Customer Reviews

Saving Face

5 star:		(64)
4 star:		(25)
3 star:		(5)
2 star:		(1)
1 star:		(3)

 

 

I recently had the immense pleasure of seeing "Saving Face" a few days ago. I must say it is refreshing to see a Chinese film where the writing is consistent and good as is the acting. What makes "Saving Face" even more special is that two of the main characters Wil (Michelle Krusiec) and Vivian (Lynn Chen)are lovers. To see two Asian women as lovers on the big screen is quite the momentous occasion for Asian and homsexual people alike.

The film takes place in Flushings, New York. Wil is a surgical resident who is forced to take in her mother Ma (Joan Chen), a 48 year old widow, when it is revealed that she is pregnant and refuses to tell her father who the father of her unborn child is. Ma is disowned therefore ends up moving in with Wil. This happens just right around the time when Wil meets Vivian (Lynn Chen) and begins to fall for her.

I found the writing of the film very consistent and does a good job of covering all the bases from Wil's relationships with both Ma and Vivian. This is the first Chinese film that I have seen in a year where the writing is consistent (unlike "Hero" and "The House of Flying Daggers"). I thought Wil's struggle to try to decide to either follow her heart or to conform to the expectations of her family. She eventually makes that decision in the film. While the question of who was the father of Ma's unborn child was in the film, the issue did not take front burner and was merely part of the overall scheme of the film for both Ma and Wil which was to be happy or to conform to their Chinese roots which basically is the overall storyline of the film. Ma and Wil have to decide to whether to deny their happiness by conforming to their Chinese roots or to embrace the personal happiness they had discovered.

All the actors put in excellent performances. Joan Chen was extremely funny as Ma. Her scene in the video store was quite funny. I also loved her comments about Wil's neighbor Jay when he comes over for dinner. She is unapologetic and yet honest but Jay doesn't know what she is saying since Ma doesn't speak english. While it does seem unbelievable that Wil is a surgeon in training, somehow the idea works thanks to Michelle Krusiec. Lynn Chen simply shines in this film as the stunning ballerina Vivian.

As an Asian woman, I am thrilled to see a film that focuses around Asians hit the theatres. I am even more thrilled that the writing is excellent as were the performances. While I do not go for romantic comedies in general, "Saving Face" is one of the few romantic comedies that I enjoyed.

My 48 year old mother is pregnant, has shown up at my doorstep with a suitcase and to top it off I have just discovered the joys of love...now what am I going to do?
Ma is like an alien in NYC though she has lived in Flushing Queens for years in that she speaks no English and has lived in the insular confines of her parent's home. That is until her father throws her out for not naming the father of her unborn child.
Wilhelmina (Michelle Krusiec) is a surgeon, has a very nice apartment in the Lower East Side of NYC and likes Women. She has almost no free time to date, is always at the hospital working and to put it bluntly: Ma showing up on her doorstep asking for shelter is an imposition...to say the least.
But, in Alice Wu's "Saving Grace" this "imposition" naturally evolves into a re-connection between Wil and her mother that also blossoms into a deeply loving and respectful relationship. Wu, who also wrote as well as directs here has fashioned a film that steers clear of the chasm of melodrama and sentimentality that often plagues this type of scenario with her crisp dialogue, acidic wit and precise directing of the mise en scene.
The character of Ma is played by the hauntingly beautiful Joan Chen and in Chen's hands Ma transcends her physical and social limitations and becomes a full-bodied, open-hearted person: ready for the prospect of really living,ready to give birth and not afraid of the future and maybe even finding a father for her baby.
"Saving Grace" is very wise, it is extremely charming and it is ultimately poignant in the manner of "The Joy Luck Club" or "Hanging Up." It is obvious that Wu shared a wonderful relationship with her Mother and this film stands as the ultimate Love Poem to that relationship.

This is a rather cute romantic comedy set in the Chinese community in one section of New York about a widowed mother who discovers that she is pregnant and who prefers not to disclose who the father of the unborn child is.

To complicate matters, her daughter is a successful doctor who has great potential in her chosen profession who does not have the time or apparent inclination to seek out a mate for herself.

The choice of New York as the backdrop for this tale is symbolic in the city's role as a gateway to the new world. The tale itself is replete with contrasts of new versus old culture, old family forms and authority structures versus the new, old versus new cultures etc. In one scene mother and daughter are having two conversations with|not with each other: the mother addresses her daughter in Chinese, the daughter addresses her mother in English.

As the movie proceeds the viewer is drawn into the tale almost imperceptibly so much so that one begins to empathise with each of the characters rather than take sides. Joan Chen is in superb form as the restrained mother, keeping her secret but managing all the while to maintain face for the family name. Her cautious daughter, torn as it were, between old and new, is often uncertain about the direction in which to go but which ultimately achieves resolution in the final scene.

This is a story of love and life cutting across conventional and cultural boundaries. The tale is told in a gentle and charming way, lending poise to the proceedings and allowing for the possibility for change to be affected by the rather revolutionary actions of an individual and for gradual but significant cultural changes to occur which are, in their own way rather monumental.

The movie kept my attention throughout and although there are a number of minor issues which drew my attention I did not find them sufficently distracting to disturb my enjoying. Although lightweight in a way it is a pleasant experience which throws some light on a number of important social issues. Although my 11 year old son was disinclined towatch my fifteen year old daughter enjoyed the movie and was comfortable with the issues exposed.

Good stuff.

It was not until I watched the special features on the "Saving Face" DVD that I realized the reason it was in my rental queue was that I had gone in and added a whole bunch of movies from this year's Sundance Film Festival. So I started watching this 2005 film knowing nothing more than Joan Chen played the mother of a dutiful daughter and expecting something more along the lines of "Eat Drink Man Woman" than "Kissing Jessica Stein." There is something to be said for watching a movie in blissful ignorance in a world where all too often the best bits are already crammed into the film's trailer, and watching first time writer-director Alice Wu's romantic comedy without any idea of what it was really about was a delightful surprise.

Wil (Michelle Krusied) is a talented young surgeon who seems to be too busy with her work to find a husband, while her Ma (Chen) works in a department store. Pointedly both jobs require women to save the faces of others, but the title of the film really comes into play when Ma moves in with Wil because the 48-year-old widow is pregnant and has been kicked out of the house of her father (Jin Wang). Ma refuses to say who the father is and until she has a husband the shame is too great for the family (read: for grandfather) to bear. So now Wil and Ma are living together and talking about soy sauce rather than about anything important like the baby.

Then mother and daughter have awakenings of their hearts. For Wil it is meeting Vivian (Lynn Chen), a ballet dancer who she keeps running into at the hospital. There is instant chemistry between the two, but Wil is reticent about anything even approaching public displays of affection. Meanwhile, Ma discovers there are more Chinese movies at the local video store than "The Last Emperor" and "The Joy Luck Club," and is soon hooked on Chinese soap operas. As Wil pushes her mother to actually go out on dates for the first time in her life, she makes an emotional commitment to Vivian. But both mother and daughter seem equally incapable of letting themselves find true happiness. Then fate finds ways of pushing both of them over the edge.

"Saving Face" is filled with lots of character driven humor, which makes sense given all the colorful characters Wu has created to tell her tale. One of the strengths of the story is that even though these characters are all so Chinese (it is normal for Ma to speak in Mandarin while Wil's half of the conversation is mostly in English), there is still something universal about the people and the situations. Most viewers will not be surprised that Joan Chen is still a beautiful woman, especially in some of the dresses she wears in the later part of the film, but will be surprised that she is such a comedian as Ma. Wu evidences a deft touch for using camera shots and cutting in the editing room to make the humor work. Another strength is that Wil's relationship with Ma is as crucial as the one with Vivian. The movie is rated R for some sexuality and language, which is interesting because it also includes a nude scene, albeit one that is cute and endearing (with a funny payoff), because Wil and Vivian make such a sweet couple.

The DVD extras include Wu and the cast taking their film to Sundance and a standard behind the scenes featurette. What is missing is an actual trailer for "Saving Face"; I assume there is one out there I would like to see it now that I have caught the film. Wu does not talk as much as you would like during the commentary track, but you will get a much fuller appreciation of the calculated way music is used in the film and learn that the scene that reminds you of "The Graduate" is supposed to remind you of "The Graduate." "Saving Face" is one of those films that you like even better the second time you watch it because you have a better understanding of how well it is constructed and will be even more impressed with Wu as both a first time director and first time screenwriter.

Alice Wu has done what Lee Ang has done for Chinese directors and actors. A poignant tale of cultural clashes versus the fulfilment of traditional Chinese expectations, the film talks about a middle age widow who becomes unexpectedly pregnant much to the chagrin of her professor father who worries about losing face. Meanwhile, her grown-up surgeon daughter is battling coming public with her lesbianism as well as mending the broken fence when she admits to her mother of her socially stigmatised inclinations.

Interweaved in between are plenty of East-meets-West humour and impeccably fine acting coming from the stellar cast, most notably Joan Chen's role as the widow whose funny and unnerving ways also show a vulnerable and lonesome side when torn between conforming to her authoritarian father's ways once again and finding the freedom that she's in dire need of. Chen gives her best as both a subserviant daughter and a straight-faced mother. Daughter Wil played by Michelle Krusiec and her lesbian lover played by Lynn Chen also lend great support to the film which is ultimately bittersweet. (A)

Having seen Joan Chen in various Chinese movies and Hollywood movies throughout the last two decades, I must say this is certainly her funniest performance that will be remembered along with other roles in films like Red Rose, White Rose, and Tempation of A Monk, and The Last Emperor. The semi-retired actress turned director makes her comeback in an American/Chinese film with a role that is so delirously funny, sweet, and touching! For the first time in an American film, she delivered all her lines in Mandarin, making this bilingual sexy coming of age dramedy an authetic and delightful experience. If you thought you loved The Joy Luck Club, then this film is definitely going to be your cup of tea.

This film deals with single motherhood, lesbianism, cultural clash, mid-life crisis/pregnancy/marriage, and breaking all the rules of the old traditions. Joan Chen(Ma) is a single mother in NYC, and she speaks no English. Her successful surgeon daughther Wilhemina(Michelle Krusiec) is a closeted lesbian who is on the verge of coming out to family and relatives. She eventually meets Vivian(Lynn Chen), an aspiring modern ballet dancer whom she falls madly in love with. Meanwhile, the relatives are trying to match her up with some guys.

While she's going through some chaos in her love life, Ma is also having some dramatic issues to face. She starts to rent porno movies, and got herself pregnant by her secret boyfriend. Now she and her daughter would have to somehow come together to figure out how to unveal all the surprises to the friends and relatives. At the same time, Vivian is getting a job offer to dance in Europe, and it's hard for her to make up her mind to go or stay. Then in order to cover the truth about the father of the baby, the heavily pregnant Ma goes on husband hunting, so that she will be married before the baby is born. Will the mother and daughter be able save their FACE and be happy together with their folks?

Although Joan Chen was quite unglamorous in most her screentime, she was still very beautiful, especially when she was all dolled up for "the blind dates" and the wedding. Her performance is so superior compare to Krusiec and Lynn. The two younger actresses had enough chemistry and heartfelt moments.

I was so glad to have seen this film at the Toronto International Film Festival last fall, and it was amazing to see the director, cast members, and I got to meet Miss Chen after the movie. I spoke to her in Mandarin, and it was an unforgetable moment. I know she's going to receive rave reviews for this film, and I hope it will be a hit!

I am a 22 yr old ABC (american born chinese) woman, being born and raised in NYC with fluent reading and writing capabilities in Chinese. There is little I have not seen growing up in NYC, but since the first time I saw this movie, it blew my mind. Alice Wu touches on subjects that are strictly prohibited by the Chinese community. She does a beautiful job of accurately portraying these stereotypes, traditions, rituals, customs, and most importantly, she challenges all these ideas. I think it is important for older generations especially those of the Asian community to watch this movie. Times are definitely changing and even for someone who was born and raised here, being exposed to a single pregnant mother and an asian woman who is gay is still shocking- even to me. I think it makes people consciously aware of today's issues regardless of race, ethnicity, or gender. I had a great amount of culture shock since watching this movie, not only could I relate to every single aspect in the portrayal of a Chinese community, I could also relate to the fact that sexual orientation among the Chinese are not discussed and sometimes prohibited to be discussed. I have reccommended this film to all of my friends - I have made my mother and my brother watch it as well.

Great great film, love the soundtrack, too bad it's not anywhere to be found.

This movie is about families in transition from a mainly Chinese (American) and trans generational woman's point of view. To begin with, Alice Wu's SAVING FACE is bilingual, half in Chinese [easy to read subtitles] mixed with English. The movie tries to bridge the divide among three generations of Chinese-Americans living in New York City, and three women struggling with their cultural and sexual identities.

The obvious plot is that Wilhelmina's (Michelle Krusiec) mother (Joan Chen), a 48 year old widow has become pregnant which disgraces her professor father -- and bewilders her daughter "Wil." Meanwhile, Wil is a brilliant young surgeon who is being set up for marriage in the tight knit Chinese community with an assortment of eligible bachelors at "compulsory" community dances. But Wil never has time to even begin dating a pre-selected husband. She hasn't even had time for coming to terms with her own sexuality. Conveniently, she can always hide behind her busy medical career.

Enter the gorgeous and sensual Vivian (Lynn Chen) -- who is not only a meteorically rising ballerina-cum-modern dancer, but her father is chief of surgery and Wil's supervisor. The two young women have a brief encounter at a "compulsory" community dance, and Vivian is smitten by the hapless Wil. Throughout the film, everyone is hiding something -- Wil's mother hides the identity of her unborn baby's improbable father (who, as it later turns out, loves her deeply adnb she loves him). Will hides her inevitble sexual liasons with Vivian. Vivian is the only one who dares coming to terms with her love for Mil. But her dancing career is beginning to take off and if Wil cannot soon dare to expose the reality of their relationship then Vivcian will have to sadly move on without her.

Most of film is about the seeming impossibility of the three women to solve the problems of their forbidden relationships. This is the result of the intense pressures put on them by a constantly intervening, conservatively traditonal Chinese community.

Rather than seeing this as the clich? of a "lesbian film" -- I'd rather relax with the timeless human problem (like the star crossed lovers Romeo and Juilliet) in this film about women falling into deeply passionate, albeit forbidden love. Director (screen writer) Wu brilliantly takes us through the angst felt by each of the women -- and keeps us guessing as to whether or not they will be able to resolve their problems so that they may live happily ever after with the person who they love.

So I look upon this delightful movie not as a "lesbian film" but rather as a movie about three women who must try to consumate their love which is forbidden by their community. Two of the women happen to be in love with one another; that is, they're lesbians.

Great film. I loved the characters in it.

I barely own any gay movies mainly due to the bad quality and bad acting, and let's face it we all want to look at beautiful people instead of what we are generally forced to look at in these movies. Those of you who are sick of gay movies meaning butch characters will enjoy this one.

Not only does Saving face star 2 beautiful people in Michelle Krusiec and Lynn Chen, but the storyline is both heartwarming and frankly quite hysterical. Director Alice Wu has done an amazing job of portraying the Asian community in a funny light, while still addressing the deeper themes and issues they face. The relationship between Wil (Michelle Krusiec) and Vivien (Lynn Chen) is one many people can relate to and they do a great job of portraying the feeling in their relationship.

Don't be put off by the subtitles!!! The scenes between Wil and Vivien are in English. I think the changes in language actually play a very important role in distinguishing between the lives of Wil and Vivien and that of their more traditional families.

Every now and then a movie comes along that I could watch a hundred times (I'm getting there!), and this is one of them.

Alice Wu has written and directed this absolutely charming little story about love in various permutations with such grace and delicacy that it transcends the various genre categories into which it could fall (lesbian movie, Chinese cultural stringencies on contemporary life, December/May affairs) and becomes a movie for all audiences. From the opening credits through to the end credits she frames her simple/complex stories with light humor, grace, and warmth. Originally a designer of computer software for Microsoft, Wu changed her career after winning a prize for her screenplay 'Saving Face' which is based on her own coming out story as a gay woman. This is her first film! She is a talent to watch!

Wilhemina (Michelle Krusiec) is a lesbian surgical resident in New York City whose widow mother Ma (Joan Chen) appears at her door, pregnant at age 48 by a man whose name she will not disclose. Ma's parents (Wil's grandparents) disown Ma for staining their proud cultural standing in the community of Flushing, NY. Ma redecorates Wil's drab apartment and proceeds to play matchmaker to find Wil a husband. Wil meets Vivian (Lynn Chen), a ballet dancer struggling with approaching fame in classical ballet while longing for a more expressive role in modern dance, and they fall into a fine romance. Wil turns the tables on Ma as a matchmaker, seeing that the only way to gain her freedom is for Ma to marry a man who will support her and raise her illegitimate child - and free Wil to embrace her own life.

Stressors abound: Vivian is offered a prime job with the Paris Opera Ballet which would necessitate her move away from Wil; Grandma dies making Ma and Wil more supportive of Grandpa; Wil 'comes out' to her homophobic Ma; Vivian's father (who happens to be Wil's boss at the hospital) pleas with Wil to support Vivian's career move to Paris. In an attempt to settle all matters Ma consents to marry a good man but one whom she doesn't love. At the thirteenth hour Wil disrupts the wedding, pleading with her Ma to be with the man she love - the surprise father of her unborn child - and all things begin to fall in place.

The cast is homogenously fine and Joan Chen is exceptional! She is a fine, subtle actress who prevents Ma from falling into any number of stereotypes and instead produces a challenged woman we all want to love. But in the end the kudos go to Alice Wu for the strength of her screenplay and her masterful direction of her fine cast. This is not a GREAT movie cinematically speaking, but it is a warm, entertaining, honest, touching film that certainly deserves a lot of attention. Grady Harp, October 05