Detective Chinatown 1900

Honestly, considering Chen Sicheng's usual... performance, this movie is way better than the third one.

A miracle, really.

(He's tortured my expectations so low, it's kinda sad.)

But you gotta admit - dude knows how to make a Chinese New Year blockbuster.

He single-handedly invented "Spring Festival Gala: The Movie."

Whatever's trending on Douyin?

He throws it in.

Musical numbers? Check.

Plot twists? Check.

Stand-up comedy vibes? Yup.

Magic tricks?? Bro, even those.

A big happy ending with a cheesy group song? You bet.

Chen Sicheng really took the recent Spring Festival Gala vibes to heart: "Teach a lesson first, then let people have fun." Man's getting older - just wants that iron rice bowl now.

When it comes to cashing in on patriotism, even Wu Jing would have to bow and call him the godfather.

Honestly, if it weren't for Chow Yun-fat's acting saving those cringy lines, I would've been rolling my eyes halfway through.

Detective Chinatown 1900, originally known as Tang Ren Jie Tan an 1900, is the fourth entry in the commercially successful comedic investigative franchise. The story takes place in San Francisco's Chinatown where a young Caucasian woman and an elderly First Nations man are found dead in a back alley. The main suspect is the son of a Chinese businessman who cannot provide an alibi for the time of the crime. The father thus hires a quirky, naive and inexperienced Chinese medicine physician as well as the son of the murdered elderly man who happens to be an orphaned Chinese man who had been adopted by a First Nations tribe and who has developed particularly sharp senses.

This movie initially does many things very well. The colourful, detailed and diversified settings look astonishing throughout even though they obviously represent a much more beautiful version of the actual San Francisco's Chinatown. The costumes and make-up also deserve much praise and bring viewers back to a time set between traditional manners and modern perspectives. The quirky characters are introduced step by step which helps the audience to warm up with them when additional information is delivered in a prologue as well as in several flashbacks. The story itself is quite compelling as well since the body count quickly rises and economical, political and social aspects come into play.

However, the film loses its entertaining structure halfway through the rising action. Comedic moments are awkwardly intertwined with investigative passages. Critical comments about the treatment of Chinese immigrants to the United States of America are intertwined with a vapid love story pulled out of thin air. The most important First Nations member in this whole film is played by a Chinese actor who essentially plays a shameful caricature of a truly fascinating culture and even the supporting actors are portrayed as people who constantly misunderstand situations on an almost shockingly stupid level. Criticizing the way Americans have treated Chinese immigrants is indeed important but this film loses itself in racist stereotypes that can be summarized as all important American characters being rotten to the core and all important Chinese characters being inherently heroic. The film goes even further by justifying a violent revolution against monarchy that will ultimately establish a socialist country. As if that weren't enough, the movie even concludes with the megalomaniac statement that one day China will become the most powerful country in the whole wide world. What started as a very good movie develops a very bitter aftertaste due to its aggressive, brainwashing and omnipresent political propaganda. The director, scriptwriters and political influencers behind this film really seem to be taking its audience for complete idiots who can easily be manipulated. To me, this propagandistic movie feels like a desperate cry for help, nationalism and pride in a desperate time when China suffers its most dreadful economic crisis following a long-winded deadly pandemic and numerous particularly outspoken protests against the state system itself.

Now, don't get me wrong at all, I'm positively amazed by Chinese culture, history and society and even share many of the country's economical, political and social values but this movie's radical propaganda show will even drive off people who actually sympathize with the People's Republic of China. This is what must be called a disastrous political own goal.

At the end of the day, let's try to be perfectly fair with our final verdict. This movie is a very entertaining crime comedy that entertains throughout. Its disturbing, extremist and unnecessary propagandistic elements however slow the enjoyment of this film down significantly. Recent reviews by Chinese members of the audience who have found a way to express themselves freely seem to confirm this analysis time and time again.

It only seems right to address the elephant in the room when setting a movie in a California Chinatown in the 1900s. Chinese Exclusion Act, working conditions for Chinese labourers who built the transcontinental, etc. All seem relevant and could create a very interesting background if done correctly. Detective Chinatown 1900 beats these over the heads of the audience to the point it's out of place. I think it's more effective to give the audience room to ponder these topics.

When the movie isn't focusing on those travesties or diving into more modern day nationalistic propaganda, it's still weaker as a buddy cop movie than any of the trilogy save a few action scenes.

This is a film released on the first day of Chinese New Year 2025. I have watch none of the Chinatown Detective series, nor other films in the same time period. I find it an okay one.

This movie is characterized as comedy. In fact, I do not find such scenes particularly cleverly developed, and am not amused by these. However, it does entertain the majority of the audience.

What makes it okay is the plot. It is, of course, not a very surprising story, and some people may say it is boring. But the movie tells the story to the audience completely and well. Forgetting about the technologies nowadays, telling a story is a film does, and this one does it fine.

At times this is actually quite a fun spoof along the lines of "Sherlock Holmes" meets "Charlie Chan" by way of "High Noon" but for the most part it's a mess of a film that goes on for far too long. With the Manchu court facing the great powers we saw in "55 Days at Peking" (1963) the Empress Dowager dispatches her finest officer to San Francisco to track down a traitor. As it happens, the Holmesian "Fu" (Haoran Liu) is also in that very city on a quest for the killer of the daughter of senator "Grant" (John Cusack). Quite swiftly his investigation and the imperial mission start to overlap as the enthusiastic "Fu" and his newfound spiritual Indian guide "Gui" (Baoqiang Wang) discover that the prime suspect in the killing (Steven Zhang) is the son of local entrepreneur "Bai" (Chow Yun-Fat) and that the senator is using this to stir anti-Chinese sentiment to the point where he can force them out and seize their property. What now ensues delivers a series of rather randomly assembled escapades that mix murder mystery with western with romance and add a good dose of skullduggery to boot as they try to prove the young "Bai" was framed. Fu and Wang make for a decent enough double act at times, but the story loses it's way way too often and after a while the characterisations - especially "Bai" and "Grant" become light-weight and strained parodies. Fortunately, after about two hours, auteur Sicheng Chen must have felt he was running out of file space and so decided he'd better wrap things up - and for that last quarter of an hour the story knits together things we knew with things we didn't and presents us with a rather feeble denouement that did sort of suggest that there could be more adventures to come for the likeable "Gui" and "Fu". What is potent is the closing statement from the elder "Bai" about remembering the importance of immigrant labour in establishing a country that was all too quick to shun that working community later when it suited it, but it's made in a cack-handed and over-the-top fashion and drowned out by an overpowering score and thus loses much of an impact that might actually resonate in an USA that's still unsure how to recognise those who do/did the work but perhaps didn't all have the same/right skin colour or paperwork. It has it's moments, just nowhere near enough of them.