The Home Song Stories

Tony Ayres has tackled some tough subjects in the past (AIDS and mercy killing in"Walking on Water" for example), but making a film about his relationship with his own mother seems a real challenge. Ayres' mother, fictionalised as Rose in the film and played by Joan Chen, was a beautiful nightclub singer in Hong Kong, who, more or less on a whim, migrates to Melbourne with her two young children and Bill, an Australian sailor (Steven Vidler). Rose and Bill marry, but Rose walks out after a week. Seven years later they get together again, but Bill is soon off on another extended tour of Naval duty and his malicious mother Norma drives Rose and the children, ten year old Tom (Joel Lok) and 14 year old May (Irene Chen) out of the house. Desperate, Rose and the children go to live in squalor with Joe (Yu Wu Qi) a handsome young illegal immigrant from Hong Kong who works in the same restaurant as Rose (who has been reduced to washing dishes there.). Initially Joe is besotted by Rose, but when he starts taking a romantic interest in May, Rose, as she is wont to do, overreacts.

As the story is told largely through the eyes of a ten-year old, we have to remember that, smart kid that he is, there is much he does not understand. Late in the film, in a conversation between Rose and May, we do get some of Rose's story and why she looks for security from just about any man who offers it. Looking back, the adult Tom can see clearly what at the time was a mystery. And of course he can now forgive Rose for the trauma she caused him.

This is a sad story, but uplifting rather than depressing. Joan Chen, a world-class actress, is perfectly cast and totally convincing as the beautiful but neurotic Rose. Yu Wu Qi is excellent as her younger lover, but first time actor Joel Lok (who volunteered himself for the role) takes first prize for a truly Zen – like performance as Tom. Kerry Walker was a suitably disapproving Norma and Steven Vidler an eager and naïve Bill.

For a low budget "art" film, this is very well produced, with a fine original score, professional cinematography and excellent performances, though the script does not allow Kerry Walker and Steve Vidler to do much. Most of us survive our parents, and Tony Ayres and his sister have survived theirs, but I think you can't really pass judgment on them until you have had children yourself. And then it is easier to forgive.

Despite an impressive performance from Joan Chen, and a confident technical sheen, HOME SONG STORIES fails to deliver as drama due to a weak, underwritten script, which keeps characters and incidents vague and one-note.

The main problem is that the film doesn't have an act one, deciding to give us character and story foundation in around the same time it takes to boil an egg.

Because of this, we only get a narrow-minded view of Rose (Joan Chen), never getting to know what kind of person she was in Shanghai, never seeing what kind of person Bill (Steven Vidler) was that convinced Rose to move to another country, and what the circumstances were that made Rose leave Bill a week after they were married.

Therefore, we see Rose as a completely irresponsible person, a one-sided look at a rather more complex person.

On the plus side, the film is extremely well-made, and performances by Joel Lok and Irene Chan as the two children are quite believable and natural, while Yuwu Qi also impresses as Joe, one of Rose's many lovers.

The film, however, belongs to Joan Chen, who manages to find an emotional core to the role of Rose, bringing a loving warmth and fractured insanity to a character that is badly underwritten by writer/director Tony Ayres, who obviously has an intimate knowledge of the subject matter, but fails to give it substance within the framework of a feature film.

Despite being watchable, HOME SONG STORIES falls short of its ambitions, a missed opportunity at showing an important part of Australia's immigrant past.

It's almost a shock to see 'Script Editor' amongst the closing credits, because at least half of this pleasant, rather humourless film is a series of stock situations which have already been more economically and interestingly explored in other films about selfish mothers. It's tough for an audience to maintain their interest in a central character who cares only about herself, but two thrids of the way through this ghastly woman's journey, the main focus switches to her children, and there are scenes of poignant, painful truth which have undeniable clout. The script and direction tend to self-importance, but the cast (especially Steven Vidler) is excellent, but the costume design, as in so many period Australian films, is superficial and self-conscious.

A terribly sad story told through the memories of the youngest child of a mother and her two children who migrates from Hong Kong where she was somewhat of a cabaret singer, to Melbourne where she really does not find a favourable Fung Sui. I went to see the movie, perhaps with too much expectation. But one expectation I did not have is the down to earth handling of the production. I felt it was not a movie anymore but a tragic event unfolding before my eyes in ordinary Melbourne low key suburb. Lot of things go wrong, and I found myself waiting for a little ray of sunshine, may be you will too. The acting is excellent and the pain is real. The cinematography is just as real, no fancy shot, no "make up" on the images, just the same as you get someone out of bed, nature too was in the raw. I had to accept all this was done in purpose to get a more positive feeling about this film. knowing a fair bit about some aspect of Asian way of life from personal experience, I had a lot of empathy with the characters and their resentment of the an old cow.

The Home Song Stories is a beautifully crafted autobiographical drama from Tony Ayres that explores the complexities of love, mental health, and the migrant experience in 1970s Australia. Joan Chen is unforgettable as Rose, a glamorous yet troubled nightclub singer, delivering one of the most powerful performances of her career. The story, seen through the eyes of her young son, is tender, raw, and deeply personal.

What makes this film truly special is its emotional honesty. It doesn't sugarcoat the immigrant journey or the trauma within families, but instead presents a heartfelt, nuanced portrayal that resonates on many levels. A quietly devastating film that deserves more recognition.