A drama with three women out and about: Wil (played by Michelle Krusiec-a surgeon in New York City / young Chinese lesbian), fell in love with her boss’s daughter Vivian (played by Lynn Chen-New York City Ballet The hope of the group / another young Chinese lesbian). Just as the seedlings of love began to sprout, Wil's mother (Chen Chong-widowhood for many years / haunted in Flushing hair salons and audiovisual stores / middle-aged Chinese women who practiced certain skills in their free time) became pregnant mysteriously and was expelled from Flushing by her grandfather. Falling down on the steps in front of Wil's apartment. This is how a cat and mouse tango begins.
How can a movie without a male lead be romantic? Well, you know it by just reading it. This is a very "audience friendly" movie. Visually speaking, the photography is wonderful and the editing is smooth. In terms of character creation, the characters created by the two young ladies are full and refreshing. Michelle Krusiec's performance was so light that the audience couldn't help but laugh. Lynn Chen, who was born as an opera actor, was outstanding as soon as he appeared on the stage, and overwhelmed all beings. Although Chen Chong, who is familiar to the audience, is a little stiff when he is funny, he can still show off the charm of the milfs. The soundtrack of the movie is also very good, from Tsai Chin’s old songs to Bossa Nova, dotted and swaying. Combination of white earth and foreign, but the inheritance is natural and not blunt. Chinese audiences in the New York area can also see many life scenes in the film. There are also a lot of jokes. All in all, this movie is so pleasing to the eye that a little more sweetness can turn into a chick flick. Fortunately, there is also the beautiful lingering drama of the two girls soothing the hearts of the male audiences.
The plot of "Saving Face" is reminiscent of two movies: "The Wedding Banquet" and "My Big Fat Greek Wedding". But "Saving Face" surpasses these two films in many ways. "My Big Fat Greek Wedding" is a big fat Greek chick flick, not really. The problem with "The Wedding Banquet" is that it is full of satires about the traditional Chinese culture of the first generation of Taiwanese immigrants who feel good about themselves. "Saving Face" also has some old cliche jokes about Chinese descent. But Alice Wu, a second-generation immigrant from California, told these jokes in a warm, self-deprecating and self-precious atmosphere. The purpose of these clichés is not to cause cultural conflict or cultural criticism, but to show that some of the so-called bad habits in the Chinese community are ridiculous and cute under the warm watch. Just like the director himself said: "I have a lot of affection for this community." The conflict in "Saving Face" is not a cultural collision, but is caused by a common humanity that transcends race.
What is hazelnut? Hazel is homosexuality and mother-daughter love.
Among the gay-themed movies I have seen, "Saving Face" is the most "visible" one. Homosexual movies generally have three tricks: one is to complain about bitterness and hatred, the other is to sympathize with all kinds of grievances, and the third is to popularize same-sex sexual behavior. For the grand goal of building a harmonious society that tolerates homosexuality, none of these three strategies have played a positive role. "Saving Face" created the fourth trick: sugar-coated cannonballs to return to life. It borrows the film form that American people love to hear and see-romantic light comedy, and expresses a theme that the American people keep secret-Chinese lesbians. Let the theme of "not seeing the light" suddenly become sunny and tender, suitable for all ages. It is worth promoting.
The mother-daughter love in "Saving Face" is very appropriate. I didn’t feel it when I was watching a movie, and I didn’t feel much after watching it. One day later, another day later, suddenly I thought of my mother. When her daughter was young, her mother expected her to grow up and become independent. One day her daughter really grew up and became independent, so she grabbed her mother and hid it behind the timekeeping device of an antique clock. From then on, the mother began to walk fast in accordance with the hour hand. Every day, every week, every month, and every year, she faithfully appeared when her daughter was summoned, and would leave the scene on her own as soon as time passed. The daughter hopes that the mother will strictly abide by the timetable and never show up where she shouldn't be when she shouldn't show up. The daughter no longer needs the mother's care, but the mother still needs to pay attention. The mother can't control herself like a child, seizing every opportunity to give her daughter extra care in the wrong way in all aspects. It wasn't until one day when the daughter was in tears that she turned around and saw her mother, only to realize that she still needed to care.
I watched this movie in NYU's movie 101 appreciation class more than a month ago. The audience's response was quite enthusiastic. Our teacher is a long-winded old man. He invited Alice Wu to the scene and said excitedly: "The old man has walked the rivers and lakes for many years and has seen countless people. The first time I made a movie like you was so successful, it is rare in my life! Foresee your film career will be brilliant!"
Alice Wu is simple and generous, like a little squirrel who loves to eat hazelnuts, with sincere eyes and straightforward words. She grew up in the Chinese community around San Francisco. After graduating from Stanford with a master's degree in computer science, she went to work as a software engineer in a small company in Seattle. After work, he couldn't restrain his desire for literary creation, so he wrote novels and turned them into scripts. So after work, I went to Huada to study script writing. At the end of the course, the teacher said to her: "If you really want to make this film, I am willing to be your producer. But if I were you, I would quit my current job and move. Go to Los Angeles or New York and spend five or six years systematically learning how to make movies.” So in 1999, Alice Wu came to New York, lived in Brooklyn, and started to study film at NYU. After class, she seized every opportunity to help directors. From photography and lighting to editing and dubbing. The movie was born 5 years later.
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