Fior di loto

I watched the film last night with 2 Chinese friends who knew nothing about it. They loved every minute of it and so did I, 45 years after my initial viewing. It still has a great message for all of us no matter where we live and you just get swept away by the wonderful score. The dance routines are charming and the interiors quite exquisite. Nancy Kwan has never looked lovelier as Linda Loo and Jack Soo is always a delight.Juanita Hall brings her great presence to the role of Madame Liang and Miyoshi Umeki and James Shigeta are two fine performers. Patrick Adriarte dances with great verve. A great night's viewing for all!

Flower Drum Song holds a special place for me because it was the first Broadway show I ever saw. And I don't think it's been given the proper place in the pantheon of Rodgers&Hammerstein shows.

Back then minority players had a hard time getting parts and Flower Drum Song certainly filled a need there in the same way Porgy and Bess has done for black people. This was the first time a Broadway show was completely cast with oriental players. A milestone not to be overlooked.

Several of the Broadway cast made it to the film version. Juanita Hall, Patrick Adiarte, Keye Luke and most of all Miyoshi Umeki repeated their roles. Miyoshi was very big news then. When I saw the play she had just won her Best Supporting Actress Oscar for Sayonara. Also a significant milestone, very significant in the repair of Japanese- American relations from World War II.

Jack Soo also made it from Broadway. But on Broadway the future Detective Nick Yemana of the bad coffee, was the "Commodore" from the Chinese nightclub. Here he is one of the male leads in a part originated by Larry Blyden on Broadway. Soo's deadpan delivery that made him so popular on Barney Miller is working undertime here. If you liked him on Barney Miller, he's great here.

James Shigeta took the place of one Ed Kenney from Broadway. Shigeta was at the start of a long career as probably THE Oriental leading man in American films for many years.

The big hit song from Flower Drum Song is I Enjoy Being a Girl which was and is the anti-battle cry against feminism. Doris Day had a big hit record of it (she would), but today feminists would be picketing the show with the message that conveys. I mean, really, the goal of the American woman is to be barefoot and pregnant at the "home of a brave and free male." Gloria Steinem would have cardiac arrest.

Nancy Kwan does wonderfully in the role of Linda Low who lip syncs those sentiments previously mentioned. Right around this time, Kwan, France Nuyen, and Nobu McCarthy all came along at the same time and seemed to battle for the same parts.

Two songs that are overlooked gems are You Are Beautiful which Johnny Mathis sang beautifully on record and Love Look Away. The latter is sung offscreen by Metropolitan Opera diva Marilyn Horne. That's not to be missed.

And neither is Flower Drum Song.

All right, all right. Yes, "Flower Drum Song" is a bit dated, sexist, and even a little stereotypical. The score contains a few great numbers like "Love, Look Away" and "I Enjoy Being a Girl" (In spite of the sexist lyrics, it's a fun song), but overall is not as good as other Rodgers and Hammerstein scores. But there is still much to like and enjoy in this charming film version of R&H's Broadway hit. The cast is great, and includes several veterans of the Broadway show, most notably former Oscar-winner Miyoshi Umecki, who is utterly enchanting as Mei Li, completely rising above the characterization of a placid "picture bride" who just sort of goes with the flow and doesn't question any of her "superiors" (men) with a performance that is sweetly comical and even a little touching at times. Other Broadway veterans Patrick Adiarte (You would never guess he was the same guy who was that annoying Crown Prince in the movie of The King and I) and Juanita Hall (from South Pacific) are likewise great, and Jack Soo is hilarious as the hip, deadpan Sammy Fong. Of the actors chosen just for the film, James Shigeta has a pleasent voice and acting style as Wang Ta, and Benson Fong is good enough in the rather stereotypical role of the stubbornly traditionalist Chinese father. As for Nancy Kwan as Linda Low, she is rather wooden as an actress and must've been an even worse singer (As she was dubbed by BJ Baker), but does a great job dancing in the nightclub sequences. But yes, Pat Suzuki from the Broadway show would've been a much better choice, judging by the original cast recording. Reiko Sato is pretty good as Helen Chao and Marilyn Horne does a beautiful job of dubbing her in "Love, Look Away." Aside from the great cast, the orchestrations are wonderful and better than the Broadway arrangements, and the choreography by Hermes Pan is really, really good. This is one of the more faithful filmizations of a Broadway show, aside from cutting one song (The forgettable "Like a God"), re-ordering a few others and throwing in a few new scenes. And while perhaps Rodgers and Hammerstein couldn't quite bring the depth to this story of Chinese immigrants adjusting to life in San Francisco's Chinatown, they did it with great charm and overall respect. There are many delights in the score such as "A Hundred Million Miracles," the hilarious "Don't Marry Me," "Sunday," "Grant Avenue," and the lovely "You Are Beautiful." Even if these are not on a level with the other R&H scores, they are well-written and memorable. Truly an under-rated film that deserves another look. Right now in Los Angeles, a new revival of the stage version with a completely new book by Asian-American playwright David Henry Hwang is appearing, possibly on its way to Broadway. It makes sense to finally have this story told from a truly Asian-American perspective, and hopefully, though some of Hwang's choices sound a bit odd, (Putting in something about CHinese opera, cutting Sammy Fong and the whole "Other Generation" song and idea, which is pretty crucial to the original, and making Mei Li a refugee from Chinese Communism) hopefully this new version will further allow people to reconsider their view of this show and its film version.

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.