Falling for Grace

Just came out of the screening in San Francisco today. Good audience reaction. Being an SAF, I'm all about supporting Asian American films. Yes, this is a clichéd romantic comedy. But the director and the actors do get the Asian family dynamics dead on. I was impressed by the actors they were able to get for this film e.g. Christine Baranski.

There is a slightly clever subplot to the film but I don't want to give it away. The business/legal issues portrayed in the film could have only been thought of by Fay's business school friends.

I liked Margaret Cho as the female best friend/sidekick. I think she could continue to play that role well in many other future films (Asian and non-Asian). If she doesn't mind being typecast as such.

OK, that's it for my very first film review!

Kudos to Fay Ann Lee and her excellent cast for an enjoyable film experience! With a much smaller budget, "Falling for Grace" stands right up there with "Maid in Manhattan," "Wedding Planner," and others that have a strong female lead without succumbing to stereotypes of others. Very well-directed with the right touch of humor, the entire film cast gave authenticity to personal yearnings and conflicts and cultural differences, within the context of everyday New York City life and a Chinese family. Best wishes for a successful distribution of your film because it deserves to be seen by many, including those who may need a comedic break as they work through their personal situations and challenges.

I just come out of a screening of the movie shown during the Tribeca Film Fest and I've had the chance to tell the director directly how I felt about her movie: I want to thank you for making such a wonderful movie. I am a fan of romantic comedies, so I am watching many of it and I haven't seen a movie in years that I enjoyed that much. Such a big pleasure, every single minute of it! I think the screenplay is great, the actors - the director plays the female lead herself - are terrific and the dialog is very believable. The view we get from New York is way more real than in many other New York movies. This is a New Yorker's view and not Hollywood and yet, the film never feels "indie" or "small". It's also never insignificant but important in the topics like immigration, sweat shops, unionized labor, etc. that it touches.

I laughed at many times during the movie and I also cried a bit - it's quite touching without being sentimental. I'd like to recommend East Broadway to everybody who's in for a special treat. I am wishing the director and her crew all the best - hopefully they'll find a distributor soon! 10 out 10 points!

This film had its Arizona premiere near my hometown, in Lakeside, AZ. By a strange turn of events, I now find myself doing a kind of bootlegging marketing campaign for a film that desperately needs some more attention. So here goes:

Falling for Grace is the story of Grace Tang — a street-smart business gal — who meets Andrew Barrington Jr., son of a high-profile businessman at a high-society event. While stepping lightly around other socialites, Grace is mistaken for Grace Tang, a wealthy woman who owns "Shanghai Tang," a boutique on Madison Ave. Here Chinatown and the Cinderella story collide.

The content stews together into a rather atypical romantic comedy. The Chinese overtones of the film are multi-faceted, from an anti-sweatshop subplot to the hilarious and highly believable conversations between Grace, her brother Ming and her parents. Nearly a quarter of the dialogue — and some of the funniest scenes in the film — was delivered in Cantonese and subtitled in English.

This was just a fabulous little movie, one had the feel of a big-bucks feature with the unpredictability of an indie film. The cast was great and the character development had the right mix of believable dialogue, family interaction and jokes in Cantonese.

In short, this film was well-written, witty, and slyly sweet.

"East Broadway" is an entrant in the Cinderella sweepstakes, and makes absolutely no bones about it. It is very handsomely photographed (it's shot like a mainstream movie, on 35mm film) and uses its New York setting -- Chinatown, Central Park, Chelsea Piers, the Upper East Side, etc. -- effectively. It's a romantic comedy with a central mistaken identity plot, a few subplots, and an original contribution to make in its interracial theme.

The comparison will inevitably be made by W.A.S.P.s like myself to "My Big Fat Greek Wedding," with Grace's Chinese identity being simply a variable in the minority/ majority equation, but that comparison will be very much beside the point, I've learned, to anybody Asian. Nia Vardalos being Greek does absolutely nothing to gratify Chinese-Americans (unless they identify with it) but Grace being Chinese does plenty. When I saw the film on Friday, I was sitting next to 5 Chinese-American girls who were grooving on the picture, and there were many other Chinese-Americans in the audience reacting strongly.

Apparently it's not been uncommon for Chinese people to speak to one another in American films using not only wildly different accents but different dialects -- a question in Mandarin would receive a reply in Cantonese. I'd be none the wiser, but a Chinese-American would be offended, and Lee was very careful that this film would be nothing of the kind. To the scenes in Grace's family's apartment, which were delightful to me subtitled, the reaction from the Chinese in the audience was simply uproarious – not just amusement but veritable Christmas morning delight. Before any Caucasian dismisses the film as unoriginal, such proprietary reactions should give him pause.

A film that stakes a claim to the romantic comedy genre, and to the Cinderella story, on behalf of Chinese-Americans, using all the familiar conventions of the genre, is staking an equal claim to those conventions, and consciously. Why eschew anything that can be made common cultural property in such an enterprise? The conventions, the expectations, the accustomed devices, are part of the loot. Using them is making a statement that they're yours as much as anybody's now that you've arrived. "East Broadway" – even in its conventionality – should be viewed as a triumphant statement of arrival.

Gale Harold looks great and turns on the romance (the kissing scene is pretty hot) but I see more than a standard-issue Prince Charming, and I think others will too. There's such mystery about him. We are left wanting more. Fay Ann Lee is attractive (if no Gong Li) and exudes intelligence. The supporting cast is good. Roger Rees chews the scenery a tad, but is more convincing as Gale's father than one might expect. Margaret Cho and B.D. Wong are particularly delightful. Ken Leung as the brother, and Clem Cheung and Elizabeth Sung as the parents, are extremely effective.

This film will stand or fall on audience reaction, and the audience I saw it with reacted strongly. The audience at the other four Tribeca screenings apparently did so as well. It's a crowd pleaser, not a critical darling, but it does exactly what it sets out to do, and what it sets out to be is partly an artifact of social progress. How many films achieve even their modest aims, and how many have even this much originality?