Crazy Rich Asians

No, I'm not talking about Fifty Shades of Grey!

The romantic comedy genre is a flavor that gets a bad rap for being one-note and heavily playing on sappy/silly tropes, even if that is not always the case. I have learned to expand my horizons when it comes to the genre and fit more good titles in there that don't necessary hit that mark. Last year, we were graced with the best of the genre staple I've seen in a long time in The Big Sick because of its strong writing. I am pleased to say that we have a winner again this year, and a lot of it has everything to do with how the editing complements the writing and directing.

Crazy Rich Asians is an entry that treads lightly on both the romance and comedy (there are plenty of laughs to be had, I just never got an abs workout or fell out of my chair is all) and instead delivers a story built around culture, respect and trust, taking pages from Meet the Parents and The Devil Wears Prada. It is an absolutely accessible film for all audience members, even if they might have had *ehem* so good of a time that I couldn't hear some lines because of the overdrawn laughter from others. Through framing, editing and choice of music, director Jon Chu finds a way of bringing about action in a film that is entirely devoid of it. He really highlights Singapore as a character in the film full of vibrancy and vivacity, claiming set-pieces to dictate entire acts of the story. There is a lot of symbolism that is foreshadowed very subtly, and almost everything has a payoff instead of making the audience question what a certain setup was meant for. We get to see the crazy-rich invite us to their fantastical routines as side-characters like Awkwafina hilariously bask it all in and takes nothing for granted. We envy their possessions, even if we may not envy their lifestyle.

The first 1/3rd of the film is wide-open throttle on the gas pedal. There are colorful overlays to indicate locations and text messages that mesh with what is going on in the image, and they feel as if they want to arrive to the story about as fast as Get Out. Characters are introduced so fast that you will want to bring a pad and pen to web-diagram the whole thing, but Chu made a smart choice in having the audience remember characters less by their names and faces and more with their actions, like when you play a name game icebreaker with a large unfamiliar group. You start to figure out where people stand on the totem pole (us audience members are clearly at the bottom) and get to enter Rachel's mind while she's absorbing things as a "fish out of water" at a breakneck pace, and we have to do the same. This representation may be that of the 1% end of things, but the wealth is only in your face from a glamorizing perspective and is not too in your face with snobbery constructed from their wallet and purse sizes.

Once this is all enacted we reach the second 1/3rd of the film, which lets off of that gas pedal and coasts for quite a while. It hit me rather fast like brake lights and I wasn't expecting it, so I called the film out a bit on its inconsistent pace and didn't feel the typical story arc of "rising action." Thankfully, what was lost in that art was found in character chemistry and intensity. Our main protagonist couple is a duo worth rooting for as they yearn for a cathartic endgame with one another, despite what morals stand in their way. They drive the story's purpose, but they are on the bland end of personality when it comes to delivering the comedic goods, and this is totally okay; they let those around them bring us most of the character and laughs. A couple of them are thrown in for the cheap shtick, but there are nearly a dozen characters which get the limelight with their own romantic subplots. This ends up being more than just one love story, and normally I would consider this a detriment but this drawn out middle act of the film spends a lot of time establishing tangible and intangible values, and these characters' interactions are a big part of that. We get a lot of conversation regarding the betterment of characters from each side of the proverbial fence that separates rich versus not-rich, Chinese versus American cultures, and wants versus needs. In a movie that could have easily only stated messages for an elite class of individuals or specific ethnic group, they spend a long time catering to the other 99% so we can be a part of the journey and not just seeing it from a particular lens.

I am purposely leaving out the story's pulse of tension between Rachel and Nick's mother, because I would like for you to strap in and see it all for yourself. As the film puts it at one point: it basically starts to feel like the two characters are playing chicken and they want to see who swerves away first. It doesn't quite reach Stiller vs. DeNiro or Hathaway vs. Streep in their respective film roles, but these two characters have a lot more to say that speaks to us and possible predicaments that we may encounter, especially regarding the ideas of family and what it means to be a part of one beyond the surface level.

We transition into the final 1/3rd of the film where I feel the story arc had found its footing again. I was recognizing aspects of resolve taking place, affect brought personal emotions within me to rise more (I started to get the feels when a scene took place where the only thing you hear are the sultry echoes covering an Elvis Presley gem), and although this is a romantic comedy that may hit some of the stereotypes that other ones do, you don't dismiss it as a negative thing because the way we arrive at those points feels organic and validating. I could not predict where this story was going to go or what it wanted me to come home with earlier on, but by the time we hit the credits (there is one minor "mid-credits" moment thirty seconds in, in case you intend on leaving your chair immediately) I was completely understanding of Chu's conveyed intent that he displayed within the two-hour runtime.

Ironically, his statement exceeds that of the film reel and the novel that this film adaptation is based upon. He is playing chicken with Hollywood, and I think he will strike victory here. Like Black Panther earlier this year and The Big Sick last year, we are beginning to realize that 'serving the underserved' is a good business strategy when there is a story to be told that requires exactly that. I am excited that both this film and Searching (please give that a look in a couple of weeks) is garnishing Asian leads without it feeling like an intolerable offense. Yes, one film is based upon that culture and the other just so happens to utilize characters of that background, but it just goes to show that mainstream audiences are willing to give them the benefit of the doubt and come out the other side with smiles on their faces, saying that the film is "good" and not needing to bat and eye over the fact that they were not graced on screen with a white male lead. I could have done my review without stating any of this, but I really think this is one part that separates this from many other romantic comedies.

From the earlier marketing, I did not expect this movie to win me over. It did, and I think you will feel the same if/when you decide to check this one out. Story-wise I felt some unevenness, but Jon Chu strikes enough visual flair to make a duvet out of a blanket. What could have been a tedious sitting was instead a raucously good time, and I really feel like there is something for everybody here. It is a recommended watch. Go check it out.

As I was going to the movies the other night to see BlackkKlansman, a woman stopped me. She was an Asian woman. She looked at me sheepishly and said, "Pardon me, I've never been to the movies before. Would you help me buy my ticket?" I assisted her on the machine. She was so grateful, smiled, and shook my hand as she walked into her showing of Crazy Rich Asians. This is why minority representation in Hollywood is important.

Crazy Rich Asians tells the classic Cinderella story and takes it to modern times. Boy meets girl, girl falls in love with boy, boy turns out to be rich as hell. The film indulges in all of the luxuries from Kevin Kwan's novel, on which the film is adapted. There's the first class flights, the expensive weddings, and other various obvious showings of that great Asian wealth that Yeung family has procured. The real twist here is that the film features the first all Asian cast in a Hollywood film in over 25 years.

Crazy Rich Asians opens brilliantly with the perfect middle finger to all of the racism and backlash it has received. A racist hotel manager refuses to believe that the Yeung family has enough money to stay in the hotel. It shows the family scared, all huddle in the phone booth outside as rain falls upon them. When the family returns, entirely drenched, they are now the owners and proprietors of the hotel, as Eleanor Young (Micheel Yeoh) smiles to the audience. It is the perfect opening to a film that takes on such a difficult yet amazing task of inclusion and diversity.

The film has its moments of absolute brilliance as previously mentioned. Seeing Asian culture and sensibilities portrayed in such an honorable and non-stereotypical way is refreshing. However, the film failed to escape from the classic romantic comedy tropes that we have seen time and times again as viewers. The leading lady is pretty, but not gorgeous. She is insecure about how she presents to her boyfriend, who is ungodly attractive and has been with tons of beautiful, yet interpersonally unappealing women. He finds the one he wants, despite their differences in social class and standing. All along the way, the girl is increasing her external beauty, as a total loss of complete feminism. This tells the female viewer that if you aren't wearing the right clothes, and look the part, you have no success at love. All along the way, the oddball, yet humorous and encouraging friend steals every scene as the far more interesting and in-depth character. This isn't to say that Awkwafina isn't absolutely brilliant at her role, and doesn't have one of the brightest young futures of anyone in show business, but it feels overplayed.

The madcap insanity of this movie, followed by its basic poignancy is something to be appreciated. The film has been a smash hit at the box office, proving that diversity really does sell. Pay attention, Hollywood! Overall, Crazy Rich Asians is an enjoyable movie, but no great feat to write home about.

Grade (7.5/10)

Let me say straight off the bat that this does not give an accurate representation of 99% of Singaporeans, such as myself, ordinary people with more modest, down-to-earth backgrounds. This didn't stop me from enjoying this movie, which featured terrific acting, a storyline that translated decently onto the screen and wonderful camerawork and production values.

Michelle Yeoh, acting as the stern, imposing mother of the male protagonist Nicholas gave the standout performance for me- I could sense the intensity of this character without going over-dramatic. Constance Wu, playing the female protagonist, also did terrifically as the girl thrust into a world she's totally unprepared to face. Everyone else, including Henry Goulding as the male protagonist, were also solid.

I found the character development in the movie impressive, not just with the two main characters but even the minor ones too, as their backstories and motivations for behaving the way they did unfolded effectively. The storyline does fall prey to corny moments typical of most rom-coms- indeed, on that note, the story itself unfolded in a manner very formulaic of a rom-com, but that isn't too big of a deal in a script which overall works well. And it's supplemented by interesting camerawork and beautiful production values, illuminating the story very nicely.

Many people seem to really detest this movie (and even the book it's based on), perceiving it as a shallow, silly, even offensive glorification of ultra-rich families and modern-day materialism. I'd say that's too simplistic of an overview, as the heightening of a mega-wealthy bubble that is presented in the story is simply to illustrate the issues and circumstances that someone in that scenario would face. It draws out themes such as the love of wealth, the desire to maintain a reputation before others, and how to manage cultural/social expectations and traditions when they conflict with your wishes. That is something I really appreciated in the film, and would recommend you disregard the negative reviews and give it a watch.

I'm confused by the criticism of this movie by other users - this wasn't made for people who want to be rich & glamorous, it literally showed how shallow & void the overly-rich & indulgent were. You were supposed to feel disgusted by them at many points in the film. But it was less about the flashy cars & parties, & more about the relationship between a girl & her boyfriend's family, as well as the identity crises that arise for an immigrant in America.

There are three complaints:

1. Celebrates perversity - romance and materialism are too intimately tied together (i.e. gold-digging) that both end up being expounded in their superficiality and unreality

2. Limited representation - only "Chinese" Asians and only extremely wealthy individuals are portrayed, undermining the efficacy and diversity of true "asianhood"

3. Shallow plot and characters - overused story-line about romance and familial tensions, a pure imitation of Western desires with a lack of oriental authenticity, leading to a paper-thin plot protracted by stereotypes

Three responses:

1. If you actually consider how the movie plays out, the elements that supposedly celebrate exuberance and materialistic romance are either dismissed in their possible retention of worth or confined to brief stylistic moments which throw the more intractable experience of love without materialism into stark relief. There is so much evidence of this throughout the film - every point of excess ingrains in us, as an audience, a sense of disgust or doubt - is that not then the point? Plus the title literally spells the theme out for you "Crazy Rich", so yeah. What did you expect?

2. Now the second part of the title"Asians". I agree, the film does not cover every individual that would be qualified under the term in an ethnic or otherwise geographic sense. But why did it have to? It is not a documentary. It does not aim for absolute objective authority, it tells a story with insight into a limited persona with limited struggles and limited breadth. The assertion that the movie is inaccurate or "bad" because it does not show us every type of Asian is extremely unfair - at least they showed us some (where most do not show any) and they did it in a way where the central aspects of being Asian are still on display (e.g. filial guilt, patriarchy).

3. This then leads me to my next point. What is the big picture? Sure we could convert this movie to have an all white cast and the general story-line and characters would not have to be completely revised, I concede that. But, to me the appearance of an all Asian cast in big budget Hollywood - twenty-five years after "The Joy Luck Club" - means a lot. I think even if you take the plot at its worst - dreary, old garbage - and the inclusion of Asians as mere tokenistic market-pandering, I still stand by this film. Because to me this film is a gateway to all the things that people have been so frustrated and disappointed about, it is a film that in its very existence can forge the path for much broader and deeper representation or discussion. You will not be able to overturn all Asian stereotypes or perfectly represent all Asians overnight, it is an ongoing process that begins by giving the "asian-face" more airtime. Plus I thought the way females were portrayed in this film has been misconstrued and under-evaluated. Just saying.

Watch the film and see what you think.