Flower Drum Song

The 1961 musical "Flower Drum Song" is a fabulous Ross Hunter [1] production (top-notch art direction, cinematography, costume design, set decoration, film editing and sound). I found myself enjoying it more and more. I do like "The King and I" "Oklahoma!" "Carousel", yet "Flower Drum Song" is culturally diverse, 'oriental USA' and very much San Franciscan. Directed by Henry Koster [2], music and lyrics from the popular pair of Richard Rodgers and Oscar Hammerstein 2nd, with Alfred Newman supervised & conducted the music score which included a wide spectrum from Asian 'flower drum song' tune, to jazzy rhythm, strings orchestral for ballet/dance pieces, to montage songs and cabaret show numbers / big band melodies; associate vocal music arranger Ken Darby, and simply marvelous choreography by Hermes Pan.

Such a stellar cast: Nancy Kwan as Linda Low and Jack Soo as Sammy, Miyoshi Umeki as Mei Li and James Shigeta as Ta, Juanita Hall (of "South Pacific" 1958 fame) as Madam Liang / 'my wife's sister,' Benson Fong as Ta's father / 'my sister's husband,' Reiko Sato as Helen Chao (the seamstress), and what an amazing, versatile dancer Patrick Adiarte is (his debut role was in "The King and I" 1956 as the eldest prince opposite Yul Brynner). The musical numbers and songs are catchy and entertaining, matching key segments of the storyline: A Hundred Million Miracles; (What Are We Going To Do About) The Other Generation; Chop Suey; I Enjoy Being A Girl; Sunday (Sweet Sunday); Fan Tan Fannie; Grant Avenue; Love Look Away (sung by Marilyn Horne); Don't Marry Me; and more. Turning on the subtitles feature, one can see the lyrics and easy to sing along, too.

Based on C.Y. Lee's novel of the same name, Joseph Fields (also associate producer) wrote an engaging screenplay, blended humor and 'coined' words of the times within the dialogs. Juanita Hall's grocery food order ("four pounds of seahorse, two pounds of dry snake meat, a box of longevity noodles") over the phone ending with "and a dozen thousand-year eggs, and be sure they're fresh" is an absolute gem. Imagine TV turned out to be a resource of solution to our heroines and their beaus romantic predicaments. Unforgettable: Mei Li said to Ta, "tomorrow we must go to Temple of Tin How and thank the Goddess of Heaven for television." Such quality produced films are rare these days. If you don't usually watch musicals, give "Flower Drum Song" a try, it's drama and humor would provide an enjoyable time.

[1] Memorables produced by Ross Hunter: "The Chalk Garden" 1964 (d: Ronald Neame; Hayley Mills, Deborah Kerr, John Mills); "Pillow Talk" 1959 (with Doris Day, Rock Hudson, Thelma Ritter, Tony Randall); "Imitation of Life" 1959 (d: Douglas Sirk; Lana Turner, Juanita Moore, Sandra Dee)

[2] Favorites directed by Henry Koster: "Three Smart Girls" 1936 with Deanna Durbin; "The Singing Nun" 1966 with Debbie Reynolds. Highly recommend - intelligent drama with suspense (in B/W, not a musical): "No Highway in the Sky" 1951with James Stewart as an aeronautical engineer who's steadfast and persistent, Glynis Johns as the sensible and caring air hostess, and Marlene Dietrich as only Dietrich could. (VHS only as yet)

Many of the songs are very well done and enjoyable, especially Nancy Kwan's "I Enjoy Being a Girl." Yowza! All the actors are fabulous and the lines are a ball. Not only is it a love story but a great tale of modern vs. traditional values and absolutely suitable for all ages.

I am from San Francisco, and while not of Asian descent, I am familiar with the cultural difficulties of "East vs West" -- and every time I see this movie, I am impressed with how this is handled. Ok, granted, it's a fluff-and-sparkle R&H songfest, and not one of their best or most famous, but it does have some good commentary - as when the younger brother pops in and out with his completely modern slang...with the more common "generation gap" themes running rampant at this time (early 60's), it's even more interesting...and, as I say, I lived in SF very near Chinatown - it "feels" right, even tho it's an entirely fake set. Don't dismiss it out of hand - it's no "Joy Luck Club" or "Double Happiness" but it's not bad, either.

A groundbreaking and charming film. It doesn't reach quite as high as maybe it could have and it's got a few flaws, but it was enormous step forward at the time, and it's entertaining besides. The cast has a lot of underrated star power (Nancy Kwan and James Shigeta), there are some really nice musical numbers, and the heart of this film is in the right place, treating Asian-Americans as people for a change.

The main message of this film is pretty loud and clear to me - Asian-Americans are just as American as anyone else - and this is where the film truly shines. Quite a bit of it deals with the gap between older and younger generations, and could have been applied to any immigrant culture. We see the kids spouting slang, playing baseball, and dressed up as Revolutionary War figures for a parade. In one number we see the electric Nancy Kwan singing not in some exotic getup or about some Chinese-specific theme, but simply "I Enjoy Being a Girl" in front of three mirrors ala Marilyn Monroe or Bridget Bardot. Jack Soo is a nightclub owner and as smooth as Dean Martin, and suave leading man James Shigeta reminded me of Peter Lawford. None of them speak with an awful accent or in caricature, and one of the nice moments early on shows that people on the streets of Chinatown don't necessarily know how to read Chinese. The story that has three women (Reiko Sato is the third) romantically interested in the two men is a little silly, but it's similar to others in this genre, it's pretty damn nice to see the male characters not emasculated and the open kissing. Quite a bit of the film is universal.

It's a little hit and miss in the musical numbers, but there are several standouts:

• The three kids dancing and singing in "The Other Generation" - absolutely adorable.
• Nancy Kwan in her lingerie and beautiful outfits in "I Enjoy Being a Girl" - hello, and she's fantastic throughout.
• The ensemble cast breaking out into vibrant American dancing towards the end of "Chop Suey" - very cool and so joyful.
• Reiko Sato in "Love Look Away," which includes some dreamy and ethereal effects - simply gorgeous.

There are also some nice little visual touches, such as the different mirrors reflecting different things in "I Enjoy Being a Girl," and black and white cowboy and Indian characters coming out of a TV to run around in "Sunday." The latter are played by Asian-Americans and there's a lot to unpack there, but suffice to say it's a little unfortunate this bit wasn't based on some other traditional/classic American movie type.

Where the film fails a bit is in its depiction of Chinese customs, which is maybe not surprising given the Western writers/composers and the fact that this was playing to a 1961 audience, but a little disappointing nonetheless. The 'flower drum song' ("A Hundred Million Miracles") is unengaging musically and inauthentic culturally, and watching the first performance in the Celestial Gardens nightclub is like eating a highly westernized version of Chinese food. While most of the characters are far from stereotypical and quite refreshing, the young woman from China (Miyoshi Umeki) is too subservient, particularly when she finds herself being paired up with the nightclub owner and more than willing to accept all of his flaws. Her character and her musical performances were my least favorite part of the film, though even she has a nice little moment imitating Soo at the end of "Don't Marry Me."

Overall though, this is a fine film, even touching on humanizing illegal immigration. You can count films from Hollywood with such Asian representation on one hand over the years, and unless I'm forgetting one, the next wouldn't be for over three decades (The Joy Luck Club (1993)). It's a shame that Anna May Wong died earlier in the year at just 56, and couldn't play the part of the aunt/sister-in-law as planned, or even see the film - I'm sure she would have loved it.

As a Japanese-American raised in the 1960's, I always had mixed feelings about the 1961 film version of Rodgers and Hammerstein's Chinese-American musical comedy. Although it was refreshing to see so many Asian faces in a mainstream studio movie (granted several Japanese-American actors in Chinese roles), the portrayals always struck me as trite and catering to pre-existing stereotypes. Now that it has finally come out on DVD forty-five years after its initial release, I can appreciate it much more without raising my eyebrows as much, perhaps because it now seems so much a nostalgic product of Eisenhower-era sensibilities. Another reason is that the DVD contains a pristine print that balances the saturated use of color throughout. Moreover, there is the music, which while not grade-A material from the legendary team, has enough of their recognizably melodious style to make the whole affair quite entertaining now.

Set in San Francisco's Chinatown in the late 1950's, the soufflé-light story, written by Joseph Fields, is a family-oriented, musical-chairs romantic comedy focused on East-West cultural differences primarily in the well-to-do Wang household headed by the ultra-traditional Master Wang. It starts with pretty Mei Li, who has stowed away on a Chinese steamer with her professor father to become a mail-order bride for nightclub owner Sammy Fong. En route, they end up staying in the Wang home where she develops a crush on eldest son Wang Ta. But he is infatuated with saucy showgirl Linda Low, who is intent on making Sammy jealous enough for him to propose after five years of non-commitment. Wang Ta and Linda turn out to be a mismatch, which would be good news if only Mei Li's marriage contract were not so binding. If that situation is not complicated enough, dressmaker Helen Chao has a lifelong crush on Wang Ta as well.

An all-Asian cast was assembled, a rarity in itself back then, and it helps that most perform within the constraints of the movie quite well. Looking like a porcelain doll brought to life, Miyoshi Umeki lends her uniquely plaintive quality to the role of Mei Li, and she sings with quiet clarity on her trademark song, "A Hundred Million Miracles". As Wang Ta, James Shigeta, also a pleasant singer, is sincere with the matinée idol looks to match, although his naïve character seems excessively dim when it comes to women. Both, however, are overshadowed by the shenanigans provided by Nancy Kwan, at her pin-up cutie peak, as Linda, and Jack Soo in full Dean Martin mode as the cynical Sammy. Even though their stormy relationship seems to be lifted completely from Nathan and Adelaide's in "Guys and Dolls", they provide the lion's share of the entertainment with the domestic fantasy, "Sunday" a particular highlight.

While dubbed, Kwan performs the boudoir classic, "I Enjoy Being a Girl", with sexy flair, and she dances with graceful exuberance on "Fan Tan Fannie" and especially on "Grand Avenue" with a virtual battalion of dancers. Benson Fong, who memorably played Charlie Chan's #3 son in his youth, brings the necessary bluster to Master Wang, while Juanita Hall, Bloody Mary from "South Pacific", stays mainly on the sidelines as the understanding Auntie Liang except when she solos on "Chop Suey". Of the supporting cast, two performers stand out - teenaged Patrick Adiarte dancing energetically as younger son Wang Tan, and as the lovelorn Helen, Reiko Sato leads a stunning ballet on the show's best song, "Love, Look Away" (her voice is dubbed by legendary soprano Marilyn Horne). The opening credits showcase a series of striking watercolor paintings from artist Dong Kingman, and Russell Metty's richly colorful cinematography can finally be appreciated with the DVD.

The 2006 DVD extras are generous starting with a solid commentary track from Kwan and British film historian Nick Redman. Even though Kwan sometimes gets derailed by her life story, she and Redman partner well in bringing out intriguing aspects of the production and cast. There are five featurettes which feel like components of one feature-length documentary since the same participants show up in all five. The first one talks about the story's transition from the original novel by C.Y. Lee to the Broadway musical directed by Gene Kelly to the 1961 movie to the 2002 Broadway revival developed by David Henry Hwang. The other shorts focus on the casting, the score, sets and costumes, and a more personal look at Rodgers and Hammerstein. It's interesting how veteran filmmaker Henry Koster is barely mentioned since he directed the film, though his pedestrian direction is truly the least impressive part of the movie.