A Great Wall

there are some really good constructive criticism for China and these includes problems that are common in the contemporary Chinese society, such as cutting in in front other people in the line of waiting and disrespect to privacy. Economic progress alone is not enough to make a modern society and this is the greatest contribution of this movie behind its stories.

The movie is a good concept with amateur / poor execution. But the scenes -- on the street, in the hotongs, courtyards, and streets of Beijing are just amazing. Beijing today is an amazing metropolis, and in this movie, in 1986, it has more the feeling of an overgrown village. you get somewhat unintentional glimpses of poverty and poorly maintained infrastructure -- Beijing in 2006 is far more cosmopolitan in places, with both much greater energy and wealth than you will see here and also more filth and poverty. The cultural notes are mostly still relevant, though the rampant capitalism, scheming and vitality of today's BJ make for a very different city. the Beijing of this movie is as lost as the "LA" of Chinatown (the movie) circa 1930's.....

so as history and culture lesson the movie is a 10. 'the world of Susie Wong' works as both history and movie; this one is just good history!

This is a simple but heartwarming story of a Chinese American family who go to Beijing to visit relatives, setting up a gentle comparison of cultures. It doesn't yield any earth-shattering revelations, but it's notable for having been made in 1986, the first American film shot in the People's Republic of China, and just three years before Tiananmen Square.

Some of the best things in this film can be found in little moments that reflect such cultural truths. The neighbors all coming out to see the arrival of foreigners, which was unusual then. The Chinese mom reading her daughter's mail and asking her brother directly about his salary. The subtle embarrassment caused by American displays of affection, like the nephew hugging his Chinese aunt, or the American parents comforting each other at a family grave.

The film is also effective in dispelling stereotypes about Chinese Americans, and reflecting some of the difficulties they face. The father is passed up for a promotion for a less qualified white colleague. The mother explains to a workout partner that she doesn't actually speak Chinese, saying "Can't you tell? I'm an American." The son is not a cliché math nerd, and is shown making out with his white girlfriend - an interracial relationship that has always been less accepted, that of an Asian man and a Caucasian woman, and not the other way around. He loves football, throwing one around on the Great Wall, and taping his own face over Joe Montana's on a poster he has in his bedroom, bits I loved. He's easy-going, but voices an age-old issue for those with a duality of cultures: "People in America think I'm too Chinese, and then people in China think I'm too American." All of these things were quietly powerful, and done in ways which weren't preachy.

There are dimensions to the Chinese/American comparison director/writer/actor Peter Wang offers us, notably the older/younger generational differences from both sides, and husband/wife relationship similarities. Some seem a little obvious and I suppose they are, but through it all there is a wonderful sense of acceptance, not one of anyone being wrong or inferior. The differences in things like music, the way people exercise, or their accommodations are things to be appreciated and learned from. Despite the enormous change in this generation, with a sister and her family remaining in China while her brother and his family are in San Francisco, we see family bonds enduring, and parents wanting the best for their children.

The story is less successful than the cultural representation, meandering as it is. The big ping pong match that occurs near the end held some level of interest because it was clear both actors played the game very well, but it was odd that this was the climax to the film. It was as if Wang was searching for some plot escalation or some way to make the film more mainstream, and arrived at this. I would have much rather have seen more of the brother/sister dynamic, how it was when they parted, or more footage in Beijing. Overall though, a nice little film, and one that would fit in very nicely with the films of Wayne Wang from the 80's.

The first American movie filmed in Mainland China presents a mild but occasionally diverting clash of cultures following the reunion in Peking of a thoroughly westernized Chinese-American family from San Francisco with their Old World relatives. The comedy catalogues the bewilderment of host and guest alike when confronted by peculiar foreign customs, with the best laughs coming from the People's republic point of view: students singing 'Papa Rawdi' (Pavarotti) and reciting, in unique pidgin, Lincoln's Gettysburg Address; an old man coping with the electric blanket presented as a gift by his American brother-in-law; the question of whether or not everyone in the United States has VD. The Western perspective is less interesting only because it's more familiar (football, rock 'n' roll, and so forth) but everyone benefits from the mutual exposure, including the audience.

In San Francisco, Peter Wang doesn't get the promotion to lead the new division, so he spills hot coffee on his boss's lap. Then he takes his wife and son to visit his sister's family in Beijing. There, the daughter of the house, Qinqin Li, is trying to get one of the rare admissions to university. They all distract each other from their lives.

Peter Wang's exploration of cultural clash amidst a loving family seems very random at times, yet it all adds up to the random series of events that go into a family. Wang's brother-in-law, Xiaoguang Hu, is the most comical of all the characters, with his sluffing off of responsibility to rearing his daughter to his life, and comes out with statements about the evils of American society and the rampant homosexuality on the streets in the United States. Yet in the end everyone likes everyone else, and has something to teach, and to learn.