Eat a Bowl of Tea

Starring:Cora Miao, Russell Wong, Victor Wong (III), Siu-Ming Lau, Eric Tsang, Lee Sau Kee, Yuen Fat Fai, Hui Fun, Lan Law, Ng Yuen Yee, Wu Ming Yu, Lui Tat, Wai Wong, Philip Chan, Tang Shun Nin, Michael Lee, Z. Greenstreet Kam, Woo Wang Tat, Stephen Fong, Paul Carr
Director: Wayne Wang
Studio: Sony Pictures
Product Type: DVD

Amazon.com

Director Wayne Wang is in his appealingly low-key groove with this wry comedy-drama, a precursor to his later success with The Joy Luck Club. It's set in the aftermath of World War II, when the restrictive U.S. immigration laws had finally been relaxed. WWII vet Russell Wong is a young Chinese-American hepcat, strong-armed by his dad (the wonderfully gnarled character actor Victor Wong) into an arranged marriage with a Chinese girl (Cora Miao). The trip to China, and the atmosphere of New York's Chinatown, are neatly mounted. The film's central joke, and metaphor, is the bridegroom's impotence after marriage; he's cowed by the expectations of his traditional culture, which don't necessarily match his own ideas. In its quiet way, Eat a Bowl of Tea examines the larger issues of ethnic identity while poking affectionate fun at its floundering characters--a distinctly modern attitude for a 1940s story. --Robert Horton

Customer Reviews:

Poorly Played.......2007-02-21

I had to watch this movie for a class, and I was sorely disappointed. You don't need to have read the book to see how abridged the movie is, condensing long periods of time into a few unconvincing seconds. This isn't helped by the fact that Russell Wong has the emotional range of Keanu Reeves. There were only two scenes in the film that I thought came together in every respect - both starring Victor Wong - but the fact that they were such good moments only made the poor quality of the rest of the film that much more apparent.

I felt the script was bland and unoriginal, and the actors seemed to lack any real personality on the screen because of this. It seemed exactly like a dozen other American movies, only this one starred Chinese actors. None of the decisions within the movie seem believable, and the ending feels tacky and schmaltzy and all those other things I can't stand in a movie.

It's definitely not the worst movie, but I had much higher expectations from it.

An original and poignant story.......2005-10-10

This film deserves a special place in the Chinese-American pantheon. It's not about the "clash" between old and new, East and West, a theme that too many movies and books have beaten to death. It's about family, love, relationships, and history, without any cliches. The story touches on subjects very rarely dealt with, such as impotence, brilliantly so. The love story is romantic and realistic. Everyone puts in wonderfully authentic performances. This is my favorite Chinese-American film. If you like it, you may want to read the book, which is even better.

Excellent movie.......2005-09-25

This movie provides audience with the discussing topic for cultural conflicts and interference. It reveals how a Chinese women immigrate to America on the basis of marriage, and how she represents the so-called Chinese virtue to masculism society in teh early time.

more emasculation of Asian-American men.......2002-10-19

This film is important and needed for three reasons. One, you get to see supa-fine Russell Wong. Two, rarely do you see a movie with so many Asian-American men. Three, this movie illustrates that Asians did live in the US before 1965's liberalization of immigration laws. Still, in this movie, when Russell is a gigolo for a white female client, he's sexually active. However, when he has a cute Chinese wife, he's impotent. This seems like some disturbing white-worshipping to me. It's kinda anti-Asian woman too. Haven't we seen and heard enough of historical stereotypes of Asian men as not true masculines?! Then, the end is too fast and illogical. This movie had so much potential that it did not meet.

Amiable counter-clash comedy with a dark undertow........2002-02-25

Although it never deadens itself with too much period detail, you can almost touch the 1940s atmosphere in Wayne Wang's film, the dark rooms and grey streets occasionally filtered by cold sunlight. 'Eat A Bowl Of Tea' recreates a crucial moment in Chinese-American history - the relaxing of inequitable immigration laws that had prevented Chinamen bringing their women into the country, and the subsequent influx of young female life into the sterile world of old men - with little historical fanfare, and maximum attention to human experience. Wah Gay is a successful club owner who hasn't seen the wife he left behind in 20 years, and who despairs at ever seeing his frivolous son, who served in the US Army during the war (the mass of Chinese who had done so causing the laws to be repealed) ever settling down and continuing his line. He sends him back home to marry a friend's daughter, bring her back, take a good job and start a family. All these pressures, unfortunately, make the young man impotent, and his frustrated wife is forced to take a lover.

As the film starts, with its wisecracking Greek chorus, its warm 40s look and its 40s jazz standards on the soundtrack, you might almost be watching a Chinese Nora Ephron film. The struggles of individuals against the community begins to take a starker turn as the film progresses, and characters become alienated from each other. The film is full of images and situations in which Chinese and American cultures confront one another, sometimes to harmonious effect, but just as often clashing. For instance, during the arranged courtship in China, the couple's first moment alone on screen is against the backdrop of an open-air projection of 'Lost Horizon', a famous American film about the Orient, whose English is translated by the village sage (the media and representations are important elements in 'Eat'). When the couple holiday in Washington to try and escape the pressures of community and finally make love, the familiar American landmarks are overlaid with Chinese music. The very real human problems - family, marriage, impotence, work - are shown to be indistinguishable from crises over identity; Ben Loy's impotence, his failure to continue the line and complete the Oedipal process, is a sign of his inability to unite Chinese and American, old wisdom and new entrepreneurialism, communal expectation and private desires.

The increasing sobriety of the film's themes is matched in Wang's style, in which the camera rarely moves, as in the cinema of Ozu, another Eastern film-maker who dealt with tensions of family and modernity. Wang doesn't seek Ozu's serenity, however, and the still camera is countered by great movement within the frame, stylised compositions and frequent cuts. Like a Sirk melodrama, the surface realism is undercut by artificial tableaux that encourage us to read against what we see.

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