The Big Sick

Directed by Michael Showalter and written by Emily V. Gordon and Kumail Nanjiani, The Big Sick is the story of a Pakistani-American who falls for an American girl as their relationship is tested when the latter falls ill as he meets her parents. The film is based on the real-life relationship between Gordon and Nanjiani in which the latter stars as an aspiring comedian who is torn in his love for this young woman and being true to his own family. Also starring Zoe Kazan, Anupam Kher, Ray Romano, and Holly Hunter. The Big Sick is a charming and riveting film from Michael Showalter.

The film follows a Pakistani-American stand-up comedian trying to make it as he falls for a young American graduate student as they endure a relationship only for things to get complicated until a rare illness occurs where the comedian meets the young woman’s parents. It’s a film that explore a man who is dealing with expectations from his family in finding a Pakistani wife to marry as well as become an attorney yet he is more interested in becoming a comedian while being a driver for Uber to pay the bills. Upon meeting this young woman whom he embarks on a relationship with until they break up over things he hasn’t been able to tell her where he later gets a call from one of her friends that she’s in the hospital as her parents would arrive to watch over her as she’s in a coma. The film’s screenplay by Kumail Nanjiani and Emily V. Gordon that is based on their real life relationship on how they met and such does play into the many ups and downs expected in an interracial relationship between this Pakistani-American man and white woman as they live in Chicago.

Among the obstacles they face has to do with parents and how they would react as it’s something the character of Kumail (Kumail Nanjiani) is dealing with as he’s unsure what his parents would think of Emily (Zoe Kazan) as he chooses not to tell them about her as he’s also reluctant in meeting her parents over what they would think of him. When Emily becomes ill, he would meet her parents in Beth (Holly Hunter) and Terry (Ray Romano) who know about Kumail and appreciate the fact that he called them. Though they initially don’t want anything to do with him, they eventually get to know him as well as more about how Kumail and Emily broke up. Kumail’s time with Beth and Terry during the film’s second act is key to not just about Kumail dealing with the fear of having to tell his parents about Emily but also the realization that, despite their best interests for him, times are changing and he has to follow his heart but do it truthfully.

Michael Showalter’s direction is largely straightforward as it doesn’t really go for any kind of stylistic shots nor does it play into the conventions that is often expected in a romantic comedy. Shot largely on location in Chicago with bits of the film shot in New York City, the film does play into the world of comedy clubs where comedians try to get laughs as well as figure out what they should say and what routine they should go for. Even if it doesn’t work as Kumail would see a few of his peers try out ideas that is still in development as he is also working on a one-man show that is about himself and being Pakistani-American. While there are a few wide shots, Showalter would emphasize more on close-ups and medium shots to play into the developing relationship as well as some low-key comical moments of Kumail’s moments with his family where he would eat lunch/dinner with them as the recurring gag would include a prospective bride being invited by his mother Sharmeen (Zenobia Shroff).

The comedy is light-hearted as the funnier moments are based through dialogue but there are also some dramatic moments as it relates to the seriousness of Emily’s illness and Kumail eventually telling his parents about her. Yet, Showalter knows that the film is a love story of the unconventional kind in how a man is willing to stand by his love one no matter how close to death she is. Even as it would prove for all of Kumail’s mistakes and hesitation in telling Emily about his devotion for his family only to see that he wants her to be part of it. Overall, Showalter crafts a touching yet witty film about an unlikely romance and devotion between a Pakistani-American comedian and a white graduate student.

Cinematographer Brian Burgoyne does excellent work with the cinematography as it’s largely straightforward in terms of the exterior/interior scenes in the day as well as how clubs are lit at night. Editor Robert Nassau does terrific work with the editing as it does have bits of style in a few jump-cuts in a montage as well as some rhythmic cuts for some of the film’s humor. Production designer Brandon Tonner-Connolly and art director Andy Eklund do fantastic work with the look of Kumail and Emily’s different apartments as well as the home of Kumail’s family.

Costume designer Sarah Mae Burton does nice work with the costumes as it is largely casual with the exception of the traditional Pakistani clothing Kumail’s mother, sister-in-law, and some of the women he’s being forced to meet wear. Sound editor Tom Paul does superb work with the sound as it play into the atmosphere of the comedy clubs as well as the sounds of the hospital in the waiting room. The film’s music by Michael Andrews is wonderful for its low-key score that mixes elements of ambient music with some traditional Pakistani music to play into the two worlds that Kumail and Emily live in while music supervisor Joe Rudge provides a fun soundtrack that mixes elements of pop, indie rock, and country music as it would help provide moments where Kumail finds himself connecting with Emily’s parents.

The casting by Gayle Keller is great as it feature some notable small roles from Linda Edmond as one of several doctors watching over Emily, Vella Lovell as a prospective bride for Kumail that he would meet during the film’s second act after accidentally snubbing her during a meeting he was supposed to have, Rebecca Naomi Jones as Emily’s friend Jessie, Kurt Braunohler as Kumail’s aspiring-comedian flatmate Chris, Shenaz Treasury as Naveed’s wife Fatima, Aidy Bryant as a fellow comedian in Mary who is trying to develop her own routines about herself, and David Alan Grier in a small role as the comedy club emcee/owner who organizes the line-up for all of the performances. Adeel Akhtar is terrific as Kumail’s brother Naveed as the only person in Kumail’s family that tells him about Emily as he knows that Kumail isn’t trying to hurt anyone but reveals that the relationship with Emily could still have severe consequences. Bo Burnham is superb as the comedian CJ who is also trying to get his break but often has criticisms about others over routines he feel that are tired.

Anupam Kher and Zenobia Shroff are excellent as Kumail’s parents with Kher as the father who is more lenient about Kumail’s choices while Shroff’s role as the mother is a more traditionalist woman who just wants her son to find a nice Pakistani woman to marry. Holly Hunter and Ray Romano are brilliant as Emily’s parents with Hunter as the mother in Beth as someone who is more practical as she is concerned with making sure Emily is getting the best treatment while Romano is more reserved with some funny lines as well as giving Kumail advice on love as well as what he has to face as it relates to his parents. Zoe Kazan is amazing as Emily as a psychology grad student who heckles Kumail at a comedy club as she befriends and later falls for him while eventually falling ill as she later copes with the illness and the things that forced her to break-up with Kumail. Finally, there’s Kumail Nanjiani in an incredible performance in a semi-fictionalized version of himself as a stand-up comedian trying to get a break as he deals with Emily’s illness and his own fears of telling his parents about her as it’s a performance of great wit as well as humility when he learns about the seriousness of Emily’s illness.

The Big Sick is a sensational film from Michael Showalter. Featuring a great cast and a touching yet witty story about an interracial relationship that would grow stronger through a life-threatening event. It’s a film that definitely bring some new ideas to a genre that is in need of going into other directions as well as be a film that explore the idea of family and cultural traditions as well as how one person wants to follow his heart and not stray from traditional values. In the end, The Big Sick is a spectacular film from Michael Showalter.

Michael Showalter Films: (The Baxter) - Hello, My Name is Doris - (The Lovebirds (2020 film)) - The Eyes of Tammy Faye (2021 film) - (Spoiler Alert)

© thevoid99 2018

Silver Linings Playbook

Based on the novel by Matthew Quick, Silver Linings Playbook is about a man who returns to his family following a breakdown caused by misfortune and his wife’s extramarital affair. In hopes to get his life back in order and reclaim his wife, the man meets a young troubled woman as they team up to help each other. Written for the screen and directed by David O. Russell, the film is an exploration into people troubled by their own dysfunctions as they hope to get back in the world. Starring Bradley Cooper, Jennifer Lawrence, Chris Tucker, Jacki Weaver, Julia Stiles, Anupam Kher, Shea Whigham, and Robert de Niro. Silver Linings Playbook is a charming and whimsical film from David O. Russell.

After being institutionalized for eight months following a violent breakdown due to the affair of wife Nikki (Brea Bree) where he loses his home in the process. Pat Solitano (Bradley Cooper) returns home to his Philadelphia Eagles-obsessed father Pat Sr. (Robert de Niro) and mother Dolores (Jacki Weaver) in hopes to re-start his life and win back Nikki. Though he’s reluctant to attend therapy sessions with Dr. Cliff Patel (Anupam Kher), Pat is hoping to do whatever to win his wife back despite the restraining order she’s put on him. Invited to dinner by his friend Ronnie (John Ortiz) and his wife Veronica (Julia Stiles), Pat meets Veronica’s younger sister Tiffany (Jennifer Lawrence) who is dealing with her own issues as the two get together as they’re both in need of people to talk to. Particularly as Tiffany is still reeling from the death of her husband several months ago.

When Pat wants to send a letter to his wife through Tiffany, Tiffany reluctantly decides to do it only if Pat would help her get ready for a dance competition she wants to participate in. Pat agrees though neither of them are accomplished dancers as they get a bit of help from Pat’s friend Danny (Chris Tucker) who had just been released from the same institution Pat was just in. The two become close as Pat’s father needs Pat to come to attend a game with Pat’s older brother Jake (Shea Whigham) thinking that Pat is good luck and hopes the Eagles win against the Giants so he can win a bet and get the money he needs to open a cheesesteak sandwich restaurant. Instead, things go wrong only until Tiffany comes to the Solitano home that inspires Pat Sr. to make a bet that will help everyone. Yet, Tiffany becomes concerned whether Pat will participate in the dance as he becomes more obsessed about reaching his wife.

Starting over after a breakdown is a hard thing to do. Especially when it concerns a man who had lost everything as he begins to wonder why his wife would cheat on him as he becomes obsessed with winning her back. When he meets a young widow who is just as troubled as he is, the two form a bond as they would participate in a local dance competition in the hopes that the man can show his wife that he’s changed. That’s the premise of the film as it explores the world of two people who feel like no one understands them as they’re trying to find some way for their family and friends to understand and support them. While they both have families who mean well and want to know what’s wrong with them, they have no clue in how to approach them.

David O. Russell’s screenplay definitely captures a lot of truth about people who feel out of sorts with the world as they’re on medication, having to attend therapy, and do things that most people wouldn’t understand. Pat is a guy who likes to go jogging while wearing a trash bag over his sweater in order to get in shape. He’s also reading books that his wife had put on her syllabus where he is just amazed at all of the negativity he finds in those books. Pat is also someone that is deeply troubled as hearing Stevie Wonder’s My Cherie Amour becomes a trigger for his outbursts as his behavior would cause a lot of worry. Then there’s Tiffany who is a bit anti-social as she’s not interested in being around her sister or her family while can also go crazy if she’s being pushed. She’s also very confrontational and admits that she’s a bit of a nymphomaniac.

Having Pat and Tiffany together gives the two of them a chance to finally understand themselves and the motivation to improve their lives where they delve into dancing. Though Pat is reluctant about dancing, it manages to help him as it even takes notice of his family, friends, and Dr. Patel. While Pat’s father is a die-hard Eagles fan who is so obsessed about them winning as he’s unable to attend the games since he’s banned from the stadium over some fights. He’s also a caring father who just wants his son to be there for good luck as he hopes to win money so he can start a cheesesteak sandwich shop. Once he realizes the benefit of Pat and Tiffany’s time together, it gives him the chance to make the ultimate bet that he hopes would give everyone a chance to win something. It’s not just the premise that makes the story so intriguing but also the characters as they’re just real people who are trying to understand these two very damaged yet good-hearted souls.

Russell’s direction is very engaging for the way he mixes humor and drama as it let it all play out naturally. Notably as he uses a lot of close-ups and medium shots to capture the actors in a frame while shooting it entirely on location in Philadelphia. Russell makes Philadelphia and its nearby small towns as characters where people talk a certain way and live a certain life where they have a love for the Eagles and the Phillies. Notably in a scene during an Eagles game where it’s a very wild atmosphere where the camera is in the middle of all of this craziness where people of all sorts come together just to have a good time. It’s not just the craziness of that world that Russell captures but also the Solitano home where Pat Sr. wants his son watching the game while Dolores is in the kitchen making food. It’s a bit chaotic but it plays to the atmosphere that Russell wants.

The direction also is very intimate in the way he presents the relationship between Pat and Tiffany where Russell keeps things simple. Notably in the scenes in Tiffany’s mini-dance studio where it’s just very sparse and it’s all about these two people trying to learn to dance. It’s a world that they can be comfortable in and that their family know about but don’t have to come in there. The film’s climax is the dance where Russell creates a great mix of humor and drama as it all unfolds where it’s not just about the dance but the reaction of those who are watching them. The outcome isn’t just about them winning a contest but to see who is willing to cheer for them as they’re finally ready to emerge from the dark hell both of them have been through. Overall, Russell creates a very winning and heartwarming film about two people in need of help as it’s real, sad, and very funny.

Cinematographer Masanobu Takayanagi does excellent work with the photography from the more naturalistic look of the daytime exterior and interior locations to more stylish lighting styles at night including the climatic dance scene. Editor Jay Cassiday does amazing work with the editing by creating unique rhythmic cuts for the film‘s dancing and dramatic moments along with more stylish cuts in the scenes at the Eagles tailgate party. Production designer Judy Becker, along with set decorator Heather Loeffler and art director Jesse Rosenthal, does nice work with the set pieces such as Tiffany‘s studio, Ronnie and Veronica‘s posh home, and the more middle-class home look of Pat Sr. and Dolores‘ home.

Costume designer Mark Bridges does wonderful work with the costumes from the stylish clothes that Tiffany wears to the more casual look that most of the characters wear including those Eagles jerseys. Sound editor Olda Benitez does terrific work with the sound from the intimacy in Tiffany‘s studio to the more raucous atmosphere in the Solitano living room whenever the game is on. The film’s music by Danny Elfman is a delight for its low-key yet plaintive piano-driven score to play out the drama and some of the humor that occurs. Music supervisor Susan Jacobs creates a brilliant music soundtrack that is a wide mix of music from acts like the White Stripes, Led Zeppelin, Bob Dylan with Johnny Cash, Eagles of Death Metal, Stevie Wonder, Alabama Shakes, Jessie J, and many others along with different types of ballroom dancing music.

The casting by Lindsay Graham and Mary Vernieu is incredible for the ensemble that is created as it features some noteworthy appearances from Dash Mihok as Officer Keogh, Matthew Russell as a nosy neighbor, Patrick McDade and Cheryl Williams as Tiffany’s parents, and Brea Bree as Patrick’s wife Nikki. Paul Herman is very good as Pat Sr.’s friend Randy who is a fan of the Dallas Cowboys while Shea Whigham is wonderful as Pat’s older brother Jake who tries to get Pat back in the world by going to an Eagles game. Julia Stiles is very good as Tiffany’s materialistic older sister Veronica while John Ortiz is terrific as Veronica’s husband and Pat’s friend Ronnie who goes to Pat over his issues with Veronica.

Anupam Kher is great as Pat’s shrink Dr. Patel who tries to steer Pat into a place that can help him while proving to be a very lively Eagles fans. Jacki Weaver is superb as Pat’s mother Dolores who is baffled by Pat’s behavior while dealing with all of the craziness as it’s very low-key yet charming performance from the actress. Chris Tucker is amazing in a very subdued yet engaging performance as Pat’s friend Danny who helps Pat with his issues while proving to be a good luck charm for Pat’s family. Robert de Niro is marvelous in what is a return-to-form of sorts as Pat’s father in the way he obsesses about the Eagles while showing a sense of craziness but also a tenderness to man who just wants to watch the game with his son.

Finally, there’s the duo of Jennifer Lawrence and Bradley Cooper in their respective roles as Tiffany and Pat. Lawrence’s performance is definitely vibrant for the way she deals with her emotions and outbursts while being very nonchalant about certain things as it’s a performance that allows Lawrence to be direct and to the point while slowly revealing herself. Cooper’s performance is definitely the best thing he’s done as he reveals many layers to a man that is troubled by his illness while seeking ways to redeem himself where Cooper can be very wild but also restrained in some of the moments. Lawrence and Cooper have a very electrifying chemistry where they’re able to play each other out and do things just adds to their work as they’re a real highlight for the film.

Silver Linings Playbook is a remarkable film from David O. Russell that features phenomenal performances from Jennifer Lawrence and Bradley Cooper. Along with strong supporting work from Chris Tucker, Anupam Kher, Jacki Weaver, and Robert de Niro. The film is definitely a comedy with lots of hearts, lots of realism, and a story that is very engaging in the way it deals with mental illness as well as redemption. In the end, Silver Linings Playbook is an exhilarating film from David O. Russell.

David O. Russell Films: Spanking the Monkey - Flirting with Disaster - Three Kings - I Heart Huckabees - The Fighter - American Hustle - Accidental Love - Joy (2015 film) - The Auteurs #70: David O. Russell

© thevoid99 2012

Lust, Caution

Originally Written and Posted at Epinions.com on 11/11/07 w/ Additional Edits.

In 2005, Taiwan-born director Ang Lee released Brokeback Mountain to the world and garnered a surprise reaction. The film about gay cowboys, drew rave reviews with critics as well as surprising smash in the box office along with a load of parodies all over the Internet. The film walked away with several Oscars nominations plus three wins including Best Director for Ang Lee. Despite the upset and controversial loss of Best Picture to Paul Haggis' race-relation drama Crash, Lee moved forward as he decides to return to his native Taiwan to create an espionage thriller that pushed the limits of his directing style entitled Se Jie (Lust, Caution).

Directed by Ang Lee based on Eileen Chang's story, the film tells the story of late 1930s/early 1940s Shanghai when a young woman plays spy in order to stop a man working with the Japanese only to be seduced by him. Reuniting with longtime collaborator and producer James Schamus who co-wrote the adapted screenplay with Hui-Ling Wang, the film reveals Lee's moody, harrowing tale of passion and suspense. Starring Tony Leung Chui-Wai, Tang Wei, Lee-Hom Wang, Anupam Kher, and Joan Chen. Se Jie is an eerie, provocative spy drama that is also seductive and hypnotic from Ang Lee.

It's 1942 in Shanghai as a young woman named Wong Chia Chi (Tang Wei) under the guise of Mrs. Mak is playing mah-jong with Mrs. Yee (Joan Chen) as she later goes to an English restaurant to make a phone call to Kuang Yu Min (Lee-Home Wang). Wong sits down to think about how she's gotten herself into this role as spy. Four years ago, she was just a young student in Hong Kong who is also an aspiring actress along with friend Liang Junsheng (Ko Yue-Lin). After a successful performance in a play directed by Kuang. Things seem to go great for the young students as Kuang suddenly gets an offer to help the Chinese resistance in their war against Japan. After making contacts with the resistance, Kuang decides to organize a plan to help the resistance in aiding the assassination of Mr. Yee (Tony Leung Chui-Wai), who is a high-ranking official working directly for a national traitor named Wang Jingwei.

Liang and Wong join Kuang with Wong playing the role of Mrs. Mak, the wife of an export-import salesman as she finds herself in the posh circle of Mrs. Yee. Rarely capturing a glimpse of Mr. Yee, they finally meet during a game of mah-jong as she helps him pick out clothes and such. Befriending the Yees became easy while she finds herself getting closer to the much-cautious Mr. Yee. Realizing that she might become a mistress of the man, she sacrifices her virginity in order to prepare for the role. Unfortunately, a chance to assassinate Mr. Yee fails thanks to Mr. Tsao (Chin Ka Lok) who destroyed their chance as things went awry with Wong leaving the team.

Three years later as she lives in Shanghai with her aunt and as a student learning Japanese, she meets Kuang who is now working directly for the secretive Chinese resistance. Kuang along with a spy named Wu (Ton Chung-Hua) who learned about her role. He gives her background files as Mrs. Mak where she would continue her role as another attempt to assassinate Mr. Yee was planned. Catching up with Mrs. Yee, she and Mr. Yee find themselves again in good company as eventually, a sexual-driven affair ensues. Realizing how close she is getting into her role, she starts to become confused by Mr. Yee's charms as their sexual affair troubles Kuang. Learning more of Yee's role, Wong realizes the dark position she's in as she suddenly finds herself in a comfortable, closer world that is a shock to the very guarded Mr. Yee. With the plan getting closer, it's all up to Wong to play her part as she becomes confused about her own loyalty.

While the film’s plot of a young spy trying to play her role while being seduced by her target is easy. The journey that screenwriters James Schamus and Hui-Ling Wang take through Eileen Chang's short story is mesmerizing. In reality, the film is about performance and how it can distort things including loyalty. The film is not really a thriller or fits into any kind of period drama but rather a character study and the character that is the heart of the film is Wong Chia Chi. Her development from this shy, quiet young student who exudes the kind of ideal innocence anyone is startling from that to in the film’s beginning and third act, a woman who is confused by her role and morals.

It's a very complex character and so is the target in Mr. Yee. Here's a man who is indeed a villain but also human. Despite what he does for the Japanese, he comes home feeling somewhat detached by his own wife who enjoys her time shopping and playing mah jong. In Wong as Mrs. Mak, he finds the cure he needs for his loneliness and companionship.

Ang Lee's eerie, observant direction definitely harkens towards not just some of the provocative style of Italian auteur Bernardo Bertolucci and 1940s cinema but also the internal moral conflict of the late Ingmar Bergman. Lee's vision of China and its occupation by Japan in those times is true that includes a line of Mr. Yee being aware that Japan's day in the countries are numbered. Lee definitely gets a lot of things right in terms of the time while the atmosphere plays to how the Japanese and working-class Chinese are defined in their environment. Still, it's all about character as Wong and Mr. Yee try to figure out their own worlds while figuring out how to take their relationship away from the politics.

Then there's the film's sex scenes which have garnered the film the very-dreaded NC-17 rating in the U.S. Yes, the sex scenes between Tony Leung and Tang Wei are very graphic indeed. Lots of flesh are shown and such to the point it's almost real that will also lead questions into whether the sex was simulated or not. Sex scenes are often used as an excuse to show naked body parts but through Lee's direction. There's layers in those scenes to reveal the complex emotions of both Mr. Yee and Wong and how they react to each other. The sex is complementary to those emotions that even in their Kama Sutra-like positions, are wonderfully presented. While for a film that's 158-minutes long, there's a few issues in pacing that does drag a bit. Still, Lee's direction and his approach to the story is solid throughout as he's starting to become a real cinematic master.

Mexican cinematographer Rodrigo Prieto, who worked with Lee on Brokeback Mountain, brings some amazing colors to the camera with its bright, evocative shots of Shanghai, Hong Kong, and parts of Malaysia for many of the film's exquisite exterior scenes. Prieto's camera in the exterior scenes are very intimate with low-lights and colors to convey the dark atmosphere of the film, notably the sex scenes that are wonderfully shot without being too polished. Production designer Lai Pan along with a team of art directors do amazing work in recreating 1940s Shanghai with its restaurants, cars, and such including a scene in a Japanese restaurant that is jaw-dropping to watch. Editor Tim Squyres does some fascinating, meditative editing to convey the tension of the film as well as its suspense throughout its 158-minute running time despite a few pacing issues in some scenes.

Sound editor Phillip Stockton does some great work with the sound to convey the different atmospheres of poor China and Japanese-occupied Shanghai with its sound effects and tone. The music of Alexandre Desplat is very enchanting with its chiming, majestic orchestral score. Desplat brings a lot of grand arrangements to convey the film’s suspense and drama with a lot of subtlety. The music also plays to the times with piano music and such including a traditional pop song called A Singing Girl At The Edge Of The World that is performed onset by Tang Wei in an amazing scene at a Japanese restaurant.

The casting of the film is wonderfully assembled with small performances from Johnson Yuen, Ying-hsien Kao, Chih-ying Chu, and Ko Yue-Lin as Kuang's fellow students who are apart of the early organization in Mr. Yee’s assassination plot. Other small roles from Ton Chung-Hua as Wu, Indian actor Anupam Kher of Gurinder Chadha's Bend It Like Beckham fame as a jeweler, and the incomparable Joan Chen as Mrs. Yee are brilliantly performed. Notably Chen as a charismatic, mah-jong playing wife who cracks jokes and manages to steal a few scenes. Chinese pop singer Lee-Home Wang is great as Kuang, a director and resistance soldier who worries about Wong's life while dealing with the role she has to play for him as his performance is superb.

Tony Leung Chui-Wai, who is known by many for his work with Wong Kar-Wai, is brilliant as the very guarded, cautious Mr. Yee. Leung brings a lot of subtlety and brutality to his role as the government official who seems to deal with the loneliness of his work while having a relationship that's a bit brutal but also fulfilling. Leung is really solid in his role while proving that behind every villain, there's some redeeming qualities in him. In a true breakout performance, Tang Wei is phenomenal as Wong Chia Chi. A very multi-layered performance full of complexity, Wei brings a mixture of innocence and passion in the film's early sequences while in the second act, she is full of charm and wonder as she deals with reality as well as Mr. Yee. By the end of the film, she is confused, very flawed, and also older as her performance is very layered as if she's performing within a performance.

The chemistry between Leung and Wei are amazing to watch as they perform together in scenes that are so hypnotic, it's almost as if they're acting in an old-school 1940s film. For the sex scenes, both actors expose themselves not just physically but emotionally as it's very erotic but also eerie to watch. With Leung being a man with little charm, he also manages to be very relaxed with Wei acting with him. Notably a scene in a Japanese restaurant as she sings an old Chinese song that is amazing to watch. Overall, the performances of Leung and Wei make the entire film worth watching.

While Se Jie isn't a perfect film, it's still a powerful, provocative period thriller from Ang Lee and company with brilliant performances from Tony Leung Chui-Wai and Tang Wei. While the film might have something to offer for art-house film buffs for its amazing acting, great set pieces, and its observant, eerie direction. It's a shame that the film is not being widely accepted by a mainstream audience. Then again, a film like this won't really work with a general audience for three reasons. One, it's 158-minutes with a meditative pacing that won't get everyone's attention. Two, it's in subtitles that will annoy a general portion of American audiences. Three and finally, it's NC-17 for its graphic sex scenes. Despite all of those issues, Se Jie is still a solid film from Ang Lee who continues to amaze audiences with such provocative topics and themes.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - Sense & Sensibility (1995 film) - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Taking Woodstock - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

(C) thevoid99 2011