Comrades, Almost a Love Story (1996)

Other reviewers have said it well: this is a wonderfully romantic film. I hate to make a statement like, "It's the Asian version of . . . ", because the film doesn't need a comparison to any American film to have an identity, BUT it has several things in common with "The Way We Were", "Comrades" follows an up-and-down romance over the span of several years and has that same quality of bittersweet fate hanging over them throughout. The early scenes in which Li Xiaojun (Leon Lai) and Li Qiao (Maggie Cheung) begin their love affair are particularly entertaining. A favorite scene: Li Xiaojun helping Li Qiao on with her coat, they get closer and closer, their lips brush together, then they embrace, then a full on kiss, then mutual passion overtakes them as they both feverishly unbutton that same coat they had just been struggling to button. The scene is both sweetly romantic and humorous. Another similarity to "The Way We Were" is that both films benefit from a tear-inducing song, in this case a love song by Taiwanese singer Teresa Tang which plays a vital role in the plot. Great job of direction by Peter Chan and a wonderful script, but it's the performance by Maggie Cheung that really sells the film. From the moment you see her behind the counter at McDonald's you're hooked by her energy, spunk, attitude, and determination. Her character runs the gamut of emotions during the course of the film and there wasn't one false moment in her performance. She is totally believable, whether she's flashing a self-satisfied grin into her ATM machine or dealing with a devastating loss (I won't give it away, but Cheung's reaction is heart-wrenching). "Comrades" is truly a wonderful film.

First, let me agree whole-heartedly with all the coments posted here (so far): this is a great film, really touching, and fun to watch...a "chick flick" with brains? (So to speak!) Ultimately, it's also a great window onto Chinese culture and how crass and materialistic it can be, contrary to some Western notions of ancient Oriental wisdom and whatnot. A very fatalistic thread runs through this film, and were it not for some great acting and writing, among other things, all those "coincidences" would've wound up seeming staged. For this alone the picture should be studied in film school, its ability to get the audience to so willingly suspend its disbelief despite some really blatant plot developments and twists (well, it's also a cultural thing too, here, I am sure, as many Chinese believe very much in Fate...). So I enthusiastically recommend this film, much as everyone else -- wow, is there anyone who didn't like this one?? Now, I have to take some issue with the people who apparently didn't like the portrayal of African-Americans in this film. I saw this film with an African-American friend of mine, who is by no means a "political activist" sort, and "even" he was slightly offended. The two scenes involving blacks are, to be sure, not positive. And it's true Asians, particularly immigrants, have a fear of blacks. However, whatever one's politics on race matters in the U.S., I do feel that as a movie concerned with immigrant protagonists, such scenes were justified and even necessary. The INS agents weren't depicted much better, and they were all white. Incidentally, the second and last scene "including" blacks seemed a bit of cinema verite, quite real and not staged -- by which I mean that I think the two young males fighting in the background, and the old black lady trying to break them up, was all happening for real, accidentally, coincidentally, serendipitously. Note that this scene was one of those NY crowd scenes with Leon Lai's character walking about town in a mildly depressed and greatly reflective state, and I think the camera just picked up something fortuitous and most interesting, happening for real. I say this because I doubt that the crowds were staged, and director Peter Chan must be really a devious fellow to deliberately stage such a thing which actually distracts us for the moment from the male protagonist's melancholia. Anyway. My pal and I talked at length over this issue of black representation in this film, and agreeing that the movie had no "social responsibility" (I mean, some would say we're talking romanticizing adultery here!) and no "artisitic obligation" to give a veritable cross-section of the inner-city black community, all I had to do to get him to stop complaining and being so politically correct was to ask him if he can recall the last time a Chinese kid mugged somebody. Whereas Chinese and Asians are frequently attacked; anyone remember the African-American teens who lured and murdered a father of two for $60 worth of Chinese food here? There have been more incidents since this one last year -- none fatal yet, though.... Anyway, this is a great film, and it has no flaws I can perceive. If you want a vastly more sympathetic and "liberal" take on inner-city crime and Chinese immigrants, check out Clara Law's good "Farewell China." Just don't let the black representation red herring trip you up from enjoying this really interesting Chinese take on romantic, "unrequited" love. If you live in NYC, you'll get a great kick out of trying to identify all the locations! Some are obvious, but what's stumped me in cycling around here visiting them all is where "Broadway," where the murder takes place, is located -- the Brooklyn one, or the Queens one? (Definitely not the world-famous Manhattan one.) I've visted both Broadways, and can't figure it out....

An unusual and illuminating portrayal of crossed destinies and the fate of love supremely played with tenderness and compassion by Leon Lai and Maggie Cheung. Their performances are heartbreaking to witness and bring a dignity to life's ordinary events. This story went right through me and will be one of the most memorable and poignant films I've ever seen. This makes it to the top ten in romantic love stories and should not be missed. The beauty of this film lies in capturing the understated layers of emotions which pass between two people who are destined to be together but have yet to figure it out. Peter Chen is a magnificent director whose sensitive style of filmmaking make all the difference in others who try too hard. An absolutely brilliant way to restore the faith in the universal language of love.

While there is a host of good things about this film, I am absolutely blown away by the superb acting of Zhang ManYu (Maggie) and the directing of Peter Chan.Throughout the story, I cannot help but feel: "that is the relationship I want," "I know how that is," and "wow, that is love." By exploring the many finer subtleties of life, love, and friendship, Peter Chan made "TianMiMi" for the average audience. If you have never felt friendship, success, failure, the passionate kiss after weeks of sexual tension, the hope that life will improve, and the fate that you cannot escape, this movie is a good place to start.