This is an immigrant movie about three ladies, one from Hong Kong, one from mainland China and one from Taiwan, who all settle in New York. Stchingawa marries a Chinese man, but misses home. Sylvia Chang (Taiwan) goes through relationships that are not very fulfilling and Maggie Cheung plays a successful businesswoman. Its basically a story of immigrant life in the big city, always fertile ground for a film. However, the characters, to me, seem underwritten. Maybe that the film was lensed a while ago and I'm seeing it now is the reason, but it just didn't ring true. I like thyat the three ladies became friends, but feel more should have been explored on that. Their individual lives are not as interesting. I cant fault the acting, especially with the always flawless Maggie Cheung in her role, but I felt the film had potential it never realized. It should be remade now, with the same people, and it would probably make a more interesting film. So, better than okay on the strength of the performances, but not as good as it could have been.
7 Reviews
Three Chinese women find friendship in America
kemmellie5 September 2006
Stanley Kwan's film, "Full Moon in New York," is a great film about Chinese immigration to America. It looks at three women, from Taiwan (Sylvia Chang), mainland China (Gaowa Siqin), and Hong Kong (Maggie Cheung), respectively, and how they overcome socio-cultural differences to forge a friendship based on mutual suffering and understanding in surviving life in "the Big Apple." While issues involving Chinese labor, Chinatowns, stereotypes of Asian American actors, and politics are touched on, they are not explored in depth. Still, Kwan provides an interesting character study of three women's struggle to make a name for themselves and find happiness and love in a society where racial prejudice and stereotypes, as well as cultural differences isolate them. Yet they find solace in each other's experiences and become friends despite old territorial grievances and lack of a common language.
Heart in the right place, but falls short
gbill-7487729 April 2024
A year after making his brilliant Cantonese supernatural romance Rouge, Stanley Kwan came to Manhattan to film Full Moon in New York, which gives us a slice of life type story of three women who are different in many ways, but share a common heritage. I believe the intention was to show the diversity within the Chinese community, some of the struggles of its members in America, and the strength in friendship and unity. It's not a bad concept, and with Maggie Cheung, Sylvia Chang, and Gaowa Siqin you could certainly do worse, but each of the subplots isn't developed or resolved in ways that made this film particularly satisfying. Kwan himself said the film "turned out to be an embarrassment," but that's probably too harsh, as there are several wonderful little moments to be found here.
One woman (Chang) is an actress from Taiwan dating a broke white guy and soon to break up with him; another (Cheung) is from Hong Kong and works in her father's restaurant, she's bisexual and just ending a lesbian relationship; the third (Siqin) is a new bride from mainland China who has just married an "Americanized" Chinese man. In a parallel to these very different lives, one mentions about the restaurant, "It's a Hunan place run by Cantonese serving Peking duck," or words to that effect. The three women form a friendship despite some disagreements initially when Siqin's character says simply, "We're all Chinese, why argue?" and that seems to be the spirit of the film.
Each woman is buoyant and strong, but we see bits of their difficulties. Cheung's character is harassed on the street and she responds by chasing the guy down and whacking him with her shoe. Chang's character goes to an audition where a white director has the nerve to ask her why she as a Chinese woman thinks she can play Macbeth (grrr, and her response is brilliant). Siqin's character wants to bring her suffering mother over to live with them, which is perfectly natural in the traditional culture, but the idea is met with disdain from her husband.
The film is not helped by its subpar audio, which has tinny vocals and strange attenuation. It's also not helped by how the stories aren't fully developed, or complete their arcs. Cheung's character's lesbian past is limited to moments being essentially stalked, and an indication she wants to date a man now, but there is no real introspection. After Siqin's character walks out on her husband, we get no further scene of conflict or resolution. Lastly, Chang's character has a father who from the KMT, and is helping a woman who suffered during the Cultural Revolution to write a book. In one of the stronger visual moments of the film, her gaze and brief words inform us that he's actually abused her himself, in order to give her injuries he can then attribute to the Communist government. The idea of that felt ridiculous and wrong to me, and on top of that it was expressed in far too brief a manner, then simply left dangling.
The film has its heart in the right place and it's possible you like it better, but unfortunately for me it comes up a little short.
One woman (Chang) is an actress from Taiwan dating a broke white guy and soon to break up with him; another (Cheung) is from Hong Kong and works in her father's restaurant, she's bisexual and just ending a lesbian relationship; the third (Siqin) is a new bride from mainland China who has just married an "Americanized" Chinese man. In a parallel to these very different lives, one mentions about the restaurant, "It's a Hunan place run by Cantonese serving Peking duck," or words to that effect. The three women form a friendship despite some disagreements initially when Siqin's character says simply, "We're all Chinese, why argue?" and that seems to be the spirit of the film.
Each woman is buoyant and strong, but we see bits of their difficulties. Cheung's character is harassed on the street and she responds by chasing the guy down and whacking him with her shoe. Chang's character goes to an audition where a white director has the nerve to ask her why she as a Chinese woman thinks she can play Macbeth (grrr, and her response is brilliant). Siqin's character wants to bring her suffering mother over to live with them, which is perfectly natural in the traditional culture, but the idea is met with disdain from her husband.
The film is not helped by its subpar audio, which has tinny vocals and strange attenuation. It's also not helped by how the stories aren't fully developed, or complete their arcs. Cheung's character's lesbian past is limited to moments being essentially stalked, and an indication she wants to date a man now, but there is no real introspection. After Siqin's character walks out on her husband, we get no further scene of conflict or resolution. Lastly, Chang's character has a father who from the KMT, and is helping a woman who suffered during the Cultural Revolution to write a book. In one of the stronger visual moments of the film, her gaze and brief words inform us that he's actually abused her himself, in order to give her injuries he can then attribute to the Communist government. The idea of that felt ridiculous and wrong to me, and on top of that it was expressed in far too brief a manner, then simply left dangling.
The film has its heart in the right place and it's possible you like it better, but unfortunately for me it comes up a little short.
Full moon shines bright on the three ladies.
yadavanita-1809322 February 2021
Three women from three asain countries(considering hong kong seperate) meet in New york of all the places in the world and form a uncanny friendship considering they belong from different regions and share different professions.
One is a aspiring actress trying her hand in different acting auditions, One is a daughter of a chinese restaurant owner, herself working there; and one is a newly married trying her luck in love.
It may not be a "Eat Sleep Man Woman" by ang lee, or "Taipei Story" by edward yang but Stanley Kwan's this film sure does leave a mark.
The lives of the three leads could have been explored more but still how much is shown does a good job for us in understanding their situations and problems.
This is a type of movie that you may forget about after some time, but still remember in a vague memory that you had seen it. It manages to keep you entertained in its less than 90 min runtime, which is enough for it. Seeing it after knowing the leading ladies and their other works, especially Maggie cheung and Sylvia Chang will surely help you like the film better.
One is a aspiring actress trying her hand in different acting auditions, One is a daughter of a chinese restaurant owner, herself working there; and one is a newly married trying her luck in love.
It may not be a "Eat Sleep Man Woman" by ang lee, or "Taipei Story" by edward yang but Stanley Kwan's this film sure does leave a mark.
The lives of the three leads could have been explored more but still how much is shown does a good job for us in understanding their situations and problems.
This is a type of movie that you may forget about after some time, but still remember in a vague memory that you had seen it. It manages to keep you entertained in its less than 90 min runtime, which is enough for it. Seeing it after knowing the leading ladies and their other works, especially Maggie cheung and Sylvia Chang will surely help you like the film better.
The Moon Waxes And Wanes. Will It Wax Again?
boblipton1 April 2024
Sylvia Chang, Maggie Cheung, and Siqin Gaowa were originally from China. Now they live in New York City. They speak Chinese to each other, and sometimes sing Chinese songs. Their lovers and husbands are Chinese. But they feel themselves losing their identities in Manhattan.
The melting pot that is part of the mythology of the United States is a great promise and a great threat. I grew up with relatives who fled Europe to get here. I feel I understand what makes this nation so good in a way that some one who grew up never knowing anything different, or caring about someone who could tell them about it can. It's a commonplace for many, and so not valued. For people like me, the promise of America is its indifference. When it works well, no one cares if I go to a synagogue instead of a church, or don't go at all, whether I speak English or Yiddish or Gullah at home.
But that indifference is also corrosive. If no one cares, then why should you? And that is the strain that these three women come to recognize and seek each other out for. It's how communities are formed. But for how long?
The melting pot that is part of the mythology of the United States is a great promise and a great threat. I grew up with relatives who fled Europe to get here. I feel I understand what makes this nation so good in a way that some one who grew up never knowing anything different, or caring about someone who could tell them about it can. It's a commonplace for many, and so not valued. For people like me, the promise of America is its indifference. When it works well, no one cares if I go to a synagogue instead of a church, or don't go at all, whether I speak English or Yiddish or Gullah at home.
But that indifference is also corrosive. If no one cares, then why should you? And that is the strain that these three women come to recognize and seek each other out for. It's how communities are formed. But for how long?
A Witty, Warm and Wise Film
grimmfo9 October 2004
Stanley Kwan's "Full Moon In New York" is a tale of three very different Chinese women (a passive one from the mainland, an aspiring actress from Taiwan, and a pushy business woman from Hong Kong) living in New York City and their unlikely friendship. Kwan's direction of the terrific screenplay by Yan and Zhong is first-rate. The three leading ladies are all excellent, as is, I believe, Richard Hsiung (the credits are not clear), as Stchingowa's rich, uncomprehending husband. Search it out - a wonderful little film.
One of the relatively few films that one might wish to have gone on for longer.
philosopherjack10 February 2023
Warning: Spoilers
Stanley Kwan's absorbing Full Moon in New York is built around the friendship between three young women living in the big city, linked by common Asian heritage (Taiwan, Hong Kong, mainland China) but otherwise very different in their life experiences and aspirations. Ms. Lee (Maggie Cheung) spends some of the time working in her family's restaurant, supplemented with various other deals and trades, prompting several discussions about the perceived risk of opening a Chinese restaurant anywhere other than in Chinatown, and about appetite for risk in general. Ms. Wang (Sylvia Chang) tries to make it as an actress, which at that time typically necessitates having to specifically explain her suitability, as an Asian woman, for a particular role. Mrs. Poon (Yat-Gam Chu) comes to America to be married while barely able to speak English - her husband treats her well, but won't yield to her deep desire to bring her mother over, either ignoring the request, or rationalizing it away as an example of old thinking. In other ways though, old practices and expectations still apply, for instance in the notion of parents finding a suitable marriage match for their children (even applying to Ms. Lee, whose romantic relationships are with other women); Kwan's view of New York is very much that of an outsider, filming the city mainly either through high-rise windows or in disembodied panning shots, and finding it to be imperfectly integrated. Some of the film's most delightful passages simple observe the women as they hang out together, messing about in the restaurant kitchen or chatting about such mundane matters as shaving their legs; Kwan presents such moments both as an assertion of individual identity and as formative experience. Of course, the act of formation, the balancing of self-discovery and assimilation never reaches an end point, perhaps rendering the film's unresolved ending inevitable; even so, it's among the relatively few films that one might certainly wish to have gone on for longer.
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