Bienvenue au paradis

While I can't say I whole-heartedly hated this movie, I can't say I loved it either. In some ways, it attempts to make a difficult part of history more palatable for an American audience, and for this, I believe it deserves some commendation. However, to a large extent, the plotline of the film overshadows the historical events that it attempts to incorporate, and possibly even trivializes the hardships endured by people of Japanese descent during the 1930s and 1940s.

The movie itself is centered around a cliché, star-crossed love story, leaving the majority of the historical features of the film as bits and pieces that are seemingly tacked on to give the film its validity. More than half of the film is spent on (albeit, poor) character development and introduction of the main conflict. As a result, the parts of the film that deal with internment and other injustices faced by people of Japanese descent are framed inherently as secondary aspects of the story. Internment and relocation were used as plot devices. Tense racial and/or ethnic conditions within camps and society are played down to make Jack and Lily's love more plausible. In many cases, Nisei and Issei were faced with systemic and often violent anti-Japanese sentiments that posed threats to personal wellbeing. In the camps, conditions were unsanitary and, due to the material losses some people suffered when forced to leave their houses so quickly during the relocation process, many internees were not able to afford appropriate medical care. This aspect is largely glossed over in the movie depiction.

While I can go on about the issues I have with this film, I do believe it does a decent job of highlighting some of the important aspects of this period of history. Through the plot, Parker addresses the paradox of citizenship and loyalty, as well as other injustices and racism faced by the Japanese community during the 1930s and 1940s. Before World War II, people of Japanese descent were prevented from receiving citizenship by US immigration policies, but during internment, these people were also asked to swear loyalty to the United States, effectively challenging their identity as either Japanese or American. Similarly, there is some mention of the racism experienced by Nisei and Issei during this time, but it is often more generalized and even misguidedly incorporated into the screenwriting itself.

Come See the Paradise walks the fine line between being historically valuable, and unfortunately frustrating to watch. What it lacks in historical accuracy, it makes up for in typical, sappy, Hollywood romance. This film could not be confused with a documentary, but for those seeking an interesting movie to watch, this is a decent choice if taken with a grain of salt.

This movie has faults--don't they all. Have found it very helpful in teaching a variety of concepts to sophomore and junior English students. The scenes showing Lily and her family forced out of their homes by Americans, marching to the train station in total silence except for their haunting, now-forbidden Japanese music are always received with great concentration and silence by my classes--a high tribute to Mr. Parker's ability to let a picture speak for itself. Come to the Paradise offers a refreshingly different viewpoint of a critical point in American history for those of us who prefer a little something to chew on besides popcorn at the movies.

I really loved this movie. It was informational and had a beautiful storyline. I generally don't get my knowledge from movies because they are often very inaccurate but I know this one is based on facts as I have done some research about internment camps for a class paper. I know that the story between Jack and lily is entirely made up, but all the historical events aren't. Also, I feel that movie directors and studios should make more movies with Asian characters and about Asian in America because I find it very interesting. I am not Asian, not one little bit and I am getting tired of seeing always the same kind of people on movie screens. I know that the studios have come a long way but they need to make more movies like this one, and believe that there is an audience (not obviously Asian) interested in seeing them. If you have not seen this movie, get some popcorn, unplug the phone and enjoy.

"Come See The Paradise" is a forgotten gem of a film that takes place during one of the United States' darkest and most shameful times. At the onset of World War II, Japanese-Americans were put into internment camps This injustice lasted for several years. Alan Parker's fictional film takes place before, during and after this time. It tells the story of Jack McGurn (Dennis Quaid), an Irish-American labor organizer who falls in love with Lily Kawamura (Tamlyn Tomita), a young girl who lives with her large family in San Fransisco. Lily's father (Sab Shimono) does not agree with the romance, which forces Jack and Lily to elope in Seattle. Jack gets into some trouble with the law while picketing, and Lily, angry that Jack has not changed his ways since the birth of their daughter, Mini, takes the child back to her family's house. Soon after, Pearl Harbor is bombed, the Kawamuras are shuttled off to various camps (except Mr. Kawamura who is believed to be a traitor), and Jack is forced into the army.

Like many films, "Come See The Paradise" is about the strength of love. The fact that it uses this period as a backdrop sets it apart from the rest. The chemistry between Quaid and Tomita is amazing. Just watch them together when they meet for the first time and they kiss. It's simply stunning. Quaid has rarely been this good, and Tomita is obviously relishing having a lead role. In most of her films she's listed as "(somebody's) wife". Films like this and "The Joy Luck Club" prove that she is one of the most talented and under-used actresses.

Some have complained that this film uses an "American" character to tell the story of a "Japanese" family. As if any non-Japanese audience members would not be able to understand, or relate to, the Japanese family. The Quaid character is called "un-American" because of his labor rights stance. The family is called "un-American" simply because they are of Japanese descent. Even though the children were born in the United States. So what exactly does it mean to be "un-American"?

Side note: this movie has not been released on DVD. I anxiously await that day.

The "Front-Page" review of this film gives the impression that it is not worth seeing "because the plot is wandering" and other unfair accusations. Instead, take a look at Roger Ebert's fine review under the External review portion of IMDb. I first purchased this film back in the days of the Laser Disc, and I know that my "ancient by today's standards" Pioneer player....and perhaps I'm in violation of copyright laws, but I am transferring all my laser discs to DVD, and I cannot possibly think of a finer film to witness the discriminatory laws that existed during the early days of WWII....even if the focus is on an Irish-American played by Dennis Quaid....and you must see the early scene in which he dances/sings to a Japanese song that he has memorized by his position as Projectionist in a Japanese-American theatre in San Francisco. And for those who might enjoy a Jarre/Barry type film score, this one is haunting and lovely. Ignore the reviewer and give this terrific film a chance, and I'll bet you'll love it.