On na ma dak lin na

I went into this film with no expectations, and came away very pleasantly surprised. It is one of my most favorite romantic films.

The main storyline, a romantic triangle, was nice enough. Each of the three main characters (Chan Kar-fu, Mok Man-yee, Yau Muk-yan) have such different approaches to life and romance that it was pleasant (and sad) to watch the ways they connect and fail to connect. I felt this storyline was satisfying by itself, but I think it was given some richness by a series of very peripheral characters that comment on the theme of the film with their own inabilities to romantically connect with the people they are attracted to. For me, however, the thing that made this film stand out most strongly was the eccentric story-within-a-story (written by Chan Kar-fu, read by the assistant editor) which both lightened the serious tone of the film, and deepened the theme of love and the difficulty of admitting that love.

This is the story of a piano tuner (Takeshi Kaneshiro-Chan Kar-fu) who meets Yan Muk-yan (Aaron Kwok) at a job. By sheer "luck", they meet again and Yan moves in with Chan. A beautiful young lady (Kelly Chen-Mok Man-yee) moves into the same building and both Chan and Yan fall in love with her. If this film was a comedy only about this, their misadventures trying to win Mok's heart, it would be fine because they are all appealing characters. However, this film goes far beyond that. The film is a meditation on love, being together and just a little lust. There are moments of great comic relief, as well as some tender scenes. The title of the film refers to Bach, Anna Magdalena being his wife. That means that the music in the film is wonderful, as the film pretty much is. The film has a tremendous heart, a pleasant departure from romantic comedies that struggle to make ninety minutes and add irrelevant scenes and characters. Everyone in the film is great, its a high water mark for romantic comedy. I highly recommend this film if you like romantic comedy, its definitely worthy of your time.

I dont know why everyone just has bad reviews about this film. I personally really enjoyed this movie and have watched it countless times.

The film was very well plotted. Both Actors/Actresses and behind the scene producers need to be praised for what a meaningful story they put together.

The ending of the film was one of the most touching scenes I had ever scene when the second musical box opened.

People should try to appreciate the film. Try to understand the meaning behind it and then maybe will enjoy the film as much as i do!

I absolutely adore this HK dramadey. The acting is wonderful, the music is beautiful, and the story is told expertly. Everything about this movie just makes me feel good and I absolutely adore it. Highest possible recommendation.

This film is unbelievable. I mean, it's unbelievable that this film even left the drawing board. It's unbelievable that three talented actors could even choose to do a film of this quality. Correction. It's not the quality, it's the lack thereof I should be noting.

Anna Magdalena is a 'romantic tale' (it says on the back), in which a piano tuner (Takeshi Kaneshiro) bumps into a serial womaniser (Aaron Kwok) who is a no-hoper in his aspirations to become a novelist. The 'piano tuner' decides to offer the 'novelist' a hand by putting him up for a few days. Meanwhile a new resident (Kelly Chen) moves into their apartment block, with piano and all, only that she shows little talent. A 'love triangle' forms.

Well, maybe even the clichéd love triangle cannot be an attribute here, as I've seen more chemistry in a bottle of air. The three characters seem as loveless as a defaced stone wall, and the film rarely ever delves further than skin deep. The storyline is virtually nonexistent, and where there is one, there is too much irrelevance to keep the flow running. In particular, the film tries the old tactic of showing the unique quirks of the characters, but in no way do they fit in with the story, nor add anything to what we want to discover.

There is nothing in this film that salvages it from me wanting to call it rubbish. It is simply pitiful. I am a big fan of Kaneshiro and Chen, and I did like to a certain extent their outing in Lavender, but Anna Magdalena would be a film I wouldn't want to remember them for. One to leave on the shop shelf.