Tian mi mi

This movie is delightful from start to finish. Although some of the coincidences and chance meetings are highly improbable (both going to NYC? Both watching the same TV set at the same time?), they cannot spoil what is a genuinely touching and moving experience.

Instead of a the usual scenario where two people try desperately to find love, the two leads, Li Chiao (Maggie Cheung) and Li Xiao Jun (Leon Lai), try desperately to avoid it. Both Mainlanders, she has come to Hong Kong to make her fortune; he has come to earn enough money to marry his long-time fiancée back on the Mainland. Through a brief meeting in a McDonalds where Li Chiao works one of her several part-time jobs, and Xiao Jun has come to experience the unknown-in-his-hometown food, they become friends. They discover a shared love for the songs of Taiwanese singer Teresa Tang, which become the soundtrack to their relationship. Both are lonely, and gradually they form a genuine friendship, then a not-so-casual intimate relationship. Their struggle to remain true to their original goal in coming to Hong Kong leads to an emotional crisis for both them and their partners. The struggle takes place over a ten year period, during which they separate only to keep bumping into one another and reopening old wounds. The resolution of this struggle is sweet indeed.

The lead actors are both exceptional, particularly Leon Lai, who always seemed to be playing a variation on himself until this film. He is completely believable as the naive and trusting Xiao Jun, and Maggie Cheung is, as ever, radiant and affecting. The songs of Teresa Tang are used to great effect, one of which gives the film it's title (Tian mi mi, the title of the Chinese version, roughly translates as Sweet Like Honey).

Loses a point for the number of coincidences, but otherwise unreservedly recommended.

Peter Chan's COMRADES: ALMOST A LOVE STORY is a touchstone of Hong Kong cinema, a decade-spanning romance revolves around two Chinese main-lander finding their feet in HK from the bottom-line and shoved together by loneliness, camaraderie and simmering affection, yet their life trajectory would bifurcate by checkered fate, only to be reunited in a foreign land of New York City, ten years after their first encounter, serendipitously facilitated by the news of the sad demise of their favorite singer Teresa Teng (1953-1995).

Li Xiaojun (Lai) and Li Qiao (Maggie Cheung), he is a wide-eyed Northerner arrives in HK to stay with his auntie (Tsu), doesn't speak Cantonese but his dream is to earn enough money to bring her fiancée Xiaoting (Yang) to HK and tie the knots; she, a Southerner from Guangdong Province who sports a fluent Cantonese (initially, she withholds her provenance from him), is more opportunistic and all she wants to be is a successful Hong Kong citizen, thus, the biggest barrier between them is their disparate nature of their goals, but that doesn't stop them from being friends and sometimes, bed-mates through the vicissitude of their lives. But the key is always in her hands, from a MacDonald girl, to various sidelines, it is the unethical job of a masseuse introduces Li Qiao to the triad boss Pao (Tsang), an ostentatious, chubby shorty whom she grows attached with, in Ivy Ho's organically unforced script, this reflects a limpid sensibility of don't-judge-the-book-by- its-cover philosophy, and this sidebar would culminate in a heart-string-tugging crescendo where Maggie Cheung enthralls us with a textbook exemplar of how to turn on the waterworks.

Both Xiaojun and Li Qiao would attain their dreams in due course, but that doesn't automatically bring them the happiness they pine for, it is a familiar scenario of right people meet in the wrong time, which is well-integrated into their backdrop of an unglamorous view of Hong Kong at its time, a financial hub beckons a better life, but also rifles with geometrical and language discrimination (the Teresa Teng mythos), speculative business (dubious stock market), nostalgia (auntie's lingering on the beggar-belief history with William Holden) and an undertow of uncertainty during that consequential decade, before Hong Kong would be returned to its motherland in 1997 to bookend its colonial history.

Burnished by Ivy Ho's top-notch diegesis (one particularly coup-de-maître comes when Li Qiao accidentally honks her car, which prompts Xiaojun into action of rekindling their affair, with Teresa's autograph emblazoned as an oracular signpost, it is one of those fortuitous incidents actually could become a game-changer in one's life), and two leads' deeply engaging performances, Leon Lai is thoroughly uncontrived in a very sympathetic and good-natured role without coming off as cutesy, and Maggie Cheung, the Hong Kong cinema goddess, one just cannot overpraise her magnificence and versatility (please, come back to the silver screen!), Peter Chan's outstanding romance saga eschews every nook and cranny to embarrass itself as a schlocky weepie and withstands its emotional punch up until its well-rounded cyclical coda, a knowing nod to the numinous methodology of predestination.

This movie is a classic. Maggie Cheung, in what I consider her best work, is simply brilliant as the young Chinese woman who emigrates to Hong Kong in search of a better life. While it is a classic love story, Peter Chan has done a fantastic job of making it extremely fresh and captivating. The script is very well-written, and the rest of the cast and crew perform admirably. But it is Maggie who steals the show, and for this role she deservedly won Best Actress at the Hong Kong Film Awards.

"Almost a Love Story" is known as a classic among the Asian countries, not just China or Hong Kong. However, I somehow missed watching it until 2014(!) perhaps because I was not too eager to see yet another uninspiring romantic comedy, which seems to have been the norm for quite some time now in the cinema world.

After seeing every combination of the romantic comedy formula for years, I did not expect much out of "Almost," which admittedly has plenty of its own cliché's and coincidences. But despite those, the movie still manages to be achingly beautiful and heart-taxingly stark in its depiction of the human condition. This movie may especially shock the Westerners who are used to "clean" and neat romantic love stories. If you haven't seen it yet, I highly recommend it as soon as possible.

The film deals with an every-day subject that lots of films have dealt with so far: boy meets girl. So many people might tend to say "It's always the same with that kind of stories", but in this case they are wrong. This film is simply lovely. Everything is there. The rough meeting, the soft touch, the first realization, the despair in the rain, the slight hope, the fate's sign and finally the supernatural power of emotions. All this with Hongkong and New York - two of the most exciting cities in the world - as background and casted with the outstanding actress Maggie Cheung who I'd love to see more often in the cinema.

There might be bigger love stories, but for those two hours you watch this film the most beautiful love story comes from Hongkong.