Directed by Jon M. Chu
Starring – Constance Wu, Henry Golding, Michelle Yeoh
The Plot – The story follows Rachel Chu (Wu), an American-born Chinese economics professor, who travels to her boyfriend Nick’s (Golding) hometown of Singapore for his best friend’s wedding. Before long, his secret is out: Nick is from a family that is impossibly wealthy, he’s perhaps the most eligible bachelor in Asia, and every single woman in his ultra-rarefied social class is incredibly jealous of Rachel and wants to bring her down.
Rated PG-13 for some suggestive content and adult language
– For a movie that centers around riches, the very production qualities of the movie more than express that rich vibe. ‘Crazy Rich Asians’ was shot on location in Singapore, so we are treated to the vibrant cultures imbedded in the fashions, as well as luxurious traditions in ceremonies that are second to none in terms of beauty. I swear that this movie had the most imaginative wedding ceremony in a film that I have ever seen, making it impossible to not exhale when you find yourself transfixed in its luring qualities.
– Exceptional camera work. There are some breathtaking eclipse shots involving entrancing architecture and exotic landscapes that paint a gorgeous backdrop of the high stakes being portrayed within this family, and we as an audience are treated to these circling establishing sequences that feel like they’re constantly opening their arms to us. What I appreciate even more, is that these angles take their time before we step inside, allowing us a video postcard look inside of foreign scenery.
– Faithful casting that as a whole delights. This is the first American produced film in 25 years with an exclusive Asian cast, so finding the right pieces in bringing these personalities to life was no small feat. Thankfully, they hit the nail head on here, as Wu and Golden dazzle as these two lovebirds with these very grounded ideals despite the riches they have inherited in this story. They have amazing chemistry together, and never shed one ounce of believability through this two hour feature.
– There’s a lot of flare and poise in the on-screen text that takes us through the many island locations in a storytelling-like delivery. These big, bold letterings are an homage to the golden age of Hollywood, when title screens and location cues were such an important part of the transformation within the story. Aside from the lettering, there is also a map graphic visually depicting the distance traveled by the two leads that relates how far they are from their safe zone of home.
– Immersion even in music. The film features many classic pop favorites performed by an Asian artist with Asian translation of the lyrics, and I commend this because it transports us as an audience to the very sights and sounds that you would hear under these circumstances. It’s a personal touch that is greatly appreciated and nearly perfect, if not for two English translated songs that slipped under the radar.
– If this film doesn’t make you hungry from all of the tight, focused shots on Asian cuisine, then you don’t have a pulse. Not since 2014’s ‘Chef’ has a movie seduced me so effectively with a variety of dishes that truly triggers the care that this family puts into feeding their guests. In many ways, this aspect puts us in the shoes of Rachel, satisfying our pallets with champagne wishes and caviar dreams. It’s all that and dim sum.
– Romantic comedies are probably the hardest sell for me in terms of genres, but ‘Crazy Rich Asians’ earns its heart with a two hour journey that pushes you to see the growth in these characters. During the first act, this film is definitely a comedy, echoing the very awkwardness in first impressions that movies like ‘Meet the Parents’ and ‘Coming to America’ took the ball and ran with so effortlessly. But in the second half of the movie, something different happens. The film puts away its humorous material in favor of these bittersweet developments that test this couple far more than just the typical third act conflicts. We start to understand why there’s such a divide in the upper and lower class tiers, and this growing bump in the road brings the confrontation to such boiling levels in the form of a decision that will alter Nick’s future forever.
– Even though the film would be considered “White-Washing” if it took this method, I feel the conflict of Nick dating an American woman would’ve been far greater if he actually dated an American born character. Rachel is every bit as Asian as Nick’s family are, so the disdain doesn’t feel as grand as it would if he legitimately dated someone so different. Especially after you see the first scene of the movie, involving Nick’s family interacting with some borderline racist white folk.
– It’s a little strange to me that the film takes place in Singapore, surrounded by a 95% Asian ensemble, and yet every single one of them speaks perfect English. With the exception of the grandmother, no one even remotely uses their native tongue, and I find that hard to believe from an authenticity standpoint. This is the time when subtitles are appreciated and understood in a film, but the stretch of everyone accommodating American audiences in Asian territory is a bit far fetched.
– In my opinion, there are too many characters for the film that simply don’t offer enough to justify their existence. I get that this is adapted from a trilogy of books, but I would’ve liked to have seen the editing button achieve a greater presence in the film adaptation, as even midway through the movie we are still being introduced to new characters to the story who are never given proper time to develop. This aspect of the film is perhaps the greatest test for Rachel and Nick’s relationship, as there’s a brief period where it feels like the importance of their plot takes a backseat to another couple’s wedding.