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The Worst Film Ever

That was an excellent one.

This is a small, humorous movie in some ways, but it has a huge heart. What a nice experience.

The film never slows down or bores, plunging from one harrowing sequence to the next.

I can well understand Chinese not liking the film, with its picture of Chinese women as little sexual dolls, and the racial superiority of the white HK establishment. But that was the world as it was then. For me it evokes globes where the world is 1/4 red for the British Empire and HK stamps graced by a young and newly crowned Queen Elizabeth. I love its photography of Hong Kong c. 1960. The love story is somewhat contrived and the Suzie character not entirely believable. But the plot moves swiftly along and William Holden is usually fun to watch, and only slightly ridiculous. It's not surprising American males with fond memories of their R&R in the Pacific liked the story; I'm not sure if their wives felt the same way. But I think those that are oh-so-offended have decided they want to be offended, just because a place and a time and a people do not happen to reflect the values they hold most dear.

Robert (William Holden) was a success in the business world but found it unfulfilling. Thus, he made what could be called a major life change! Moving to Hong Kong so he can devote himself to his real goal, making it as an oil painter, he can only afford to rent digs in a cheap hotel. All too soon he discovers that the native call girls of the city meet their American or European beaux in the same place! One absolutely lovely gal is Suzie Wong (Nancy Kwan) who catches Robert's eye and visa versa. But, since Robert is comparatively poor at the moment and Suzie must make ends meet for herself and her family, the situation becomes rather sticky. A romance between the two is out, so a friendship develops. However, the more time they spend with one another, the more their hearts become entwined. Soon, Robert doesn't want Suzie to see any other men but him yet, if she doesn't, she will fall on hard times. Even then, when Robert does take Suzie out to a restaurant, the native wait staff and other "high society" Caucasians make fun of the two together, for they know what her profession is. Will love still triumph? The powers that be in sixties television must have gotten this film cheaply, for it was on quite a bit of the time. As such, my sisters and I really adored the movie, having seen Kwan in Flower Drum Song and admiring her beauty. Because the call girl angle is truly subtle, it took awhile for us to really understand the big picture. We saw it more as a romance between two people from different worlds, which it also is. As the two principals, Holden and Kwan make for a great couple while the scenery, costumes, and photography from Hong Kong are also a treat. Meanwhile, the script displays a touching tale of socially forbidden love while the direction sensitively deals with a rather difficult subject. Therefore, if you see the late, late show is featuring this flick, don't miss out. Even 50 years later, it is still a romantic and entertaining view.

I enjoyed the movie because I accepted it for what it was -- a love story between two PARTICULAR people. I did NOT see it as an allegory about East meets West, imperialism or feminism. To me it wasn't a documentary about interracial love. Thus, the title ("The World of Suzie Wong") is somewhat misleading. It isn't so much about the the world or Hong Kong, but about two individual people.The Holden character was unique -- someone pushing 40, conventionally moral, unsure what would become of him professionally and geographically, suffered some bad romances in the past, couldn't afford to "keep" Suzie, and --though attracted to her-- couldn't bear the thought of her having to consort with other clients. Suzie had no other foreseeable job opportunities commensurate with what she could earn from prostitution. She created a fantasy personality/situation in her mind to deflect the grimness of her profession. As mentioned in the film, she was presented as particularly strikingly beautiful; for one thing, she was hailed as the prettiest girl in her hangout. For me they only had to prove things for themselves, not for the sociological things mentioned in the first paragraph.I generally liked the movie -- quite a few interesting scenes scattered amongst the tedious parts.Best part for me -- I loved that scene, near the end, with the burning of the paper models for a departed character, cried. At the very end of the scene, Holden asks her to whom he should address the "letter of introduction," which also was to be burned. She replies, "to whom it may concern." Wonderful. Worth staying through the whole movie.

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, 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. 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.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.