Customer Reviews

The World Of Suzie Wong

5 star:		(15)
4 star:		(5)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

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.

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 movie expert. How can anyone trust any critic who begins his review with "A big deal when first released, The World Of Suzie Wong is a bit of a bore today that some will find offensive," and then proceeds to attack and diss this 50 year old movie because it is NOT POLITICALLY CORRECT and the foreign life styles are not up to date, or like today's western standards. This critic went on to say this movie's script uses pidgin English (which is actually spoken by many Hong Kong Chinese), sugarcoats and glamorizes prostitution, was unbelieveable, lacked credibility, was too long (it is only 126 minutes), the movie was tired, lacked pacing, displayed no flair, lacked imagination, etc., etc., etc. ad nauseum. You get the picture.

Well folks, these over the top negative comments are not just stupid, they are COLOSSALLY STUPID.

This critic and his comments should not be put aside lightly, they should be thrown with great force. He and others of his ilk, wouldn't know a good movie if it jumped up and slugged them, let alone recognize or understand a thinking person's movie, with complex plot(s) and having multi-dimensional characters, albeit even if somewhat dated. Sadly, there are many inept critics out there who think they are movie experts. What morons.

These critics are mired in an entertainment world they helped to create, a world of mindless drivel populated by one dimension characters; fast cars; and boom boom, shoot 'em up, bang bang, killings; with lots of blood, gore, more gratuitous violence; savage rapes; explicit sex scenes; and innocuous yet boring monotonous soundtracks - all of which must be repeated every five minutes to fit their zygote mental abilities. What kind of a dimwit critic would you have to be to give negative reviews to movies made over 50 years ago because their stories and characterizations ARE NOT contemporary or politically correct. Political correctness is the last refuge of a scoundrel critic. Scoundrels use it to hide their glaring lack of knowledge, inability for critical analysis, lack of rational thought, and their one dimensional thinking process.

Stupid, ignorant, incompetent or just plain lazy movie critics are a royal pain. They are arrogant to a fault and never fail to give negative reviews to truly excellent movies that they do not or cannot comprehend, movies with complex storylines and characters that require some thought, and oh yes, all black and white movies, unless colourized. Why? Because they have the IQ of a slug and attention span of a tse-tse fly. For these critics, the only movies worthy of their rave reviews must have: a simple, uncomplicated, juvenile, any-fool-can-follow plot with one dimensional characters; and it MUST HAVE lots of CGI, copious amounts of explicit sex and gratuitious violence. Explicit sex is a staple in today's movies because these self appointed guardians of political correctness and public morals didn't know the difference between explicit sex acts and the sensuousness of tender love. Unfortunately, there are more of these expert critics coming out of their mire and from under their rocks every day.

The World of Suzie Wong is a good yarn, beautifully filmed in colourful Hong Kong, and is about an American painter and his beautiful Hong Kong model/girlfriend/lover who supports herself and her child as a prostitute; her friends; his friends; the social mores of an earlier bygone era of another place and another time; the stigma of unmarried motherhood; racism; British colonialism; Chinese customs; sensitivity; compassion; sensuality; interracial relationships; and love, yes, especially love that is inter-racial. William Holden and Nancy Kwan are electric together on screen and Holden gives a most sensitive performance, probably the best of his career.

Nancy Kwan is an beautiful Eurasian who was born in Hong Kong, her father was a Chinese architect (who also worked for British Intelligence) and her mother was Scottish model. Her mother and father separated when she was only two years old. During the war, Nancy and her family, led by her father, fled Hong Kong on foot and hid in unoccupied western China. They returned to Hong Kong after Japan's surrender. Nancy was 'discovered' by executive producer, Ray Stark, while she was a ballet student at the Royal Ballet School in London, England. Nancy performed in Swan Lake and Sleeping Beauty at Covent Garden, London, and also completed her studies and earned a teaching certificate for ballet and she is certified to teach ballet anywhere. Nancy is nothing less than sensational in The World of Suzie Wong, simply superb, an academy award worthy performance, not to mention that she is drop dead gorgeous and steals just about every scene in which she appears in this film. Once you see her in this movie you will find it difficult to believe that this is her very first acting role and her first movie.

Sylvia Syms, Michael Wilding and Jacqui Chan head up an excellent supporting cast and are terrific in their roles, in fact the entire cast is outstanding. The original music for Suzie Wong was written by the late great George Duning, whose prolific career spanned seven decades. He arranged or conducted sountrack music for over 230 films and composed the complete scores for over 160 movies and television programs and series, including the haunting theme song from the movie Picnic.

If you are a cinephile, you will appreciate this movie for its cinematography, story, script, acting and sets. And if you're a romantic, male or female, you'll love it.

There, now I feel better. I always do when I correct a slander or nullify an injustice.

Rating: 5/5 stars

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. You will feel as if you were walking down the Hong Kong streets. The atmosphere makes this movie. Although a little melodramatic, Michael Wilding is a little silly, this is well worth the time to drink in all the time and place. Transport yourself to Hong Kong with this marvelous movie. Nancy Kwan is sexy the locale is gorgeous and interesting. This movie improves on "Love is a Many Splendored Thing." Don't pass this up.

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 Hong Kong - the film was made before all the atmospheric colonial buildings were torn down to be replaced by concrete tower blocks. You can see the lush green hills, too - a fantastic, romantic setting. A fine, sumptuous visual treat of an East which no longer exists - when I lived there in the 90's even the small, quaint "Madam's houses" such as Suzie's had been had been replaced by huge meat market girlie bars the size of aircraft hangers - hundreds of "hostesses" performing shows like Marlene Deitrich in *Shanghai Express* but without the romanticism of Hollywood - the Mainland businessmen are driven to their booths in golf carts with plastic Rolls-Royce grills nowadays, while armies of madams with walkie-talkies call over any girl that tickles their fancy - a far cry from the world of Suzy Wong. Films like Suzy Wong and Shanghai Express still cause unease in Hong Kong among long-term western and eastern residents because of the embaressing hyper-development of the girlie-bar market. But that's what Hollywood is for, to soften the hard edges of reality. This is a fine film. Another good Hong Kong love story is *Love Is A Many Splendored Thing,* also starring William Holden. By the way the Peter O'Toole *Lord Jim* is also filmed there - that's the village of Aberdeen standing in for old Dutch Batavia - hard to believe, as Aberdeen, Hong Kong is now another forest of grey concrete tower blocks!

I have heard the movie "The World of Suzie Wong" and actress Nancy Kwan, since the time when I was a kid. Time goes very fast, after 30 more years, I have found it in the internet. This video classic is precius to me; it brings back my memory of the old Hong Kong in late 1950s and early 1960s. Actress Nancy Kwan is extremely beautiful. This is one of the best movie ever.

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, but....damnit, the film is so well done, Nancy Kwan is so incredibly beautiful and talented, Hong Kong is so enchanting, that one just cannot help but love it! Yes, William Holden is rather stiff, and old enough to make him a "dirty old man" with such a lovely young thing as Suzie, the story line is antiquated - but the situation is one that invariably draws human interest - and the movie does bring up some good points. It's so easy to judge someone like Suzie, and yet, as shes says, after having been abused and thrown out in the streets to survive, what else COULD an illiterate, poor, orphan Chinese girl do, especially a pretty one? She made the best of it. And why would it be unlikely that a girl could hold a *part* of herself away from the dirtiness of what she had to do for a living - the human mind is fascinating, surprising and marvelously inventive - I say, HURRAY for Suzie! The contrast between her and the lovely pampered banker's daughter is superb - not only in their appearance and actions, but in how they both relate to the same man - lucky William Holden! As far as the story, so what if it's not startingly original ?- it still holds your attention, has an interesting topic, beautiful women, an artist, and a view of Hong Kong that steals your heart away. Read the book - Buy the Film - grab a plate of Crab Rangoon and Sweet-Sour Pork and pour yourself some green tea...then just sit back and ENJOY!!

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

Robert Lomax (William Holden - THE COUNTRY GIRL, SUNSET BOULEVARD), is an American artist in Hong Kong struggling to make a decent living doing what he loves. One day while sitting on the Kowloon-Hong Kong ferry, he meets "Mei-Li", whom he is strangely attracted to.

Soon, however, he discovers that "Me-Li" is really Suzie Wong (Nancy Kwan - FLOWER DRUM SONG), a good-time girl with delusions of grandeur. Romance soon blossoms, but not until Suzie reveals a big secret and tragedy strikes...

Also featuring Sylvia Syms (CONSPIRACY OF HEARTS), and Michael Wilding (THE GLASS SLIPPER, STAGE FRIGHT), THE SECRET WORLD OF SUZIE WONG is a colorful romance set against the stunning backdrop of Hong Kong and the simple human passion of a lifetime.

One of my all time favourite films, it handles the time honoured subject of romance between the Western man and the Asian woman.

Suzie is no angel, but her knowledge and understanding of life is deeper than all of the men she meets, and she eloquently states, "What you want me to do? Lots of girls in Hong Kong need money! But I am not dirty street girl!"

Sex or starvation. Those mail order bride seekers and sex tourists to Asia should view this film before they go to the airport.

The screen play gave Suzie strength and character, compared to the other Asian epics and their weak portrayal of Asian love interests, Mariko in Shogun, Mei-Mei in Taipan and Orlanda Ramos in Noble House. The Hong Kong scenes were well chosen and filmed, and though dated, convey the atmosphere of one of Britain's last colonies.

Nancy Kwan was perfect in the role, though William Holden was a little too straight to be the artist of Richard Mason's novel.

The book delves a little deeper than the film, but this is one of the few titles where the film did not disappoint you after reading the book.

And I loved the cat in the hotel being fed by chopsticks!