isn't. Madame Liang: Then sell me five pounds of seahorses, two pounds of dried snake meat, and a box of longevity noodles. Oh, yes, and a dozen thousand-year eggs? And be sure they're fresh.
Wang Chi-Yang: What language is he using? I have a feeling he has been disrespectful, but I am no sure. Madame Liang: No, no. That is American style slang.
Wang Chi-Yang: You are a good, thoughtful girl, Mei Li. Personally, I never fully approved of the old custom of drowning daughters.
Wang Chi-Yang: It is indeed a sad widower who inherits his wife's sister.
Professor: As Lincoln said, 'You can only fool half of the people at a time.'
Wang Chi-Yang: What do you know of marriage? What do you know of women? Wang Ta: Sir, what did you know of marriage and women when you married my mother? Wang Chi-Yang: Nothing. That is why I obeyed my father and married the woman he chose for me.
Wang Ta: I beg your forgiveness, my father. You were right. I should've listened. I was a fool. Wang Chi-Yang: Knowing you are a food is the beginning of wisdom. Now I have my son back.
The plot is interesting - about a Chinese girl and her father who stow away on a ship to come to America, where she is to wed in a pre-arranged marriage. The setting is Chinatown and around San Francisco. The screenplay is just average, and except for the musical numbers, there isn't much life in the film or characters. Two songs from the show became popular and were recorded by various singers of the day - "I Enjoy Being a Girl," and "Love, Look Away." One other catchy song was popular from the show - "A Hundred Million Miracles."
The production qualities are good, and the color is especially vibrant of the Chinese sets. The opening credits are very nice with beautiful water color paintings. The film is okay but nothing like the quality of the major Rodgers and Hammerstein films. Perhaps it's just the story that doesn't resonate well for a lively musical production.
Here are some favorite lines form the film.
Mei Li: Oh, my father. It is so wonderful. San Francisco. Dr. Li: Yes, but how do we know what kind of city it is? Mei Li: It is named after a saint, so it must be a very holy place."
Madame Liang: How is your octopus today? Tradesman (fish vendor): Oh, it isn't. Madame Liang: Then sell me five pounds of seahorses, two pounds of dried snake meat, and a box of longevity noodles. Oh, yes, and a dozen thousand-year eggs? And be sure they're fresh.
Wang Chi-Yang: What language is he using? I have a feeling he has been disrespectful, but I am no sure. Madame Liang: No, no. That is American style slang.
Wang Chi-Yang: You are a good, thoughtful girl, Mei Li. Personally, I never fully approved of the old custom of drowning daughters.
Wang Chi-Yang: It is indeed a sad widower who inherits his wife's sister.
Professor: As Lincoln said, 'You can only fool half of the people at a time.'
Wang Chi-Yang: What do you know of marriage? What do you know of women? Wang Ta: Sir, what did you know of marriage and women when you married my mother? Wang Chi-Yang: Nothing. That is why I obeyed my father and married the woman he chose for me.
Wang Ta: I beg your forgiveness, my father. You were right. I should've listened. I was a fool. Wang Chi-Yang: Knowing you are a food is the beginning of wisdom. Now I have my son back.
It caught me just right.
var-124 March 2002
When I saw this movie, it caught me in the right mood to really enjoy this film. In fact, I was almost misty eyed when Helen turns to lament the song "Love Look Away". Only "Where is Love?" from OLIVER is a more moving emotional song that fits directly into the story and the movie. I think the acting is superb and can't understand why this R & H musical doesn't attract more attention.
Another Time Another Place Thankfully Then
DKosty12313 June 2010
Rodgers & Hammerstein team up with Alfred Newman to produce an overly long old fashioned musical in the early 1960's. In a way, this might be one of the reasons the musical declined in the 1960's though there would be many others from Bye Bye Birdie to Star later on. What happens here is that there had been so many Rodger's & Hammerstein musicals by now that the public had grown tired of them. Then, when you make this one as long as it is, it kind of reminds me of when we had a streak in the 1950's of too many films about ancient Rome & Greece. Enough is enough sometimes.
When I discovered this film on TCM, there are some good points. Robert Osborne points out that prior to the 1960's, this movie would not have been made with this cast due to Hollywoods studio system. Nancy Kwan would not have been allowed to be the star as Hollywood would have tried to put someone who was a really well known star in that place.
Kwan, coming off a major successful movie role with William Holden the year before deserves top billing here. Quite frankly it would have been sickening to see a Hollywood star actress in this role.
What really impressed me about this film are the number of beautiful women in the production numbers. This movie leads the way in what I'd call eye candy as all of them look fantastic. Just looking at them pull off this successful Broadway show is worth the viewing. The costumes are excellent in showing off their beauty too.
Women's Liberation caused this film to get shelved & the decline of the musical helped. Between the women & Jack Soo, there are plenty of good points about it that make it worth looking at. The opening artistic credits & then the San Francisco Bay Bridge at the end of them get it off to a good start.
When I discovered this film on TCM, there are some good points. Robert Osborne points out that prior to the 1960's, this movie would not have been made with this cast due to Hollywoods studio system. Nancy Kwan would not have been allowed to be the star as Hollywood would have tried to put someone who was a really well known star in that place.
Kwan, coming off a major successful movie role with William Holden the year before deserves top billing here. Quite frankly it would have been sickening to see a Hollywood star actress in this role.
What really impressed me about this film are the number of beautiful women in the production numbers. This movie leads the way in what I'd call eye candy as all of them look fantastic. Just looking at them pull off this successful Broadway show is worth the viewing. The costumes are excellent in showing off their beauty too.
Women's Liberation caused this film to get shelved & the decline of the musical helped. Between the women & Jack Soo, there are plenty of good points about it that make it worth looking at. The opening artistic credits & then the San Francisco Bay Bridge at the end of them get it off to a good start.
OK but too long
preppy-36 February 2007
A Chinese woman and her father illegally enter San Francisco. This is to fulfill a marriage promised by mail to Sammy Fong (Jack Soo). But Fong is head over heels in love with Linda Low (Nancy Kwan). He tries to pawn the girl off on Wang Ta (James Shigeta)...but HE'S in love with Linda also.
Pretty unknown Rodgers and Hammerstein musical. This almost never plays on TV and the last Broadway revival didn't do too good. Purportedly this film is accused of racism by Asian-American groups. Aside from a few stereotypical Chinese characters I didn't find this racist at all--I think anyone accusing this film of that is way off base. But it's not a good movie either.
It's colorful and the songs are not bad but, aside from "I Enjoy Being a Girl", there isn't one memorable song here. Also some of the songs just bring the film to a screeching halt and some pretty needless dances don't help. The main problem is this film is just too long. There's no need for it to go on over 2 hours.
The cast is pretty good considering they're playing stock characters. The only three that really come through are Kwan, Soo and Shigeta. So, all in all, it's an OK musical that just runs on far too long.
Pretty unknown Rodgers and Hammerstein musical. This almost never plays on TV and the last Broadway revival didn't do too good. Purportedly this film is accused of racism by Asian-American groups. Aside from a few stereotypical Chinese characters I didn't find this racist at all--I think anyone accusing this film of that is way off base. But it's not a good movie either.
It's colorful and the songs are not bad but, aside from "I Enjoy Being a Girl", there isn't one memorable song here. Also some of the songs just bring the film to a screeching halt and some pretty needless dances don't help. The main problem is this film is just too long. There's no need for it to go on over 2 hours.
The cast is pretty good considering they're playing stock characters. The only three that really come through are Kwan, Soo and Shigeta. So, all in all, it's an OK musical that just runs on far too long.
What my Chinese (PRC) wife thought of FDS
jppu7 April 2006
Speaking for myself, I have been a huge fan of FDS since the '70s when I bought the soundtrack album (on Decca) at a used record store for $7. I saw it on TV one new years day i think 1980 and it's been one of my favorites ever since. Not only is it one of R and H's best scores, Alfred Newman's arrangements are simply lush and beautiful. The cast and the director are all top notch. The screen play is delightful, perhaps a bit long, but rather too long than eliminate one of the great songs, some of which were already edited down from the original Broadway version which was directed by the great Gene Kelly. I have often wondered what would have happened if he had directed the movie. On stage, I do like the full two versions of The Other Generation, for example.
My wife is from the Peoples Rep. of China. Shes 28 and has been in the USA for 15 months as of this writing. I was going through my stuff recently in storage and came across of my heavily yellowed copy of CY Lee's novel FDS and thought my wife would enjoy it. She did. So i thought well now it's time to break out my old VHS copy which i hadn't seen since 1990. it was playable but storage hasn't been very kind to it. C'Mon DVD!!!
Her final comment was "cute". Benson Fong's Mr. Wang reminded her of her own father. Even though my wonderful father in law is a hard line communist, I see the obvious paternal, controlling similarities between them. He made her very nostalgic for her home land and her family. If we ever have any sons, he will probably be like Wang San in many ways and she could see the old man's reaction to his youngest son's could be very similar between her father and our son yet to be conceived.
What she thought was laughably bad was "A Hundred Million Miracles" trying to be passed off as a real flower drum song. She said, "if they sung that in China as a flower drum song they would have been stoned to death." She almost lost interest in the movie at that point especially since the movie and original play deviate from the novel at that point. So she didn't buy that at all. Sammy Fong's lecherous behavior was also realistic for a Chinese businessman. My wife related to that too.
She didn't buy some of the costuming especially young women wearing hats. Married women wore hats in the '50s but Mei Li apparently wouldn't.
Speaking of Mei Li, she totally bought her character both in the book and the movie. Very realistic portrayal and Miyoshi looked like a typical peasant girl albeit Miyoshi is Japanese not Chinese and that was evident immediately.
Linda Low, though not a big part of the novel, if at all, (I have forgotten if that character appears in it), was another realistic character, even today in 2006!! She reminded both us of, well... shall we say... materialistic girls you could meet everyday in Shanghai, the ones that unsuspecting foreigners need to be careful of. In any event, Nancy Kwan has another fan in my wife. We have a copy of Suzie Wong - book and movie - in China.
For myself, it was interesting seeing the movie after having lived three years in the PRC and what an admirable job the creators of the movie did in keeping with the culture. They missed a few things obviously, but for two Jewish boys from NYC, R and H as well as Joseph Fields libretto did an awesome job of keeping it real, much more so here than with the King and I which both play and movie are banned forever in Thailand because the Thai people find it so offensive.
As far as David Hwang's remake of FDS goes, I really can't comment on it because I haven't read it or seen it. I don't know if I really want to although I am curious just because I have been a supporter of FDS for so many years. If the idea for the remake is to resemble the novel more, than I am all for it. I love the novel and I think the original play and movie missed opportunities for beefing up the Helen Chao character better. She just kinds of disappears with no mention of her suicide after the hauntingly beautiful "Love Look Away" a show stopper if there ever was one. That is a flaw.
I just love Sammy Fong. How can you have FDS without Sammy Fong? He is just so sleazy and brilliant and wonderful invention by the creative team. How can you do FDS without 'the other generation" in any version. That's the whole point of the both the novel and the original play as well as the movie - the generation gap and the cultural gap. In portraying that, FDS, the original play and movie, succeed on pretty much every level If the idea to create a new version of FDS was because the movie and play portrayed negative stereotypes, my wife who is Chinese has to disagree. She loves the characters in this movie; in many ways, they brought China to life for her and what it is like living in a totally new culture, not understanding anything at all, or in her case thinking you know a foreign culture because you have worked with foreigners and finding it's completely different over here.
Kudos and thank you to RandH, Ross Hunter and his team in creating a movie that has aged so gracefully, (as has Ms. Kwan) for the most part, and making serious cultural and generational issues that will probably never go away fun. This movie will be current in 100 years.
My wife is from the Peoples Rep. of China. Shes 28 and has been in the USA for 15 months as of this writing. I was going through my stuff recently in storage and came across of my heavily yellowed copy of CY Lee's novel FDS and thought my wife would enjoy it. She did. So i thought well now it's time to break out my old VHS copy which i hadn't seen since 1990. it was playable but storage hasn't been very kind to it. C'Mon DVD!!!
Her final comment was "cute". Benson Fong's Mr. Wang reminded her of her own father. Even though my wonderful father in law is a hard line communist, I see the obvious paternal, controlling similarities between them. He made her very nostalgic for her home land and her family. If we ever have any sons, he will probably be like Wang San in many ways and she could see the old man's reaction to his youngest son's could be very similar between her father and our son yet to be conceived.
What she thought was laughably bad was "A Hundred Million Miracles" trying to be passed off as a real flower drum song. She said, "if they sung that in China as a flower drum song they would have been stoned to death." She almost lost interest in the movie at that point especially since the movie and original play deviate from the novel at that point. So she didn't buy that at all. Sammy Fong's lecherous behavior was also realistic for a Chinese businessman. My wife related to that too.
She didn't buy some of the costuming especially young women wearing hats. Married women wore hats in the '50s but Mei Li apparently wouldn't.
Speaking of Mei Li, she totally bought her character both in the book and the movie. Very realistic portrayal and Miyoshi looked like a typical peasant girl albeit Miyoshi is Japanese not Chinese and that was evident immediately.
Linda Low, though not a big part of the novel, if at all, (I have forgotten if that character appears in it), was another realistic character, even today in 2006!! She reminded both us of, well... shall we say... materialistic girls you could meet everyday in Shanghai, the ones that unsuspecting foreigners need to be careful of. In any event, Nancy Kwan has another fan in my wife. We have a copy of Suzie Wong - book and movie - in China.
For myself, it was interesting seeing the movie after having lived three years in the PRC and what an admirable job the creators of the movie did in keeping with the culture. They missed a few things obviously, but for two Jewish boys from NYC, R and H as well as Joseph Fields libretto did an awesome job of keeping it real, much more so here than with the King and I which both play and movie are banned forever in Thailand because the Thai people find it so offensive.
As far as David Hwang's remake of FDS goes, I really can't comment on it because I haven't read it or seen it. I don't know if I really want to although I am curious just because I have been a supporter of FDS for so many years. If the idea for the remake is to resemble the novel more, than I am all for it. I love the novel and I think the original play and movie missed opportunities for beefing up the Helen Chao character better. She just kinds of disappears with no mention of her suicide after the hauntingly beautiful "Love Look Away" a show stopper if there ever was one. That is a flaw.
I just love Sammy Fong. How can you have FDS without Sammy Fong? He is just so sleazy and brilliant and wonderful invention by the creative team. How can you do FDS without 'the other generation" in any version. That's the whole point of the both the novel and the original play as well as the movie - the generation gap and the cultural gap. In portraying that, FDS, the original play and movie, succeed on pretty much every level If the idea to create a new version of FDS was because the movie and play portrayed negative stereotypes, my wife who is Chinese has to disagree. She loves the characters in this movie; in many ways, they brought China to life for her and what it is like living in a totally new culture, not understanding anything at all, or in her case thinking you know a foreign culture because you have worked with foreigners and finding it's completely different over here.
Kudos and thank you to RandH, Ross Hunter and his team in creating a movie that has aged so gracefully, (as has Ms. Kwan) for the most part, and making serious cultural and generational issues that will probably never go away fun. This movie will be current in 100 years.
Drum up some viewing pals for this film, you fans of musicals or light romance
inkblot1113 October 2008
Wang Ta (James Shigeta) has just graduated from college and has returned home to Chinatown in San Francisco. His father is definitely "old school" in that he dresses like a Chinese native, despite his very successful American business. Wang is contemplating law school but, in the meantime, his head is turned by a beautiful local gal named Linda (Nancy Kwan). Unaware that, first, Linda is a showgirl at a local restaurant, and, second, that his father is arranging a match between himself and a lovely girl from Hong Kong, Mei Li (Miyoshi Umeki), Wang continually tries to keep his father at a distance. But, naturally, when Wang's dad gets news that his son has his eye on another girl, he makes it clear that he, dear old dad, is in charge of Wang's life. This does not go over well, despite Wang's recognition that Mei Li is a wonderful, attractive lady. Linda, too, has a few secrets; she is merely making a play for Wang Ta because her own boyfriend, restaurant owner, Sammy, will not give her a ring, after FIVE long years! How will the "song" end for everyone? This film, based on a Rogers and Hammerstein musical of the fifties, has some good elements. The musical numbers are light and catchy, and the performers are great, especially the handsome Shigeta, the knock-out gorgeous Kwan, and the shyly beautiful Umeki. Then, too, it gives the viewer a glimpse into the Chinatown of the fifties and sixties. But, having said that, it is definitely a politically incorrect piece of fiction, with many stereotypical elements about Orientals. One would wonder how it was received by Chinese-Americans long ago and how they would regard it now. As for being dated, it is truly no more so than any other film from the time period, such as Gidget or Beach Blanket Bingo, but its goal to be "hip" to the modern culture is amusing in the 21st century. Nonetheless, if you love musicals or light romance, you will most likely enjoy it. Drum up some like-minded friends and plan a Saturday night get-together, with take-out Chinese, naturally, on the menu.
No Worse than Standard Films of the Era
fatcat-7345011 November 2022
This is a musical and it's standard, if not underwhelming, as a musical. There was only one song that I enjoyed. I think it was the one sung by the three children.
However, it's no worse than any other musicals of the era, I would say. Plus there's the added benefit of having an all-Asian cast. It doesn't make the film any better or worse, but it's good to see some broader representation in US films.
I'm surprised they didn't do it more often, since (at least it appears) that there wasn't any big problem about doing it. The actors do a fine job and the movie is passably interesting.
The film's not going to change your life. At its heart it's a standard love story. There are some touching moments, that's about all you can say for it.
Honourable Mentions: Barney Miller (1975), Jack Soo, a notable Japanese actor of the time period, was in both Flower Drum Song and Barney Miller. Miller is a quality TV show that uses mostly nonwhite actors acting normal (as in, not portraying stereotypes) even though it was intended for a white audience. Hollywood didn't care to push much for the trend, though and these types of productions are quite rare for those decades.
However, it's no worse than any other musicals of the era, I would say. Plus there's the added benefit of having an all-Asian cast. It doesn't make the film any better or worse, but it's good to see some broader representation in US films.
I'm surprised they didn't do it more often, since (at least it appears) that there wasn't any big problem about doing it. The actors do a fine job and the movie is passably interesting.
The film's not going to change your life. At its heart it's a standard love story. There are some touching moments, that's about all you can say for it.
Honourable Mentions: Barney Miller (1975), Jack Soo, a notable Japanese actor of the time period, was in both Flower Drum Song and Barney Miller. Miller is a quality TV show that uses mostly nonwhite actors acting normal (as in, not portraying stereotypes) even though it was intended for a white audience. Hollywood didn't care to push much for the trend, though and these types of productions are quite rare for those decades.
Great film that stands the test of time
guyyoung20006 November 2006
I watched the film last night with 2 Chinese friends who knew nothing about it. They loved every minute of it and so did I, 45 years after my initial viewing. It still has a great message for all of us no matter where we live and you just get swept away by the wonderful score. The dance routines are charming and the interiors quite exquisite. Nancy Kwan has never looked lovelier as Linda Loo and Jack Soo is always a delight.Juanita Hall brings her great presence to the role of Madame Liang and Miyoshi Umeki and James Shigeta are two fine performers. Patrick Adriarte dances with great verve. A great night's viewing for all!
Soo musical
ptb-82 March 2005
Universal only made 3 musicals in the 60s and Jack Soo is in two of them: this one and THOROUGHLY MODERN MILLIE. If he played a pimp he might have also made it into SWEET CHARITY. Either way the oriental characters in these two musicals themed is rather naff in this PC world and perhaps this is why MILLIE's story was changed as a Broadway show and maybe why FDS doesn't get much of an airing these days. What is very appealing about FDS is the snazzy 60s look music and style of the time and the locale. The songs are great as are the orchestrations. Sadly it is the sort of musical that the media dislikes and to revive today makes it strictly for R&H fans and those who will tolerate the cuteness and the (now)embarassing way Oriental families are depicted. After all the Negro cliché's I guess it's the Asians who got the treatment in the 60s. Universal's solid production values and the Technicolor beauty of this film keeps it watchable, as is the gorgeous music and the art direction. I guess Universal got excited by WEST SIDE STORY and figured an ethnic/asianUrban musical set in SFrancisco might be their ticket to the Oscars too.
That is the shameful way how Hollywood make Eastern background films
boyshyshy3 May 2010
Well, this is not a too bad movie, but I don't think it is a really good as so many people here have praised. First of all, the casting is really horrible. This is a story with Chinese back ground. Why they have to take a Japanese woman in the age of 32 to play as a Chinese young girl. If they have an eye on Nancy Kwan, they should also know that there are thousands of Chinese oriented young talented actresses, who can play that role of Mei Li. Obviously the producer and the director have known nothing about Chinese culture. Such kind of family arranged marriage in that period is usually for young girl who is between the age of 18-25. Also the character of Wang Tai is a young man who has just almost finished his study. Here we can see the result,Mei Li (Miyoshi Umeki) simply looks like an young aunt of Wang Tai (James Shigeta). Whatever, it is simply awful to see a Japanese actress playing a role of Chinese. That is not the worst cast. For what reason that they need to take Jack Soo (was 44 years old at that time) as a matching role for our cute sexy Nancy Kwan (was only 22 years old at that time)? I don't doubt about the acting talent of Mr. Soo, but we are talking a musical film. I don't think he suits this role, not convincing at all. For all Western musical films they always take handsome men and beautiful women to take the roles. I find that it is really ridiculous to cast Mr. Soo for this role.
About the dress, the ugly so called Chinese dress/outfit including the shoes of the role Mei Li is really horrible. Even jumping back to the Ching Dinasty no one would have dressed in that way. For the dress/outfit of this role, sorry I really don't buy it! The male dancer wearing a stupid ugly mask form traditional Chinese Opera in one dance scene is awful too. Here we can really see how the West looks to the Chinese and Chinese traditons in a stupid way.
That is not the most horrible thing. The flaw "flower drum song" which has been sung in this film is the most horrible nightmare. Can these Rodgers & Hammerstein first spend some time to study or reaserach a bit to make some real Chinese flower drum song music instead of writing that horrible song in this musical film? If you have once heard real flower drum song music, you will surely agree with me, really!
The story itself in the movie is terrible too. How come such a lovely young lady will run from one man to another man and back again (--- Sammy Fong --- Wang Tai --- Sammy Fong --- Wang Tai) without any hesitation or second thought about real love? I have not read the book, I don't know the real story. However the film simply is rather weak in this point. You can't call it romantic at all. I have seen similar topic type of Hong Kong filmsn from the '60s. For the plot and story line developing which they have done are much better than this one. This one is supposed to be a romantic musical comedy, I don't see any part of the story being romantic or comic. They have such a budget, and the film is a long one that is long enough to be well crafted to a real combination of musical and romantic comedy.
The only thing I appreciate is the attitude and the acting of all the actors and actresses. I also enjoy all the dancing scene too (except the ugly mask). They all have contributed their best to their part. The color and the beautiful cinema-scope widescreen are really nice too. Nowadays even big Hollywood productions do not use such sharp beautiful color anymore. Films of today are like shooting in a basement. So I give it 6 stars for respecting the actors/actress and the dancers.
To make it short, this film could be made better. However I am afraid this is exactly the way how the West wants to make Eastern oriental background films. Have you ever once seen a real good Hollywood production on such Eastern oriental background films? No, right? Exactly, you know what I mean!
About the dress, the ugly so called Chinese dress/outfit including the shoes of the role Mei Li is really horrible. Even jumping back to the Ching Dinasty no one would have dressed in that way. For the dress/outfit of this role, sorry I really don't buy it! The male dancer wearing a stupid ugly mask form traditional Chinese Opera in one dance scene is awful too. Here we can really see how the West looks to the Chinese and Chinese traditons in a stupid way.
That is not the most horrible thing. The flaw "flower drum song" which has been sung in this film is the most horrible nightmare. Can these Rodgers & Hammerstein first spend some time to study or reaserach a bit to make some real Chinese flower drum song music instead of writing that horrible song in this musical film? If you have once heard real flower drum song music, you will surely agree with me, really!
The story itself in the movie is terrible too. How come such a lovely young lady will run from one man to another man and back again (--- Sammy Fong --- Wang Tai --- Sammy Fong --- Wang Tai) without any hesitation or second thought about real love? I have not read the book, I don't know the real story. However the film simply is rather weak in this point. You can't call it romantic at all. I have seen similar topic type of Hong Kong filmsn from the '60s. For the plot and story line developing which they have done are much better than this one. This one is supposed to be a romantic musical comedy, I don't see any part of the story being romantic or comic. They have such a budget, and the film is a long one that is long enough to be well crafted to a real combination of musical and romantic comedy.
The only thing I appreciate is the attitude and the acting of all the actors and actresses. I also enjoy all the dancing scene too (except the ugly mask). They all have contributed their best to their part. The color and the beautiful cinema-scope widescreen are really nice too. Nowadays even big Hollywood productions do not use such sharp beautiful color anymore. Films of today are like shooting in a basement. So I give it 6 stars for respecting the actors/actress and the dancers.
To make it short, this film could be made better. However I am afraid this is exactly the way how the West wants to make Eastern oriental background films. Have you ever once seen a real good Hollywood production on such Eastern oriental background films? No, right? Exactly, you know what I mean!
A Great Musical from the Early Sixties
writerasfilmcritic23 August 2005
This one takes me right back to the sixties when we were young and full of hope for the future. We saw it as a first run movie at Graumann's Chinese Theater in Hollywood and loved it. Even today, on the television set, it holds up well and the overture just jumps out at you. Soon, you hear "A Hundred Million Miracles, with doll-like Miyoshi Umeki, and other great songs like "Love Look Away," and "Sunday." The choreography is as impressive as the music, in particular the erotic dance sequence for "Love Look Away," with beautiful Reiko Sato as Helen. Her unrequited love for Ta (James Shigeta) is never neatly resolved, unlike the film's other romantic relationships, and unfortunately, she died in real life only twenty years later. Nancy Kwan as Linda Low, of course, looks great, sings well, and slinks around very nicely, as do the many other lovely Asian dancers who grace this testament to Chinese American culture and oriental beauty. The funniest and best acting came from old man Wang, played by Benson Fong. He complained to his wife's sister (Juanita Hall) that after five long years of citizenship school, the only thing she could say about America was, "This isn't China!" And when asked to describe the mugger who had robbed him on his doorstep, he replied simply, "How should I know. All white men look alike." James Shigeta and Jack Soo handed in memorable performances, as well. The former became one of the most successful and consistently employed oriental actors in American film and television, while the latter went on to play Nick Yemana on "Barney Miller." Although there are some corny aspects to "Flower Drum Song," these are more than counterbalanced by the many interesting elements that occur throughout the movie. In short, it's a sort of "Joy Luck Club" of the early sixties, on a similar level and released about the same time as "South Pacific" and "West Side Story." A couple of years later, America was again impacted by the Orient. The beautiful song "Sukiyaki," an imported hit from Japan, went to number one on the American pop charts. We had our problems in those days, but culturally speaking, it was a great time to be alive.
Not the best Rogers and Hammerstein Movie Out There
fantasiland14 June 2010
Warning: Spoilers
I don't think this movie was really up to par with other R&H movies. The songs were just O.K. and to be honest Mei Li was one of the worst characters in the whole movie for me.
Mei Li had no personality whatsoever. Throughout the whole movie, she was just a Mary Jane- hardly the right personality for a main character! As for Linda, she has no dreams or goals besides being a fifties housewife. But, now that we think about it, isn't that what Mei was going to do to? Oh, yeah. So Mei Li is like Linda, except with less personality.
The one possible character who had hope in becoming three-dimensional with real thoughts and feelings was the supporting character who didn't get a happy ending, Helen Chao. In the book version she commits suicide, in the movie version she just disappears! She selflessly took the heartbroken Ta to her house to have a place to sleep, and then he leaves her, without even trying the breakfast she made for him. Mei comes later and jumps to conclusions and by then we all know how the movie ends.
And that's it.
Helen, a poor seamstress, the childhood friend of Ta, arguably the most self-sacrificing character in the movie, just disappears from the story line.
Okay, so was it really that necessary to make Helen in love with Ta, too? I didn't read the book, but I hope it was for more than an excuse for a musical number.
So in the end, everyone (meaning Sammy and Linda and Ta and Mei) is happy and married, while poor Helen rots away in heart ache and nothingness. Her character had so much potential. She knew Ta for so long and she obviously cared for him before Mei or Linda came along- Linda wanting Ta to make Sammy propose and Mei because she needed a wealthy husband. Now, tell me, who cared the most for Ta, considering all their initial motives? Oh, that's right- Helen. Except, thanks to R&H, she's gone.
If given the option, I wouldn't watch this movie again.
Mei Li had no personality whatsoever. Throughout the whole movie, she was just a Mary Jane- hardly the right personality for a main character! As for Linda, she has no dreams or goals besides being a fifties housewife. But, now that we think about it, isn't that what Mei was going to do to? Oh, yeah. So Mei Li is like Linda, except with less personality.
The one possible character who had hope in becoming three-dimensional with real thoughts and feelings was the supporting character who didn't get a happy ending, Helen Chao. In the book version she commits suicide, in the movie version she just disappears! She selflessly took the heartbroken Ta to her house to have a place to sleep, and then he leaves her, without even trying the breakfast she made for him. Mei comes later and jumps to conclusions and by then we all know how the movie ends.
And that's it.
Helen, a poor seamstress, the childhood friend of Ta, arguably the most self-sacrificing character in the movie, just disappears from the story line.
Okay, so was it really that necessary to make Helen in love with Ta, too? I didn't read the book, but I hope it was for more than an excuse for a musical number.
So in the end, everyone (meaning Sammy and Linda and Ta and Mei) is happy and married, while poor Helen rots away in heart ache and nothingness. Her character had so much potential. She knew Ta for so long and she obviously cared for him before Mei or Linda came along- Linda wanting Ta to make Sammy propose and Mei because she needed a wealthy husband. Now, tell me, who cared the most for Ta, considering all their initial motives? Oh, that's right- Helen. Except, thanks to R&H, she's gone.
If given the option, I wouldn't watch this movie again.
I loved rewatching Flower Drum Song with my mom watching with me this time!
tavm13 July 2014
Warning: Spoilers
I had originally watched this movie in the '90s when I lived in Jacksonville, FL. So last night, I showed this on DVD with my mom viewing it with me. She had never seen this before so she managed to enjoy it just as much as I did watching this again. During my original viewing, I had a problem with Wang Ta's going from Linda Low to Mei Li since Linda was teasing him and Mei Li was too reticent for my tastes which meant I would have preferred he have gone with Helen. Part of me still feels that way but I'm now used to the way things eventually worked out so I'm now okay with that. Anyway, like I said, I enjoyed this much better the second time around especially with the great look presented on the DVD. Loved the cast of Nancy Kwan, James Shigeta, Miyoshi Umeki, Reiko Sato, Benson Fong, Juanita Hall, Victor Sen Yung, Patrick Adiarte (like me and Mom, a Filipino), and especially, Jack Soo! In fact, one of my favorite sequences was his being knocked out twice in the "Sunday" number! I also loved seeing the cowboy and Indian-in black and white-cavorting with the Technicolor players in that one. Oh, and what a great way in presenting multiple Nancy Kwans in the "I Like Being a Girl" number. The Rodgers & Hammerstein score was really good. Really, all I'll say is I highly recommend this film version of Flower Drum Song.
A lesser Hollywood musical
aberlour363 February 2008
This film is finally out on DVD. The quality of the picture and sound is excellent, and so is the packaging. Unfortunately, the movie isn't much. It's far too long, the script is consistently weak, the dance numbers make you think you're watching the "Carol Burnett Show," the acting is mediocre, and the music, with a couple of exceptions, is forgettable. That "I Enjoy Being A Girl" is touted as the masterpiece of the production, says much. Yes, the musical numbers are lavish, and a lot of money was spent on such items as a Chinese New Year parade in San Francisco. But where is the wit? And where is the beauty? Even when the music is passable, it seems to be imitating "Oklahoma" and "South Pacific." (Unlike in the filmed version of the latter, Juanita Hall is allowed to sing her role here. Several of the other voices seem to be dubbed.) By far the most believable performer in the production is Myoshi Umeki. Believable because she actually seems to be Chinese and can show a range of emotions that no one else in the cast apparently can. All in all, this is a weak way to spend two hours and twelve minutes, unless you're a musical historian interested to know how far the talents of Richard Rogers and Oscar Hammerstein II have slipped by 1961.
Charming Musical in a Time of Invisibility for Asian Americans
LeonardKniffel29 April 2020
Although the Broadway show did not produce many hit songs, watching this film version of the popular musical comedy offers an opportunity to appreciate just how wonderful many of the songs are, in particular the deceptively simple "A Hundred Million Miracles." Not surprising, since the music is by the incomparable team of Richard Rogers and Oscar Hammerstein II. "I Enjoy Being a Girl," sung by gorgeous Nancy Kwan, has been recorded by many singers and even parodied in a Gap commercial by Sarah Jessica Parker. "Grant Avenue" belongs in the pantheon of great songs about San Francisco, and "You Are Beautiful" echoes the simple wisdom of "A Hundred Million Miracles." Of course this musical is a popularized version of what it means to be Chinese in America, but the show deals seriously with the controversial issue of illegal immigration. "Where are you from," a police officer asks Miyoshi Umeki and her father, who have sneaked into the U.S. as cargo from China. "The East," they respond. "Oh, New York?" says the officer. "No, further east," the father quips. Umeki is disarmingly amusing in her assessments of American culture, although some critics in the Chinese community objected to her being given the role, since she was of Japanese descent. ---from Musicals on the Silver Screen, American Library Association, 2013
Charming
gbill-7487728 May 2020
A groundbreaking and charming film. It doesn't reach quite as high as maybe it could have and it's got a few flaws, but it was enormous step forward at the time, and it's entertaining besides. The cast has a lot of underrated star power (Nancy Kwan and James Shigeta), there are some really nice musical numbers, and the heart of this film is in the right place, treating Asian-Americans as people for a change.
The main message of this film is pretty loud and clear to me - Asian-Americans are just as American as anyone else - and this is where the film truly shines. Quite a bit of it deals with the gap between older and younger generations, and could have been applied to any immigrant culture. We see the kids spouting slang, playing baseball, and dressed up as Revolutionary War figures for a parade. In one number we see the electric Nancy Kwan singing not in some exotic getup or about some Chinese-specific theme, but simply "I Enjoy Being a Girl" in front of three mirrors ala Marilyn Monroe or Bridget Bardot. Jack Soo is a nightclub owner and as smooth as Dean Martin, and suave leading man James Shigeta reminded me of Peter Lawford. None of them speak with an awful accent or in caricature, and one of the nice moments early on shows that people on the streets of Chinatown don't necessarily know how to read Chinese. The story that has three women (Reiko Sato is the third) romantically interested in the two men is a little silly, but it's similar to others in this genre, it's pretty damn nice to see the male characters not emasculated and the open kissing. Quite a bit of the film is universal.
It's a little hit and miss in the musical numbers, but there are several standouts:
There are also some nice little visual touches, such as the different mirrors reflecting different things in "I Enjoy Being a Girl," and black and white cowboy and Indian characters coming out of a TV to run around in "Sunday." The latter are played by Asian-Americans and there's a lot to unpack there, but suffice to say it's a little unfortunate this bit wasn't based on some other traditional/classic American movie type.
Where the film fails a bit is in its depiction of Chinese customs, which is maybe not surprising given the Western writers/composers and the fact that this was playing to a 1961 audience, but a little disappointing nonetheless. The 'flower drum song' ("A Hundred Million Miracles") is unengaging musically and inauthentic culturally, and watching the first performance in the Celestial Gardens nightclub is like eating a highly westernized version of Chinese food. While most of the characters are far from stereotypical and quite refreshing, the young woman from China (Miyoshi Umeki) is too subservient, particularly when she finds herself being paired up with the nightclub owner and more than willing to accept all of his flaws. Her character and her musical performances were my least favorite part of the film, though even she has a nice little moment imitating Soo at the end of "Don't Marry Me."
Overall though, this is a fine film, even touching on humanizing illegal immigration. You can count films from Hollywood with such Asian representation on one hand over the years, and unless I'm forgetting one, the next wouldn't be for over three decades (The Joy Luck Club (1993)). It's a shame that Anna May Wong died earlier in the year at just 56, and couldn't play the part of the aunt/sister-in-law as planned, or even see the film - I'm sure she would have loved it.
The main message of this film is pretty loud and clear to me - Asian-Americans are just as American as anyone else - and this is where the film truly shines. Quite a bit of it deals with the gap between older and younger generations, and could have been applied to any immigrant culture. We see the kids spouting slang, playing baseball, and dressed up as Revolutionary War figures for a parade. In one number we see the electric Nancy Kwan singing not in some exotic getup or about some Chinese-specific theme, but simply "I Enjoy Being a Girl" in front of three mirrors ala Marilyn Monroe or Bridget Bardot. Jack Soo is a nightclub owner and as smooth as Dean Martin, and suave leading man James Shigeta reminded me of Peter Lawford. None of them speak with an awful accent or in caricature, and one of the nice moments early on shows that people on the streets of Chinatown don't necessarily know how to read Chinese. The story that has three women (Reiko Sato is the third) romantically interested in the two men is a little silly, but it's similar to others in this genre, it's pretty damn nice to see the male characters not emasculated and the open kissing. Quite a bit of the film is universal.
It's a little hit and miss in the musical numbers, but there are several standouts:
- The three kids dancing and singing in "The Other Generation" - absolutely adorable.
- Nancy Kwan in her lingerie and beautiful outfits in "I Enjoy Being a Girl" - hello, and she's fantastic throughout.
- The ensemble cast breaking out into vibrant American dancing towards the end of "Chop Suey" - very cool and so joyful.
- Reiko Sato in "Love Look Away," which includes some dreamy and ethereal effects - simply gorgeous.
There are also some nice little visual touches, such as the different mirrors reflecting different things in "I Enjoy Being a Girl," and black and white cowboy and Indian characters coming out of a TV to run around in "Sunday." The latter are played by Asian-Americans and there's a lot to unpack there, but suffice to say it's a little unfortunate this bit wasn't based on some other traditional/classic American movie type.
Where the film fails a bit is in its depiction of Chinese customs, which is maybe not surprising given the Western writers/composers and the fact that this was playing to a 1961 audience, but a little disappointing nonetheless. The 'flower drum song' ("A Hundred Million Miracles") is unengaging musically and inauthentic culturally, and watching the first performance in the Celestial Gardens nightclub is like eating a highly westernized version of Chinese food. While most of the characters are far from stereotypical and quite refreshing, the young woman from China (Miyoshi Umeki) is too subservient, particularly when she finds herself being paired up with the nightclub owner and more than willing to accept all of his flaws. Her character and her musical performances were my least favorite part of the film, though even she has a nice little moment imitating Soo at the end of "Don't Marry Me."
Overall though, this is a fine film, even touching on humanizing illegal immigration. You can count films from Hollywood with such Asian representation on one hand over the years, and unless I'm forgetting one, the next wouldn't be for over three decades (The Joy Luck Club (1993)). It's a shame that Anna May Wong died earlier in the year at just 56, and couldn't play the part of the aunt/sister-in-law as planned, or even see the film - I'm sure she would have loved it.
For a musical, it actually makes some good points...
coco!!!8 November 1999
I am from San Francisco, and while not of Asian descent, I am familiar with the cultural difficulties of "East vs West" -- and every time I see this movie, I am impressed with how this is handled. Ok, granted, it's a fluff-and-sparkle R&H songfest, and not one of their best or most famous, but it does have some good commentary - as when the younger brother pops in and out with his completely modern slang...with the more common "generation gap" themes running rampant at this time (early 60's), it's even more interesting...and, as I say, I lived in SF very near Chinatown - it "feels" right, even tho it's an entirely fake set. Don't dismiss it out of hand - it's no "Joy Luck Club" or "Double Happiness" but it's not bad, either.
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