The World Of Suzie Wong

 

 

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American William Holden, as former architect turned struggling artist, Robert Lomax, a cynic who's "pushing forty," arrives in 1960 Hong Kong to make a valiant effort for his art. He's never been there and has no idea what to expect. On the ferry boat to Kowloon, he has a sort of altercation with the very young & attractive Nancy Kwan, who claims to be named "Mei Li," a very proper young lady about to enter into an arranged marriage set up by her wealthy father. Shortly before reluctantly introducing herself, she also almost manages to have Robert arrested by claiming he's a purse snatcher, which, judging from her mirthful expression, she does for the sheer entertainment value of the situation.

Robert, completely lost and not particularly wealthy, soon makes his way to the Wan Chai district, and, in his naivete as American abroad, fails to realize he's entered the main prostitution district in the city. His journey to the seedy hotel where he sets up shop as artist would be one of the highlights of the film: Robert's amazement and confusion at the bustling, vibrant city that has become his new home come across nicely. In many ways, the brilliant cinematography and camera work turn the city of Hong Kong itself into the unacknowledged third star of the film. However, it's a very different Hong Kong than now: very much a British colonial post, and, in segments of the neighborhoods, almost a Third World city.

Unfortunately, once Robert reaches the hotel, the movie loses much realism, and we've plainly entered a 1950's Hollywood set version of Hong Kong (although this happens to be a British film), complete with cartoonish prostitutes and Brit sailors on leave. It turns out that prim-and-proper Mei Li's none other than "very popular" Wan Chai "girl" Suzie Wong. There are some very dated scenes that follow, although actress Jacqui Chan's charming in an off kilter way as bar girl Gwennie Lee. Nancy Kwan vamps and spouts much pidgin English and says "for goodness' sake" about 500 times in a row. There's also a scene that made me cringe with a cheap dress getting ripped off Suzie by Robert. Fortunately, Robert, Suzie, and the camera eventually hit the streets of actual Hong Kong again.

Then, something odd happens with this film, bit by bit. The movie focuses more and more on Robert and Suzie as a couple, and, bit by bit, Suzie becomes less of a stereotypical bar girl and more and more of a human being who behaves unexpectedly. It turns out that she has developed a persona for herself, a very manipulative, successful one, that's given her an edge in a very harsh city for abandoned young women. She has an active fantasy life, that's enabled her to separate herself psychologically from the more sordid aspects of what she's done in order to survive. Robert too, becomes less and less Joe Gillis, Jr. (for those of you who've seen Holden in SUNSET BLVD. from a decade earlier), a one-note, crabby cynic with a paternalistic attitude towards Suzie, and more and more a human being who's in love. He shows this most plainly when he finds out that Suzie has an infant son, and Robert accepts little Winston affectionately as his own. In a complex way, Suzie, and also little Winston, act as muses for Robert, and his own art becomes more inspired and interesting because of them. Suzie also benefits from her love for Robert and shows some real emotion for him rather than her usual play acting.

This is where I find the movie interesting, as it depicts, much more realistically than one might expect in 1960, the dimensions of a biracial, bicultural couple's life together. Although Robert has made contact with the British elite in the city and needs them for patronage for his art, he's never really comfortable with them or their patronizing, mildly racist way of observing the Chinese. Kay O'Neill (actress Sylvia Syms), the daughter of a well-placed British banker, falls for Robert, but he doesn't really feel any emotion for her as he does for Suzie. Of course, she can't believe Robert would really prefer Suzie to her. When he announces he's thinking of marrying Suzie, Kay's father says that, of course, he could never hire someone in those circumstances. The rest of the Brits more talk around Suzie than to her whenever she's present. Likewise, most of the Chinese, while polite with Robert, don't know quite what to make of him, either, and he seems to do better either with Suzie as intermediary or because her friends help him along. It's obvious too that sometimes cultural miscues cause Suzie and Robert to misunderstand one another. This leads to the beginning of the climax of the film, which is somewhat tragic.

No doubt, this has been a controversial film. In the past, many Asian-American studies professors seemed to grow livid at the mention of it. This was supposed to be the ne plus ultra (or maybe the nadir, instead) for stereotypical portrayals of all Asian women as submissive little China doll characters or bar girls. There is some of that there (although much less than in most other 1950's-early 1960's American films), but, as I'd noted, the interesting thing's how the stereotype turns out to be a fake, something created for the advantage (if that's the word) of the heroine for relating to foreigners. It's also interesting how the genuine romance, one based on a sort of mutual respect between Robert and Suzie, becomes more important. Most interesting of all's the portrayal (that mostly rings true) of a biracial, bicultural romance between two human beings. As someone involved in such a relationship for many years, I found myself giving the film an extra star for this "rightness" alone. Finally, both Holden and Kwan are good in their roles and the way their characters interact. I just couldn't see France Nuyen and William Shatner (from the stage play version) evoking the same level of emotion and empathy for Suzie and Robert. It's even more remarkable that Kwan was only in her early twenties when she portrayed Suzie.

Plus, if nothing else, this movie's a terrific time capsule/travelogue of Hong Kong, as it was never so brilliantly captured elsewhere on screen in that era.

'The World Of Suzie Wong' the romanticized story of a Hong Kong prostitute and an American artist is for some, a simplistic racist view of Chinese, for others, a guilty pleasure. Yes, it is both of those things but it is even more. It is a fine and tender love story of two people from very different worlds who overcome pride and prejudice and embark upon a true human experience. Forty four years after its release this film along with 'Flower Drum Song' are being re-evaluated and embraced by the Chinese American community. Why? Because beneath the surface of each film they share the common job of telling the story of their time and place with honesty and true humanity and in the case of Suzie Wong, the story is not such a happy one.
At first we are presented in 'Suzie Wong' a stereotypical view of happy little hookers in the Wan Chai district of Hong Kong. But as the story unfolds the veneer of this portrait cracks open to reveal through Suzie just how desperate the lives of these women are. In a city of over three million crammed onto the island city it is a case of do what you must to survive. In Suzie's case she must compartmentalize her feeling into body, love, and soul and thus protect herself by pretending that she is the daughter of a rich merchant rather than a Wan Chai bargirl. Though her relationship with Robert they both learn the meaning and cost of love in a world of narrow view and prejudice.
The film is very adult and honest in dealing with the subject of the flesh trade and racism in 1960 must have been a bit shocking on several levels. This film must be credited with opening the door to telling more honest stories of Asian's with Asian actors in the major roles. After all, not too many years before we had Jennifer Jones playing a Eurasian in 'Love Is A Many Splendored Thing'. She did a fine job, but still she was miscast. Here we have Nancy Kwan creating a memorable character, as it should be, by someone of Asian descent.
Nancy Kwan is luminous in the role of Suzie. This was a star making turn for her and led to other good roles over the years. She is sexy, with a street-smart veneer that covers her open and trusting heart. She rises to the many emotional challenges of Suzie and succeeds in carrying the viewer through the film as only an accomplished actress can. The camera falls in love with her, as does the reluctant Robert.
William Holden is perfectly cast as the "pushing forty" American who has come to Hong Kong to pursue his dream of being an artist. He is a pro who give the role just the feeling of wonder and discovery it needs blended with a certain worldliness that it requires. Together, Kwan and Holden are an intoxicatingly romantic couple that share a chemistry on screen most films of this genre aspire to but few achieve.
The supporting cast is filled out by standouts such as Jacqui Chan as Gwennie Lee, Andy Ho as Ah Tong, Michael Wilding as Ben Marlow and Sylvia Simms as Suzie's rival, Kay O'Neill.
Geoffrey Unsworth also known for his work on 'Becket', '2001 A Space Odyssey' and 'Cabaret' stunningly photographed Hong Kong for the film. His use of light and color is unsurpassed in capturing the long gone look of the city in 1960. The art direction of John Box is superb. He is best known for his work with David Lean on 'Doctor Zhivago' and 'Lawrence of Arabia'.
It is all expertly helmed by director Richard Quine who is also responsible for 'Bell, Book, and Candle', 'Strangers When We Meet' and the delightful 'How To Murder Your Wife'.
Of special note are the stunningly beautiful paintings of Miss Kwan by artist Liz Moore. They are indeed wonderful and one wishes there had been an addition to the DVD of slides of this artist's painting for the film.
'The World of Suzie Wong' is a film that holds both an important place in film history and the hearts film buffs and romantics around the globe. So on that rainy Saturday afternoon when you need a little romance, drama and travel to a far off land pop in this new DVD of 'Suzie Wong' and be carried away.

Today there are many "chick flicks," but The World of Suzie Wong is the quintessential "romance for guys."

There are two parallel themes in this film: 1) the "Pygmalion" theme, which was old when George Bernard Shaw's play first appeared in 1913. Pygmalion, in classical legend, was the king of Cyprus who fell in love with his own sculpture. Hence the theme of beginning with a raw material (in this case a woman of no great position or education) and to some degree transforming her into she whom you might adore.

Some may object to this theme carrying racist overtones, but in my view the reverse is true. The essence of the message is an absence of racism. The very fact that in this type of romantic union the protagonists are of unequal social position means that the man is attracted to the woman because of her human qualities, not because of any advantage she can provide to him in terms of social status or wealth. In fact, a man who loves such a woman is often looked down upon socially, which is present in this story. The object of Robert Lomax's love is Suzie Wong for who she is as a woman and how she makes him feel, and he gladly, even cynically disregards the disparagements of those who do not approve.

2) Theme number two is the enchantment of the East. This is magic stuff for those so smitten, which includes your humble correspondent. In this way, this wonderful story (novel and film) is understated. It is barely believable that Lomax's attraction to Suzie would start from nothing and grow so slowly to compelling strength. Lomax must be a man of Quixotic romantic notions or he would not be trying this alternative life style of professional painting. This mixture of desire and fascination is more likely to stormily seize a man's heart, but "Robert meets Suzie-falls crazy in love-marries Suzie" would make for a ten-minute film, and that just wouldn't do, would it?

It's also an interesting commentary on the film makers of this approximate vintage that when they wanted to tell the story of interracial romance they often seemed to think they had to attenuate the effect. Both Nancy Kwan and France Nguyen (in South Pacific), for example, were of mixed parentage, (but the Asian love interests in The Sand Pebbles and Sayonara were not).

The World of Suzie Wong is so very romantic, and the themes explored here are enduring. I love the novel -- I love the film. I can't imagine anyone but William Holden playing Lomax (although William Shatner [believe it or not] played the stage role). This role belongs to Bill Holden.

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5.0 out of 5 stars Some Critics Don't Know What They're Talking About!
Ignore the nayayers, nitpickers, and the negative comments made by some ignorant and incompetent critics, like a certain All Movie Guide critic, who mistakenly believes he is a... Read more

Published on April 1 2010 by Fred Squires

5.0 out of 5 stars Feel the time and place better than being there
This movie transports you to Hong Kong in 1960. The story is magnificent. This love story is culturally aware and captivating. The locale is the star. Read more

Published on April 14 2003 by wnary

2.0 out of 5 stars Me not like movie
Robert: Suzie, I love you, but...but, it could never be.
Suzie: You just saying that because I just poor Chinese girl. I rich English girl, you love me. Read more

Published on Sep 29 2002 by Beth

5.0 out of 5 stars Gorgeous Scenery Makes This A Romantic Classic!
This fine love story between a writer (William Holden) and a prostiture (Nancy Kwan) contains fine performances but is helped along by the superb use of the old tropical port of... Read more

Published on Aug 13 2002

5.0 out of 5 stars The World of Suzie Wong
I have heard the movie "The World of Suzie Wong" and actress Nancy Kwan, since the time when I was a kid. Read more

Published on Jun 26 2002

4.0 out of 5 stars Flawed but fascinating!
Okay, I know a lot of Asians who consider this THE racist Hollywood flick on Chinese women, the one that sets the standard for how American men view Chinese women in general,... Read more

Published on Sep 5 2001 by C.Solis

4.0 out of 5 stars gentle drama
THE WORLD OF SUZIE WONG is a gentle, heartfelt, human drama of two lonely people looking for love. It's sublime. Read more

Published on Aug 4 2001 by Byron Kolln

5.0 out of 5 stars West meets East, and learns!
One of my all time favourite films, it handles the time honoured subject of romance between the Western man and the Asian woman. Read more

Published on Aug 29 2000 by Richard Bray

5.0 out of 5 stars Love and Hong Kong
I have lost count of the number of times I have seen this movie - thanks to video. I have spent much time in Hong Kong and among the Chinese. Read more

Published on April 30 2000 by RamonNewton

5.0 out of 5 stars Romantic, touching and simply a treasure
This movie makes me proud to be Eurasian. Nancy Kwan is classically beautiful and 'The World of Suzy Wong' illustrates this at every opporunity. Read more

Published on April 12 2000 by Mei-Ling

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