The pain equally painful!

Rain Town (Cantonese, English; 2024)
Director: Tunku Mona Riza 

Our needs, dreams, ambitions, and desires to ensure the best for our children and peace in the family are universal. We all yearn for the same thing. 

The most exciting thing about the movie is that it was produced and directed by two Malaysian Malays, but there was a single inkling of Malayness in its setting, spoken dialogue and props. It went on to premiere at the Silk Road International Film Festival in Fuzhou, China. 

Set in the wettest town in Malaysia, Taiping, hence the title Rain Town, it is a favourite pastime for the local retirees to bet on whether it would rain that day. It follows one of the betters, a proud Mr Choo, to his home. He is a disciplinarian, a domineering figure who runs his home like an army regiment. 

He is a father of 3 adult kids, two men and a lady. His wife, a former Ms Taiping, an Anglo-Chinese, had fitted into the family as a docile, all-embracing mother who is the stabilising figure snugged nicely between the silently rebelling children and the all-knowing father. Mr Choo scared the daughter’s suitor away because he was ill-qualified. The girl finds solace in baking cookies and selling them. The elder son is doing his medical internship and struggling to cope with a vocation that his father forced him into. His real love, however, is music. He resorts to recreational drugs to keep on going. The second son has not really settled on what he wants to do in life, but Mr Choo does not hesitate to tell him the obvious. In Mr Choo’s vocabulary, life is a race and the fast wins.

In the midst of all these, Mrs Choo is diagnosed with breast cancer. She keeps it away from the family and tries to handle it herself. Meanwhile, the elder son is expelled from work for stealing drugs. The family has to get together, put aside their differences and solve the problems at hand.

It does not matter who directs the movie or who acts in it. Cultural misappropriation may not be relevant at all. The dynamics of a family can be observed. The pain felt, the frustrations endured, the struggles fought, and the dreams shattered feel pretty equally devastating.

This work is licensed under a Creative Commons Attribution 4.0 International License.

Under the radar

Abang Adik @ Pudu Youngsters (Malay/Cantonese/Sign Language; 2023)
Director: Jin Ong

When you wander around the wet markets or back lanes of many major cities, you find a buzzing economy independent of the one considered by economists and the national budget. There is a parallel economy going on there. 

You see many moving around, working intensely, and doing things others think are dirty, dangerous and demeaning. You see people washing dirty dishes at the back of the restaurant, slaughtering chickens and carting around loads of vegetables or sundry goods. They are invisible to most people's eyes. And they are paid a pittance in cash. These transactions are not recorded; hence, they escape the revenue departments. They are voiceless and live below the radar because, on paper, they are persona non grata. They may be undocumented foreign workers, economic migrants who overstayed or refugees. Intertwined in this group are Malaysian citizens themselves, who, at birth or due to other reasons, did not have their birth registered at the National Department.

In the eyes of the State, they are not identified in the country's statistics and do not enjoy the privileges proffered to its citizens, like opening a bank account, being part of the cashless society, obtaining a passport, or even getting into schools. What is worse is being disabled on top of all this.

Abang and Adik found themselves as unwanted kids wandering the backstreets of Pudu, Kuala Lumpur. Abang took it upon himself to be Adik's guardian, and together, they grew into adults, just moving along with time.

Abang, hearing impaired, leads a straight life, working odd jobs and saving every sen in a biscuit tin under his bed. Adik is the 'adventurous' one. He dabbles with the thugs around town, cheating illegal immigrants of their hard-earned and moonshining as a gigolo. They rent a room in a debilitated flat which had seen better times a long time ago, now occupied only by illegal immigrants. This place is periodically raided by the immigration officers to fulfil a quota of detaining undocumented immigrants. Abang and Adik would be rounded off, too, but would be released later. Their closest friend is a transgender person who took them as their son.

An NGO worker who goes beyond her call of duty to get them their legal papers helps them out. She somehow manages to locate Adik's father and invites him to meet his estranged father. Unfortunately, Adik's resentment of their father leads their conversation into a hearty argument that does not end well. 

In the meantime, Abang has developed a soft spot for a Myanmarese girl who will eventually be relocated to the US under the UNHCR relocation programme.

The last twenty minutes of the movie are the most gripping moments of the movie. The movie's most striking scene is when Abang has a 'conversation' with a Buddhist priest. When told by the priest to look at life positively, Abang, in sign language, has a long monologue, lamenting the life he has led, the hardship he went through, the parental love he never got, and, to top it off, the handicap he never asked for. Definitely worth a watch. 4.5/5. Worth the accolades it received.

This work is licensed under a Creative Commons Attribution 4.0 International License.

Regrets we may have a few...

2046 (Cantonese; 2004)
Writer, Director: Wong Kar-Wai

Our life is like a moving speed-train. We catch glimpses of experiences that excite us and poof, it is gone. We yearn to immortalise the pleasant encounter's memory, but unfortunately, it is not always possible. The journey itself is so unpredictable that the last delightful experience may not be the best, the best may yet be on the horizon. Or maybe, that was it! Oh, life is so uncertain. 

Are all memories traces of tears and is nostalgia a bad thing? Does living in the memory of the past a wrong thing? Things that we learn in the past are the guiding lights for future battles, but somehow sometimes we still feel we accidentally let something slip by too prematurely or inadvertently. Regrets we may have a few. 

For these, the writer creates a fictitious world/city/future where memories are permanent and can be re-captured. Nobody knew for sure if such a place existed but, nobody who went there ever returned. That is, except the protagonist, Chow. He wanted to change.  He wanted certainty.

This is a rare science fiction that is not commonly seen in the Chinese cinema. Being a Wong Kar-Wai's creation, it is told in a disjointed form with many timelines crisscrossing each other. This film is the final offering of a loose trilogy (the others being 'Days of  Being Wild' [1990] and 'In the Mood for Love' [2000]), based on the experience of love. It is a visually satisfying presentation that brings back the nostalgia of mid to late 1960s Hong Kong.

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In the mood?

In the Mood for Love (Cantonese; 2000)
Director: Wong Kar-wai

This film must surely be a fruit of a labour of love. It is such a joyful experience to watch as the viewers are cradled back to a Shanghainese community's claustrophobic surroundings in 1962 Hong Kong.

It is a story of a close-knit group tenant, specifically of two couples, in an apartment building. Two spouses who are often left alone by their busy working partners end up developing feelings for each other. The busy partners in real fact are embroiled in an affair, between themselves. The scorned spouses discover a common interest, create a platonic relationship but soon realise it is romantic. They resist the temptations to be as low as their partners, despite the circumstances of time and the lure of their biological attractions.

The theme of this story segues nicely into a discussion I had with my friends recently. What is this thing about marriage? Is it a mere a public declaration of a property much like when Vasco da Gama hoisted his flag in the shores of a particularly cold Christmas morning to claim Natal as the property of the Portuguese King Emmanuel?  Is it an injunction to limit his sexual prowess to a single named party? Is it a decree to ensure the union's earning member's responsibility to provide for the economic and biological needs?

Believe it or not, the Hindu scriptures have looked at marriages as the souls' union rather than physical bodies. It is a continuum of their karmic evolution. Sex does not come in the equation. It is perfectly normal to have a sexless marriage. Polygamy and polyandry were accepted in ancient Bharat but not accepted in the modern legal system. My research shows that various dharmic texts like the Manu-Smriti and Vedas have classified marriages into eight forms - Brahmana, Daiva, Rishis, Prajapati, Asuras, Gandharva, Rakshasa and Pisaka. The first four forms of marriages are done with the blessings of a father figure. The Asura type is a form of bride selling. Lovers in 'love marriages' would make secret pacts of their union utilise the Gandharva rite, using an animate object or a person as proof. Rakshaha and Pisaka marriages are frowned upon and are deemed criminal. It is equivalent to the bride abduction and 'date-rape' in a modern setting.

The decision of union of the individuals and matrimony is all about an individual's perception. Sometimes we decide on life matters and feel it is warranted to satisfy our inner desires and personal intent. Whether copulation is a mere biological act or a divine cosmic dance of the feminine and masculine forces is a personal preference.

This work is licensed under a Creative Commons Attribution 4.0 International License.

In the spring of youth...

Days of Being Wild (1990)
Director: Wong Kar-Wai

What is the thing that keeps a person plunge deep into a relationship so toxic and still longs to be embroiled in a never-ending imbroglio of heartaches and melancholy? Is it just physical attraction or a sense of achievement, a kind of trophy? Is it some kind of masochism or playing victim to gain attention?

Is this the same power of love that made King Edward VII abdicate his crown for a divorcee with two living ex-husbands? Is it merely a hormonal surge at the spring of one's youth or a debt that needed to be settled if relationships bring in baggage and its encumbrances?

Something that springs up quite so suddenly may fizzle out just as quick when the fluff disappears. Then what? Do it all again? But then, by then, there would come too many webs of entanglement and spoils of love that are just too difficult to detach. It appears that it is a play of time. Invariably, with the passage of time, the ludicrousness of all these may appear all so plain.

This film brings me to the time in my childhood when I used to watch those intense black-and-white Cantonese movies over the local telly. The only thing here is that this film is in colour. The same tight-knitted rooms and the narrow roads on hilly terrains were there.

In summary, the story, set in the 1960s, is about a philandering young man, York, with his upbringing issues. His adopted mother refuses to divulge the whereabouts of his biological mother for fear of abandonment. The adopted mother has her own problems, with the bottle and her frequent affairs with numerous young men. York's first dejected lover finds solace in the company of a foot policeman. York's second beau is an obsessive cabaret dancer. Their relationship is best described as predatory - each preying on the other for personal gratification. As York's adopted mother is about to leave for the USA with a new lover, she reveals York's parentage. He was born from a union of a prostitute and a Philippine aristocrat. York leaves for Philippines only to be ignored by his biological mother.