Tumgik
#it's true my nainai is the first and the second
cardvngreenbriar · 1 year
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JOY RIDE 2023, dir. Adele Lim
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sonatahikari86 · 1 year
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— When I Fly Towards You/当我飞奔向你 (2023)
“I would think of that scene over again. She stood under the roof with her shining eyes looking at me through the rain. That glance seemed to hint to me that my light was coming.”
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A series that gives me so much warmth. It's not only about romance but also the stories of friendship, family, dreams, growing up, and changes in life. A beautiful youth drama that made me want to experience it if I could turn back time.
Their story really starts at the beginning of their youth. A sudden meeting under the rain led to so many moments together in their future as friends, lovers, and then married couples.
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They are basically each other's opposites. That sunshine girl and the midnight rain boy, but slowly, she gave him light and made him shine brighter than before.
Zaizai is that one-of-a-kind girl who is full of courage and strength. She isn't afraid of anything, always stands up for herself, and is the kindest person to people around her. She is really the sweetest character to begin with. It's so easy to fall for her.
Rangrang looks cold outside because of his so-not-good family environment, and his encounter with Zaizai led him to a new world that made his gloomy world more colorful.
Let alone the time when he proposed to her. He really prepared that video all this time. From the time Zaizai wasn't aware of his feelings to the time they were together. This alone says so much that his love is as big as her love for him.
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I could never be Zaizai, who has so much courage to express her love for someone she cares about the most. From the start, she wasn't afraid to show her affection for Rangrang, whom she had felt in love with since their first encounter. She is always true to herself, never shields her feelings, and makes sure that her feelings reach the one she loves.
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And her genuine feelings really reached Rangrang. He didn't speak too much, but his actions alone could tell how much he also cared about Zaizai. For three years, he kept his love in his heart and confessed to her at the right time. The moment when he finally told her that he'd liked her all along is one of the sweetest confession scenes that I've ever watched.
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Guan Fang's relationship with Nainai is the one that made me totally envious. Nainai's warmth and patience made him into a good and kind boy. He changed for the better, and meeting with the others made him even better. His determination to stay with his Nainai in the end brought tears to my eyes. He is so right; time is tickling, and the best thing we can do is spend it with the one we love the most.
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And here's one of the best second couples! Gu Ran, who is mischievous and playful but is kind and sweet to the people he cares about the most, couldn't express his feelings to Jiajia because he was afraid it would ruin their friendship. I'm glad they got their best ending and had a chance to express their affection for eo.
Youth drama is always beautiful when it also highlights the friendship between the characters. And I'm not gonna lie, the five of them are one of the best friendship tropes. Their kindness, care, and trust for each other are truly one of a kind.
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It's so beautiful because their friendship really started at the beginning of their youth and continued until they grew up into fine adults. They go their separate ways after high school graduation, but they still stick together till the end. There's maybe some misunderstanding between them, but they could make it pass.
Their long-lasting friendship is the only thing I could relate to in this drama. It was such a pleasure that we could stay with people who were always there for us for such a long time. Not everyone could have this kind of long relationship. So looking at them still strong together after all this time is so heartwarming.
This drama also managed to portray the beauty of the high school era. They captured so many moments that could only happen in our youth, which made me, as a viewer, feel nostalgic.
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They are also able to describe the hurdles that we face when we turn into adults, be it at university or in our work lives. Life is like candy; sometimes it's sweet and other times it's sour. And we could see this when Zaizai and Rangrang faced their adult lives. It's so good because they became each other's shelter and shoulder to lean on. And this development is one of the best things that has happened in their relationship.
The warmth that this drama gave me this summer indeed made my day more beautiful. It may be exaggerated, but I really spent the most beautiful day watching this drama. Not only the drama alone, but its OST also gives me a good feeling every time I listen to it.
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So, once again, I want to say thank you so much for coming to me this summer and making my day brighter. I hope this heartwarming feeling will last a long time. I am sure I'll come back again when I need a warm hug.
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onceuponaloonatic · 4 years
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This can be normal or au au: Nico coming home from the NICU on Christmas day, a little present to everyone. And so everyone (stubborn siblings included) are just fawning over her, but mommy Sana is being very protective. Finally, in a quiet moment when Sana has snuck off to nurse Nico, one of the other adults (you pick) comes to talk to Sana and remind her that it's okay to breathe because Nico is safe and they are out of the woods. 🦄
The day Nico came home was like a fresh start for the entire Myoui-Chou family. There was so much leading up to it, so much stress and anxiety, but now that she was cleared to come home, everyone was much better off. She ends up getting to come home a few days early, as she is doing much better than the doctors predicted. This excites all of them because they didn't think Nico would be home for Christmas. She got out of the hospital on December 24th, and Mina Sana and Tzuyu had to stop their older kids from coming since Tzuyu’s parents were already with them. They knew they wanted to be there too, but they didn’t want to crowd the hospital or Nico too much. Plus there wasn’t room in the car. It was already a tight fit, and they couldn’t fit anyone else in the car. 
Instead, the kids plan a little surprise party for their baby sister. “Do we have to do this?” Saya whined as she put up a banner at Sai’s demand. 
“Yes. You know how long they have been anticipating Nico coming home.” Sai rolled her eyes. “Come on, I know you're excited too.” “I am not.” Saya pouted. “Then why did you have today circled on your desk calendar?” Saki asked, also helping to hang a banner. 
“Because it’s Christmas eve.” “You didn’t have tomorrow circled. You never circle anything except for Yujin’s birthday.” Saki pointed out.
“I- wait how do you know that? Were you in my room?!” Saya asked, stopping what she was doing.
“I was just grabbing a shirt.” Saki put tape down. “Don’t be such a baby.”
“You know what-”
“Baby alphas no fighting.” Sai interrupted them. “How is it going Sae?” Sae was making food for them all. Saki had been helping her before moving to help with the banner. 
“Okay.” Sae nodded. “Taste this.” Sae put the spoon in Sai’s mouth. “It’s- what is this?” Sai asked.
“Miyeok-Guk.” Sae answered. “It’s for mom. Ka-san and Mama have been making her eat a ton of it since Nico was born, but it is supposed to be good for postpartum.” “Oh, that explains it. I don’t like Miyeok-Guk.” Sai sighed.
“I know.” Sae laughed. “That’s why I made you eat it.” “You're making real food too right?” Sai sighed. “Of course.” Sae giggled. “I’m making some Xiao Long Bao and Rou Si Chao Mian.” “Chinese food?” “I let Saki pick the food.” Sae giggled. “Plus we are having Japanese food tonight for dinner so I thought we should surprise Nainai and Yeye. I just hope they think it’s good.” “You're one of their favorites so I think it will be okay.” 
“One of?” “Well I mean it’s clear Saki is their favorite, she speaks Chinese the best.” Sai giggled, taking a piece of carrot and eating it. “That’s true.” Sae nodded.
“I’m who’s favorite?” Saki asked, walking over to help Sae again after setting up the banner. “Nainai and Yeye,” Sai answered.
“Oh yeah, I’m their favorite. But Chinese isn’t really that hard, you guys could learn it.” Saki giggled. “Eh, too much work.” Sai shrugged. “Anyway, they will be home in five minutes.” “Okay, everything is pretty much done.” Sae nodded. “Saki if you want to help me set everything out that would be nice.” “Sure.” “I’ll help too.” Sai offered. “Saya grab a plate.” “But I don’t want to-”
“No buts.” Sai nodded. “Your Nico’s big sister too.” “Well, I don’t like it.” “Too bad.” Sai rolled her eyes. Once everything was set out, the four of them waited on the couch until they heard the garage. Their mama was the first one to come in, carrying a baby bag. She smiled when she saw what the girls had set up. “Where’s Nico?” “Your mom has her.” Tzuyu giggled, putting the baby bag on the table. “They should be here in a second. Your Yeye and Nainai are bringing in some gifts from your Aunts. This was sweet.” “Thank you. It was all Sai.” Saki laughed. 
“Thanks, Sai.” Tzuyu smiled. “We’re happy you guys are so excited.” “I’m-”
“Shut up and admit your excitement, Saya.” Sai interrupted her sister. 
“Fine.” Saya pouted. “I’m excited I guess.” “There it is.” Sai smiled. “That wasn’t so bad was it?” “I hate you so much.” xx 
Sana and Mina were pleasantly surprised at the party. Nico was asleep for most of it, but the adults all celebrated. She was passed around a bit, but she only really was comfortable with Sana. Sana insisted on holding her for most of the party, and until she had to leave to feed her she didn't let anyone take Nico for more than a few seconds. Mina was acutely aware of this the entire time, and when Sana left to fed Nico upstairs she followed.
“Hey, baby.” Mina shut the door to Nico’s nursery behind her. Sana looked up at the sound of her voice, looking up from where she was nursing her daughter. “Hi,” Sana muttered quietly. 
“You seemed a little off.” Mina sat next to Sana, wrapping an arm around her.
“I’m not off. I’m happy. Nico is finally home.” Sana rocked back a little bit, trying to not jostle Nico.
“Babe… We've been married for almost eighteen years. I know when you're off.” Mina nodded. “What is it?” “I’m just- I was so worried about her. And scared. And I don’t want to let her go cause I’m afraid she will be gone again if we aren’t careful enough.” Sana admitted, not looking Mina in the eyes. Mina sighed, grabbing Sana’s chin and making her look her in the eyes. 
“I know it was scary. And it’s almost hard to believe Nico is here now and healthy and okay. But she is, she’s here and she’s okay.” Mina smiled at Sana. “I know this was all a lot, but it’s okay. She’s okay. We’re okay.” “Everyones okay?” “Everyone is okay,” Mina confirmed, pulling Sana in for a kiss. “You have done so well. We’re all really proud of you.” “I love you Mitang.” “I love you too.”
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leila1 · 4 years
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OS: Recipe for Love
She sat by the poolside staring in the calming blue water sipping her green tea with a fresh leaf of mint. Khushi smiled looking at the plants as they moved to the wind. They reminded her of life and health.
It was a strange kind of satisfaction. Khushi had made peace with the situation. She was done fighting every single day. She couldn't believe the person she had become today, for good or for worse she didn't know. The last six months had completely transformed her life, she had grown and felt like she was a different person altogether.
After spending some much needed alone time Kushi picked up the newspaper, a habit developed over the last few months, and walked inside the room. She couldn't decide if she should have one last conversation or walk out without one. Another drama was the last thing she needed.
She scanned the room one last time to make sure she wasn't leaving anything behind. Everything that belonged to her had to be removed from this room, for it would be an insult to leave behind anything associated with her. Khushi pulled out a file from the drawer and left it on the table in front of the recliner. He would see it first thing upon entering the room.
As soon as she left the file on the table she heard the door open. As if a gush of excitement came through like a wind. There stood Arnav in all his glory. She was smitten once again, but reminded herself of the things she had to leave behind.
He was smiling, and his eyes had a strange shine to them.
"Khushi" he called in delight.
Just the sight of his wife made him happy, and filled his heart. As the days passed he only fell deeper and deeper in love with her. At times he couldn't believe how his life had taken a complete turn. Only because of one person. Her.
"Jee?" she said with a slight smile. The smile that didn't reach her eyes.
His expression from excited to confused changed within seconds.
What was in that file? And why was it in her hands?
"Yeh kya hai?" He said walking towards her.
"Aapki koi file hai" she said casually. Trying her best to avoid the delay of her departure.
"Aur tum kahan ja rahi ho?" he said looking at her purse
"Kaam hai kuch" she made sure she looked him in the eye. He wasn't just confused now, as worry started to creep up.
"Kya kaam?" he asked worriedly. "Sab theek to hai? Kahan jana hai? Main chod doon?"
"Aap to already chod chuke hain" she wasn't amused.
"Kya?"
"Kuch nahi, main late ho rahi hoon" She said as she put on a stern face.
She started to walk towards the door when he grabbed her wrist out of anger. He closed his eyes and breathed. Anger management was something he was working on but it would take time.
Khushi yanked her wrist from his grip. She was furious now. How dare he.
"Please" he said, his back still facing her.
"Tell me, kya hua?" He turned to face her. At an instance he almost got scared seeing the expression on her face. He had never seen her this angry.
"Kyun bataon, aapko to sab pata hai nahi?" the sarcasm in her voice wasn't missed by Arnav. He should just assume like always.
"Khushi please, tell me" he said walking towards her.
She stopped him from advancing towards her with her palm. He had no right anymore. Or rather never did to begin with.
What was he thinking? He is no longer her husband. Even if it was just on paper.
"I'm actually surprised" She retorted, folding her arms. "Aap kaise bhool gaye? Aapne to yeh 6 mahine din gin gin ke guzare honge"
He knew what was going on.
6 months.
His eyes widened before he took slow and measured steps towards her.
"Khushi" he said, placing his hand on her cheek.
She reminded herself and immediately removed his hand. Emotions had be put on hold for now.
With that gesture he felt hurt. Very hurt.
"Woh eik misunderstanding thi. How can you do this to me, you very well know how much I love you and that contract doesn't matter anymore"
She looked him in the eye, surprisingly not crying. He felt as if he was talking to someone else. This was not the Khushi he knew.
"Agar kal ko koi aur misunderstanding hogi to aap kaunse naye contract mein mujhe baandhenge?"
Hurt could be felt from her voice.
"Khushi-"
"Nahi, meri baat abhi khatam nahi hui hai"
Her patience had reached its limit.
"Aur aap kehte hain pyar karte hain? Yeh hai aapka pyar? Ek misunderstanding hui to zabardasti shaadi karli and now very conveniently decided to keep me? Itni meherbani kyun?"
She demanded answers.
Arnav couldn't believe his ears. Did he even know this girl anymore?
Arnav lowered his head, his eyes started to well up.
After a few seconds she spoke.
Did he really have nothing to say in his defense? No explanations?
"Pata tha mere kisi baat ka jawab nahi hoga aapke paas, aur agar misunderstanding thi bhi to kya? Kya aapne kabhi poocha mujhse ke main yeh shaadi chahti bhi hoon ya nahi?"
His eyes shot open and he looked up.
Did it mean she never loved him the way he did?
"Lekin ab in baaton ka koi faida nahi hai, mujhe yahan nahi rehna aur aap mujhe nahi rok sakte"
Khushi had made up her mind. She started to walk towards the door.
"Kya tum mujhse pyar nahi karti?"
She stopped before she could take another step out of the room.
He walked towards her, turned her around and repeated.
"Batao Khushi"
She couldn't make eye contact with him and what would she tell him?
He lifted her chin and urged her to look him in the eye.
"Nahi karti kya" he was pleading.
"Kya farak padta hai" She was disappointed. These feelings didn't really matter. She wasn't sure if she was willing to let him run all over her in the name of love, again.
"Farak padta hai" he said inching closer.
"Bohat fark padta hai" he said touching her cheek. His eyes were filled with remorse.
She removed his hand and turned towards the door.
"Lekin mere paas ab aapko dene ke liye kuch nahi hai"
She walked out the door, despite his attempts to stop her. Her disappearing figure broke his heart into pieces. But he knew fully well he deserved it. How could he be so selfish? But wasn't he always? When it came to her anyway?
He knew he had given her more bitter memories than happier ones. He could not blame her for this decision. Arnav's palms turned into fists, turning his knuckles white. Every single thing he had ever done to her flashed before his eyes. It finally dawned on him, he no longer had any rights on her. Not after what he did anyway.
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"Tumhara dimaagh kharab hai kya"
She almost yelled with frustration.
What was he thinking?!
Arnav lowered his eyes in embarrassment.
" tumhe andaza bhi hai tumne kya kiya hai"
Anjali s anger was justified. As much as he hated hearing these words he knew well enough that they were true.
" tumne to saari hadden paari kardi, sharam aa rahi hai mujhe tumhe apna bhai kehte huye aaj"
"Di please..i really am ashamed"
"Oh really and what exactly did you do to correct your mistake?"
Her tone was laced with sarcasm. Anjali was fuming. Who was this she was talking to. She couldn't believe her brother didn't anticipate the consequences. That is not how their mother raised him.
"I will keep the marriage" Anjali left out a sarcastic laugh.
"Keep the marriage? And by that you are doing a favour on Khushi?"
"No Di i didn't mean it-"
"Shut up Arnav"
Arnav? She was very mad.
"Bas karo ab tum"
"Do you even realize what you have done?"
The weight of his own actions didn't let him raise his head. No amount of apologies would be enough to show his guilt.
"Pehle zabardasti usse shaadi ki, sab ke samne uska tamasha banaya sirf eik misunderstanding ki wajah se?"
"Di maine aap ke liye kiya"
"Mere liye kiya tumne? seriously?"
"Bacha liya tumne mujhe yeh sab karke?" Anjali had surprised Arnav. He couldn't believe she was not bawling while having this conversation.
"Tum itne stupid kaise ho sakte ho?" She was fed up.
Her piercing look couldn't be missed.
"Di main sab theek kardoonga...promise"
He tried.
"Rehne do tum ab kuch nahi karoge pehle hi bohat nuksaan kar chuke ho"
Anjali was done with him.
"Ab kuch din at least usko sukoon se rehne do, jahan bhi gayi hai woh"
"But Di-"
"Pyar karte ho?"
He nodded, the pain in his eyes was evident. But most importantly every drop falling from his eyes was filled with regret.
"To phir socho ke pyar kise kehte hain aur tumne kya kiya hai"
Anjali told him coldly and walked off.
Arnav fell to the floor and cried uncontrollably. All his bottled emotions came running through, the walls he had created around his heart came crashing down. He hugged his knees and cried to his heart's content. He cried like a 7 year old Arnav did when his mother killed herself.
The desire to keep his loved ones close once again ignited and just like that day he couldn't do anything.
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It felt like an eternity since she had left, at the same time it was fresh in his mind like yesterday.
Nothing was the same in this house anymore, these past few months had only made everyone distant from him. He knew he deserved it. If she can be punished for absolutely nothing then the least he could do was make himself go through the same. However he knew it could not possibly be as worse as hers. After all Arnav was all about making it even.
He turned on the radio, a habit he had picked up over the past few months to kill the deafening silence, and placed it on the table by the pool.
"Good morninnnnggg Mumbai...ek nayi subah ek naya din, main hoon aapki host Samar aur aapka swaagat hai humare show mein"
He started watering the plants, one by one, caressing the leaves ever so careful making sure not to damage anything in the process, with close to no self trust.
" doston humare aaj ke special guests hain Khushi and Naina, beauty with brains, the power duo behind One Bite at a Time"
Khushi?
"Welcome to our show guys"
"Thank you for having us" Nainai gracefully replied.
"To kaisi hui shuruwaat, kya inspiration thi, what keeps you going, tell us your story"
"We started about 7 months ago, combining my love for food and Naina's love for travel we came up with this blog, it's our baby and we have poured our hearts into it and that's what keeps us going" Khushi replied happily.
His hands stopped midway. The plant that needed a little water was now overflowing. He ached to hear her voice.
"Food and travel is an exciting mix! So tell us what kinds of cuisines you guys have tried and all the places you ve been to"
Hearing about her endeavours and successes filled his heart with pride. A lone tear rolled down his cheek. He couldn't be with her at her brightest moment, to celebrate, to cheer for her. Maybe he didn't deserve to be there when she was on cloud nine. He had only brought her down.
"Thank you so much for joining us today and answering our questions, humein bohat maza aya aap dono se baatein karke, we wish you all the best " Samar ended the interview as the ladies shook hands and bid goodbye.
He wanted to leave everything and see her at this very moment. Arnav started walking towards his room when Anjali's words rang in his ears.
Uski mohabat ne tumhe ek nayi zindagi di
Aur tumhari mohabat me usne sirf sazain kaati hain
He closed his eyes and tightened his fist. Did Anjali not see his guilt caused him more pain than he had ever caused her? Did she not see he had gotten his punishment? Maybe no amount of punishment was enough for what he had done, especially if he claimed to love her. What he did was everything but love.
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Kya tum mujhse pyar nahi karti?
She still remembered that day just like it was yesterday. Every detail not only from that day but from those six months was very vivid in her mind as if written in a book and kept forever on that bookshelf. Something that you know is always there. This memory, she knew, was in the distant past but would forever be a part of her. But that didn't mean she had to grief over it. Life was about moving forward after all.
Khushi took a sip of her green tea and stared out the window. Her face laced with content and calm. She smiled looking at the tiny droplets of rain running down the glass window. Just like the sky cleared after the rain, so did life. Things eventually fall into place. Life had taught her that much now.
"Khushiii" an excited chirpy voice came from the hall.
She broke from her reverie and placing her cup on her desk jumped out of her chair. Her big bouncy curls danced on her shoulders, shining against her fair skin.
"Taste test karlo akeyyy!" Naina's voice was a mix of annoyance and urgency.
"Comingg" Khushi replied striding through her office and into the hallway. Her white knee length dress twirled with her every move.
"Try karo" Naina took a spoonful of coffee mousse and stuffed it in Khushi's mouth.
"Kiasa hai?" Her eyes gleamed hoping it would put an end to her hours of trials.
"Umm" Khushi's eyes roamed avoiding Naina's gaze.
"Batao bhi"
Khushi being Khushi taking her sweet time devoured on that one bite.
"Kuch kami hai" Her eyebrows scrunched up as Khushi kept a serious face. Naina's obvious state of trial and error had created a laughter riot in Khushi's head.
Naina started to taste the mousse with her finger and got deep into thinking what she missed.
"Mujhe to theek lag raha hai...tum mujhe dara rahi ho"
Unable to control any more Khushi broke into laughter.
"Haalat dekhi hai apni? Tum to marne se pehle hi bhoot ban gayi" Khushi teased looking at Naina's disheveled hair.
"Hilarious" Naina rolled her eyes and started to wash her hands.
"I knew acha hai, bas tumhare drame khatam nahi hote"
"Acha nahi bohat acha hai" Khushi said, giving her a side hug.
The two looked at the plate and Khushi ran to grab it.
"Mera hai poora!" and the two broke into laughter as the chase for the mousse began.
Khushi and Naina were brought out of their zone as they heard constant knocking on the door. Naina ran inside and Khushi towards the door.
She opened the door and was confused seeing the back of a masculine figure facing her.
"Yes?"
He closed his eyes and silently prayed for courage.
"Hi" he said hesitantly as he turned around. Saying she was shocked, was an understatement.
Khushi could feel all sorts of emotions running through her.
There stood Arnav Sign Raizada.
He couldn't believe he was finally seeing her. A whirlwind of emotions created havoc inside him. He was ashamed, hesitant, guilty, and wanted to envelope her in his arms. But he stood there frozen.
She looked more beautiful than ever. Her shiny hair sat just above her shoulders. She no longer had long hair or dangly earrings. Instead she now wore pearl studs that complimented her face. A white dress with abstract floral border gracefully hung around her petite body. He could feel the distance of months between them.
"Arnav Singh Raizada" she said as she folded her arms.
"Khushi" he said, moving closer.
"Kya chahiye" she said. The fierceness was evident in her eyes.
He stopped in his tracks.
"Kya hum baith kar baat kar sakte hain?"
"Zaroor kyun nahi lekin pehle mujhe yeh batana padega ke kaam kya haii" she wanted him to see how far she had come but he had to give reasons before entering her territory.
"Maafi maangni hai...har cheez ki" His eyes supported his words.
If there's one thing he had gotten better at over the past few months it was apologizing. He did it enough times that it no longer caused a lump in his throat.
Khushi was surprised, but then again time held the power to move mountains.
She moved out of the way and let him go inside. Khushi had the most beautiful office space. He could tell it was a labor of love. He was amazed and sad.
"Aaj main yeh nahi kehne aya, ke main tumse kitna pyar karta hoon yah mere saath chalo, na hi ke main tumhare baghar kuch nahi hoon" His eyes fixated on her hands.
Khushi looked down playing with the hem of her dress.
"Confession karne aya hoon, ke maine tumhare saath theek nahi kiya aur uske liye sharminda hoon aur meri yahi saza hai ke main tumse door rahoon"
Words that made his throat constrict, pulled her heartstrings.
"Yeh to nahi kahoonga ke maaf kardo, shayad main yeh deserve nahi karta"
She couldn't help but think of all those moments she wished her own death thanks to the man who sat before her with his head lowered.
"Bas tumhare samne yeh admit karke apne sar se bojh utarna chahta tha, maine tumhare saath aaj tak sirf bura liya, jis din se tumse mila sirf tumhe hurt kiya"
Khushi was at loss of words.This was not the Arnav she knew. He was a changed man, the pride and arrogance was nowhere near him. He had a certain softness in his eyes, the kind of clarity that appears after a storm.
"Ab mujhse kya chahte ho?"
"Kuch nahi, ab mujhe apne liye kuch nahi chahiye bus jaan lo ke mujhe ehsaas hai ke maine kya kiya hai"
Arnav had flipped to the other side of the spectrum. Khushi could see the effect her absence had.
"Mujhe khushi hai ke tum yeh sab kar rahi ho, garv hai tum par"
She smiled looking at the colorful walls.
"Thanks" she said in a low voice, as she looked at him with expectant eyes. She wanted to hear more.
"Thanks for hearing me out, main hota to shayad bohat ghussa karta, cheekta chiaata, lekin tum to Khushi ho, mujhse bohat behtar"
He stood up and straightened his blazer.
"Ab chalta hoon, tumhara waqt aur zaya nahi karsakta" he said looking into her eyes. She understood the weight of his words a little too well.
Khushi stood up as he turned around to walk towards the main door. Every step he took held its own weight. His heart yearned for her but he could not be selfish. It just wasn't fair.
He grabbed the door handle and froze as the words fell on his ears.
"Arnav"
He closed his eyes, oh how he yearned to hear his name in her voice.
"Itni der kyun lagadi?"
He wasn't sure if he heard it right. Arnav turned around to find Khushi right in front of him.
His questioning eyes urged her to repeat.
"I think you have suffered enough, saza ab khatam karo" she said touching his face.
He smiled and took her hand in his.
"I'm sorry"
"Apology accepted"
When you hurt someone you don't get to decide whether you hurt them or not, whether it was intentional or not. All that matters is what you do to make them feel better. For starters, acknowledging that the damage was caused helps. Arnav understood love was the final stage, before that one had to be willing to understand, respect and give that person the chance to explain. And that was the recipe for love. Arnav's love was pure but time had taught him what it meant to truly love in the practical sense.
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girllovescomic · 4 years
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Winter Begonia episode 3
This episode opens with the audience waiting on our little divo.  Minister Jin asks Boss Niu whether SXR has found a replacement for the violinist.  If not, he will make good on his threat. Weasel Dengbao repeats what Minister Jin said to his dad, like the man was not sitting right next to the corrupt politician.  The father replies if that is not exactly what he wants, to which Asian Crispin Glover bemoans that he is not that cruel. 
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Meanwhile, Fan Lian acting like the typical fan wants to know what to know what SXR will be playing.  CFT like the good boyfriend he will become says that whatever his bae plays will be excellent.  Can I have my own Er Ye?  
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Our pouty lips divo finally arrives on stage holding a Chinese violin.  Everyone is intrigued, wondering if he can actually play the instrument.  Daddy weasel Jiang explains that it takes hundred days to learn the dizi, a type of Chinese bamboo flute, a thousand days to learn the xiao (Chinese vertical flute) and ten years to be experienced enough to play the huqin/Chinese violin.  I guess all these instruments are used in the opera.  This worries Niu Bao Lan who clearly cares for our lil penguin. 
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But no worries, our boy is a musical genius and he showcases it by playing the violin expertly, much to the dismay of the Jiang pair.  Fan Lian is obviously amazed by how talent his idol is, while CFT is all smiles and heart eyes.  Like bro, can you be more obvious in your fawning over your crush? He confirms what SXR had told him about being a hero.
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Looking at his bae with open admiration.  Xirui share the wealth, sis!
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Dengbao is clearly not happy that SXR will now be even more popular because of his prowess, but daddy tells him not to fly the white flag just yet.  SXR must have a weakness and they will find a way to exploit it. 
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 Indeed, they find a way to manipulate SXR’s self-righteousness and stubbornness by loudly giving away the slush fund to Minister Jin’s secretary.  
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It is obviously a trap to push the impetuous young man to make a major faux pas. Just as Daddy Jiang predicted, SXR decides to go back to the stage and sing an opera, as a laosheng (an older male role, something he hasn’t done in a while) about a corrupt Ming Dynasty minister who stole money from the empire. 
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The crowd is clued in of the opera’s implication, including Fan Lian.  CFT, the opera novice, meanwhile is unaware of it and even claps thinking it is just a good performance.  When Fan Lian explains it to him, he even more impressed at how gutsy his crush is.
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Hero gaze activated.  Anyone who touches bae will get the beating of his life.  I swear his attention perks up whenever someone threatens his lil penguin!
Minister Jin tells his secretary to send some guys after SXR.. Our little divo is no slouch in the martial arts department and is able to escape.  His dashing hero is waiting for him in the car and invites him to hop in.  
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Minister Jin is surprised that SXR was able to slip through his fingers, but decides to not pursue him all the way to the opera house, not wanting to waste time on someone so insignificant.  Oh boy, if you only knew who is future boyfriend was!  Talking about boyfriend, CFT praises his lil divo’s martial arts skills; of course, SXR boasts that he is skilled in both singing and kung fu, without a hint of humility.  CFT asks if his little act was to his satisfaction and of course, Xirui answers in the affirmative.  CFT lets him know that his act will have consequences since he drew the ire of a powerful man by exposing his bad deeds and this matter will not be let go.  Xirui asks CFT what he should in that case.  CFT tells him he cannot do it alone, he will need help and then explains why Minister Jin tried to embezzled the money.  Apparently it is not really about the money, but about securing his position in Beiping against the juggernaut that is Commander Cao.  Unfortunately this flies over Xirui’s head who is probably looking at Er Ye’s beautiful profile and thinking of a few operas he wants to sing for him. Or how lucky he has found such a sexy daddy. Oh, I wish I was in your place sweetie. CFT promises he will take care of the situation for him and offers food, which he seems to know it’s something his crush understands. Then they gaze into each other’s eyes with Er Ye smiling softly and holy shit, like the gaze actually last more than a second! How this past censorship, I will never know.   
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Xan Er Ye gaze at me like that too
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We see Minister Jin acting like the pompous ass he is, walking down the street with his loot.  Someone shoots at his hat, creating a diversion to take said loot, which he realizes too late. 
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Ohh so that is CFT’s plan, as we see his crew bring back the money.  He tells them to send it to the anti-Japanese coalition. This little act sinks Minister Jin who is accused of corruption and loses his fight against Commander Cao without the latter raising a finger.  
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This obviously does not sit well with weasel Dengbao who complains, like the little bish he is, to his father.  Apparently, Xirui found another opera house to perform; it’s a popular house that has hosted many big opera performers (jue’er). His father tells him that they may not have to lift a finger, others will do the heavy lifting for them in dealing with Xirui.  He lets him on a secret about the so-called bad blood between Commander Cao and Xirui back when they were in Pingyang.   
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Weasel Cao decides they need to spill the tea about the situation 
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The next day, Xirui and his troupe come into the opera house and find Dengbao’s troupe, Longchun Troupe, in their space and the cattiness ensues.  I swear, it feels like watching the backstage of a theater or Hollywood, where rival actors get in each others’ faces for some primetime. 
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Dengbao sneers, telling Xirui the opera house is now his territory. Whatever Asian Mr. World. There’s a staredown which is interrupted by the opera house manager.  
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SXR demands an explanation for basically reneging on their agreement. The manager tells them he has his reasons for doing so, but if they want to perform they can take the morning spot, which is basically relegating a rising star, like Beyonce, to be the opening act instead of the primetime act, which is a major downgrade.
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  Not only that, but it will be doing so until another performer, who is currently sick, returns.  Best girl Xiao Lai tells SXR to find another spot to perform, offended by the obvious downgrade.  
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The manager lets them know that other houses will probably turn them down. It turns out that removing Minister Jin in favor of Commander Cao has made his previous encounter with the warlord resurface and no one wants to deal with this hot mess, in fear they will draw the wrath of Beijing’s new boss.  SXR looks at Dengbao and I believe he realizes this was his doing.
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He discusses the matter with sexy crush while eating a steak like a country girl at a fancy debutante ball.  He tells CFT that the gossip is blown out of proportion; he doesn’t really have any feud with the commander. It turns out the commander wanted to keep the troupe as its personal entertainment, which goes against SXR wish of performing on stage. After all, the stage is everything for him.  He refused to continue singing, which led the commander to threaten him with a gun.  Our little divo showed his backbone, not flinching a tiny bit while feeling the cold barrel pressed against his head. . Xirui tells CFT that all the other things are unfounded gossips, there is nothing more between them.  A sidenote, in the novel, SXR was actually Commander Cao’s boy toy, which drew Meixin’s jealousy, forcing SXR to hide in his room to avoid her. He left for the same reason. Like a good boyfriend, CFT shows his understanding of the situation, replying that no one else was there so people ran with the gossip.  Xirui sees the people who believes the rumors as brainless, and I have to agree with him on this.  Even in modern time, people will believe whatever they want to believe about celebrities without using logic.
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Can we take time to see how beautiful Yin Zheng look here?
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Sexy CFT agrees and even brings up the fact that if the rumors were true, SXR would have been six feet under.  He knows his BIL very well.  Unfortunately, this does not change the fact that people will believe the gossip especially if the parties involved do not clarify the situation. CFT offers to remedy the situation by inviting SXR to sing at his son’s first birthday, where the commander will also be in attendance to celebrate his political win. SXR is honored to come sing for the Little Master and would have done so even without the added benefit.
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We see two people walking and I smell trouble. The woman seems taken by the environment surrounding her, as if it is the first time she sees such luxury. Her husband is very sweet and soft-spoken and you can tell he is very much caring towards her. They are even holding hands like a pair of teenage lovers. Hmmm...could this provide a parallel between CFT and his wife?
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Fan Lian greets them and we find out it’s the rumored couple mentioned in the gossip about SXR when he was still in Pingyang. The woman is Jiang Menping, Xirui’s former senior sister and her husband, Chang Zhixin, is Fan Lian and Er Nainai’s cousin. They have come to Beijing because the cousin works in government. Apparently the mention of Shuiyun is persona non grata around Meiping. She looks a shy and pensive woman, a complete contrast to the childlike and wild SXR.
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They come to visit Er Nainai and CZX is taken by Er Nainai’s son, doting on him, which seems to sadden Meiping.  Er Nainai, after chatting incessantly about it until she notices Menping’s sad gaze. We learn she has been trying to get pregnant but her body is unhealthy or unable to produce children.  CZX showcases how much of a doting husband he is, stating that he actually does not like kids at all, which is a sweet lie.  He only wants her, nothing else.  Sigh...will I ever find someone like this.  
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I digress...He adds that since he comes from a large family and had to deal with a lot of crying brats, he has grown to dislike kids.  You can tell he is saying this to make her feel good and she knows, but she is grateful and bask in his love. Er Nainai notices the sweet moment and you can tell she wishes that Er Ye was that loving. 
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She gives Menping a pair of earrings as a wedding gift, which she could not attend.  Menping feels the jewelry is too luxurious, which makes me think they are a frugal type couple, despite the high level job he has and his aristocratic background. Er Nainai apologizes for her faux pas earlier, which Menping assures her it is okay.  CZX cannot stay a few moments away from his wife, acting all anxious as if she had disappeared.  She reminds him that it has only been 30 minutes, but in his mind, it felt like a day. I may get diabetes from all that sweetness. He quickly notices the earrings.  He tells Er Nainai that he notices everything about Menping, down to the details like new earrings. Oooh, the look of envy is all over Er Nainai’s face.
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Is he for real??
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We see Er Nainai trying out new earrings, obviously in the hopes that dashing CFT will notice.  Oh sis, your relationship is not the same as your cousin.  CFT comes in and thrown himself on the bed, fully clothed.  He looks like he had a full day. She helps him out of his jacket and tries to draw his attention to the earrings. Oh sis, i am telling you that you are wasting your time.  His heart eyes are not for you. He jokes that she looks chubbier (BRO!) and she pushes him back on the bed.  He wants to know what has gotten in her to make her irritated towards him. She pouts and walks back to her dresser, obviously disappointed that he did not notice the minute change. 
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BRO! The last thing a woman wants to hear!
He’s like, okay fine, I am going to wash up, but by the way, next week is our son’s first birthday, so take care of the preparation, especially since my BIL will be coming for his big celebration. As he walks away, she mutters that she’s no better than a servant and takes off the earrings.
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It’s the day of the Little Master’s birthday and Meixin is acting like a good hostess, guiding the servants and being the mistress of the house.  Apparently, Er Nainai is still pouting in her room.  One of the servants inform her the opera troupe is here and it is obvious that she has no idea who it is. By the way, let me pause again and talk about the fashion. Meixin’s dress and the mink she wears is gorgeous.  Good lord the details in this show!!!  Ok, so back to the program, she tells the servant to warn the maids not to go near the performers, again highlighting the prejudice carried against the performers, who were lower than even prostitutes.  Sigh, hierarchical societies are bleh. 
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Meixin inquires about Er Nainai and right on cue, we see her, gazing into space, clearly still not over the fact that her husband does not pay full attention to her. Gurl, your marriage cannot be compared to that of your cousin! He married for love, while your husband married you for convenience.  Even if you are in love with him, the same cannot be said about him! He still showers you with affection and care, some people cannot even find that! 
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Ugh, Meixin barges in and they have a little sister chat about the birds and the bees, the difference between men and women when it comes to love. Meixin wonders if she has a fever or something, and Er Nainai explains that she read an opera script (really sis?!) that claims if a woman has never or be loved, is she living in vain and I am sitting here, looking at myself, feeling forever alone... 
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Sis, way to twist the knife in my wound
Meixin dismiss this nonsense, telling that most opera scripts are fake to fool young girls (that sounds familiar) and that as an housewife, she has obligations to fulfill. Er Nainai insists the stories are real and brings up the real reason why she feels out of sorts. 
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 Meixin is like, the hell girl, why are you bringing this nonsense up? Did my brother offend you or something? Er Nainai says no, but she feels Fengtai is not like other men, which Meixin tells her it’s a good thing. 
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 Every men are not supposed to be the same and Er Nainai acts like she’s a little girl. Meixin explains that some men are verbose with their love, while others carried in their hearts.  There are other men who sleeps around (hmmm is this a reference to novel Fengtai?) while others simply do not understand romance.
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She thinks Fengtai is of the latter (maybe because he has not found the person to display his love to). Meixin reminds her of the type of man her brother is, someone who is bright and sensible, and she should be happy to have someone like this as a husband, instead of a gruff like Commander Cao.  No truer words spoken, sis!
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Oh SIS! I hope you never see your husband’s face when he looks at his chubby cheeks bae.  You might be too mad to see such obvious display of adoration
Meanwhile Hot daddy CFT struts his stuff into the banquet area of his house, schmoozing to his guests.  Mr Hao Lan, who I believe is the head servant of the household, urges him to go outside and wait to greet the Commander. CFT tells him not to fret, the man of the hour will probably fashionably late. 
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His mind quickly shifts to his bae and he inquires about the troupe.  As soon as he finds out there are already in his home, he goes out to check. Oh boy, the man is enamored, completely unaware that his wife is having a heart-to-heart about their relationship. 
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He hears some of the singers fighting with their troupe leader, irritating Shang Lao Ban so much, he storms out. As soon as Xirui sees CFT, he is all smiles while CFT gives him his soft gaze that shows all the affection he has for our adorable divo.  Oh, if Er Nainai had seen this, she would have blown a casket.
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If I could find a man who looks at me like Er Ye looks at Xirui
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He claims to come and get a look at his bae check the preparations, wondering if it was bad time since he overheard the arguing. Sis, you are here to gaze at your crush
 SXR chuckles, dismissing the silly fight.  Er Ye tells him that he has hired photographers and reporters to help with dismissing the rumors. The headline, according to him will read “Shang Xirui’s beautiful voice caused Commander Cao to light up and smile”. Geez can I get a hype man like this? SXR is grateful at all the support CFT provided and wonders how he is going to repay him.
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Sigh...
Right at this moment, the man of the hour arrives with all the pomp.  Lao Han rush CFT to the front door to greet the Commander. CFT reminds SXR that the rest is up to him to either fail or succeed in dispeling the rumors. SXR tells him not to worry and CFT replies with another one of his killer smiles. He runs to the door as Commander Cao steps out of the car. BIL tells him that he saw him running to greet him instead of waiting for him, all in jest.  
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They clearly have a good relationship. CFT even jest that he doesn’t have another elder sister to give away for marriage when Commander Cao brings out all the gifts. Not to be outdone in the hilarious department, Cao tells him about the gift he brought to his little nephew and I swear I am endeared by the gruff old man when he describes the noise made by the toy train.  
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Fan Lian is acting like the young master of the house, walking aimlessly towards the kitchen where he finds his cousins helping out. He’s like, what the hell are you guys doing? You are guests, not helpers! He tells them to go change and attend the banquet, hoping CXZ could rub shoulders with Old Cao for his career, but CXZ sounds like an honest politician.  
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Commander Cao and Fengtai are jesting again, and you really feel their relationship is not based on hierarchy, but one of affection.  I think this is the first time I see a Republican Era drama that shows a warlord’s softer side.  Is this show for real???? They are discussing the tense relationship between his son, Cao Guixi who is also a top member of the army, and him.  Lol, he even calls him a son of a bitch, which makes CFT spit out the hazelnut out of his mouth. Apparently, the son is being ungrateful after his father gave him a golden ticket by sending him abroad, but he is turning out to be rebellious, even hanging out with sketchy people. 
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Unfortunately for the Commander, since it’s his only heir, he can’t do much to suppress the young master. 
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Oh, is the young master cause problem later?
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Fengtai suggests that Commander impregnates his sister so she can give him another heir (no worries, this is said in jest) and he can shoot the current heir.  Fengtai asks why the Commander is so sweet with him (hmm because you are so damn charming, who can resist you?) while so stern with his son. The Commander does not want to talk his son because the latter infuriates him.  He then calls Fengtai using a feminized version of his name (Feng’er), which shows the kind of affection they have between each other.  Awww...Fengtai playfully acts embarrassed, which only prompts the Commander to yell out the girly nickname. LOL, I cannot! 
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He then tells the Commander that he has brought Shang Xirui to perform for him, but if this offends him, he will send the troupe back.  He informs him of the situation the opera singer has found himself because of their nebulous past, but it seems, based on the Commander’s reaction, to be water under the bridge.  The Commander finds the gossip silly since he does not consider the lil divo as a worthy enemy.  Relieved, CFT tells him that he will make SXR sing a great piece for him and even apologizes, but the Commander knows the lil divo is a stubborn child who does not bend over for anyone.  The Commander requests a popular Shaanxi Opera called Qinqiang (I may actually make a post about the different operas). CFT orders the manager to inform SXR of the request.
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SXR is not too happy about the sudden change, since he doesn’t have the right costume and makeup to perform this opera.  Oof, any creatives reading this will understand his fretting. We like to be perfect when we deliver our art and any last minute inconvenience can throw a major wrench in our delivery. 
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Manager Han tells him it was a request from the Commander himself, so basically he has no choice. Despite having a well-know stubborn personality, SXR acquiesces, but he is not happy about it.  He knows he has no choice but to please the Commander since his future depends on it Even his troupe member comments at this overbearing commander’s unfair request.  SXR asks Xiao Lai if he should perform without all of his accoutrement, which best girl agrees. 
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He is going to need far more food than the dainty offering from la casa de Cheng.  
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She goes out to get something heavier, while Manager Han catches up with Meixin to let her know that her hubby is here.  She spots Xiao Lai and you know trouble is a-brewing.  She asks who that girl is as she looks familiar and learns which opera troupe was invite.  Realizing the impending trouble since Er Nainai’s cousins are also attending the banquet, she ask the manager to quickly fix this messy situation.
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Ooph, there are so many good moments in this episode, especially with SXR calling out the minister for embezzlement, showing CFT that despite being a dan, he is no damsel.  We find out that he has martial art skills, which will probably be handy in later episodes.  We also finally get a chance to see the Commander and more family dynamics on CFT sides.  His relationship with this BIL is quite interesting and despite the obvious difference in status, they are quite affectionate with each other.  I feel like I am watching a more Westernized relationship than a typical Asian one.  Additionally, we get to see the much talked about Jiang Menping and her husband.  Their relationship is again a very Westernized lovey-dovey relationship, that of love, not one of arranged marriage, which contrast immensely to Fengtai-Er Nainai’s relationship.  This makes Er Nainai yearns for such devotion from her husband, which we know she will not get since a lil divo has bursted into the scene and crept up inside CFT’s heart.  I feel for her, you can tell she has love for her husband, but she is equally naive when it comes to relationship and how to deal with men in general.  She is after all a very conservative woman, who unlike her well-cultured husband, represents the vestiges of a fallen dynasty and society, that is still trying to hang on desperately.  I sense trouble brewing between Xirui, the cousins and Commander Cao
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focalwriterworks · 5 years
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THE FAREWELL
My affection for this film, which I saw at the 2019 Atlanta Film Festival, and for what I feel is one of the most beautiful films I’ve seen in years, stems from the fact the audience, and the main character’s family in The Farewell, are in on the news that grandma, or NaiNai in Chinese, has been diagnosed with stage four lung cancer. And instead of telling her the sad news the family decide collectively to not tell her. And gather around her, instead, for what could be last visitations, under the guise of cousin HaoHao’s wedding.
The Story: Billi, played by rap artist Awkwafina, hears the bad news from her parents. They are going to China to visit with the family’s matriarch, NaiNai, played with the sweetest humility, and with strong will, by Shuzhen Zhou. Billi is determined to go even though her parents think it’s better if she stays. Billi is saddened by the news, just as all of the family members are, and when they all arrive in China it’s under the pretense of cousin HaoHao’s (Han Chen) marriage to a Japanese girl (Aoi Mizuhara) who doesn’t speak Chinese. To make things a bit more heart-rending, yet also moving in a humorous way, is that NaiNai is determined to coordinate the wedding invitations and banquet for her grandson HaoHao, as she is always beaming with pride, and love, that her grandson is getting married.
The Goods: It’s this pathos and emotional stirring every time NaiNai is on screen demanding the best for HaoHao—the son of NaiNai’s second son—like insisting it is to be lobster on the menu, not crab, at the reception site for the banquet following HaoHao’s wedding ceremony, that makes the film so touching. To see NaiNai so excited, and happy, and thrilled that her family has gathered for the event, that her other son Haiyan (Tzi Ma, who has been in a ton of films and TV since the ‘80’s) has come, with Billi, from America, while knowing she’s dying, and that NaiNai is clueless (or maybe she’s not, it’s understood she is unaware) is such a powerful experience for the viewer that this “user event” in itself, in the theater, makes the film one of the best of the year, regardless of how it all culminates or how it resolves itself.
NaiNai’s joy and grandmotherly instincts with children and grandchildren is so universal. Like well composed songs that find fans everywhere in the world, she oozes a sense of goodness and care, historical perspective and set of rules that all grandmothers seem to have—she will discipline her family members like a mother/grandmother would—with a personal regiment of health tips and what might sound like “old wives’ tales” remedies that come across astoundingly accurate, realistic and true. She even gets Billi up in the mornings to practice her own self-created ‘NaiNai health regime’ that involves stepping around and yelling. Billi handles NaiNai’s routine with a dose of embarrassment, hesitant, but pushed by NaiNai she eventually embraces it if at times losing her composure, in the middle of street outside NaiNai’s high-rise building community, to laugh a bit.
Awkwafina, real name Nora Lum, who told me on the Atlanta Film Festival’s red carpet that though she is of Korean and Chinese decent, grew up in New York, in Queens, speaking only English. She had to brush up on Chinese which family members spoke but she did not. She said she was supported by the crew and cast who all helped her with her lines while filming on location in China. You would never know it. Awkwafina, in a more subdued role compared to her loudish, eccentric character Peik Lin Goh in Crazy Rich Asians (2018), or her cool, collected jewel thief Constance in Ocean’s 8 (2018), or preppy sorority girl Christine in Neighbors 2 (2016), seems like a natural here. Partly too to what Lulu Wang is doing with direction. The film is written and directed by Wang who adapted her own very true story from a short radio episode of This American Life called What You Don’t Know (Episode 585, https://shortcut.thisamericanlife.org/#/clipping/585/110?_k=dc1yj4).
There’s so much of what one senses is realism, like Wang’s radio piece, that the film is like a documentary, at least more so than Lulu Wang’s previous feature film Posthumous (2014). The two feature films are worlds apart and show with striking comparison the tremendous growth and innate talent Ms. Wang has for telling stories with such visual impact while sort of letting characters just be. None of the acting feels forced or rehearsed. And Awkwafina, whose character wants to say something about the deceit, confront the truth, discuss it with her grandmother, but chooses to play along, is a huge part of that. As is Ms. Lang’s real great aunt, Lu Hong, who plays Little NaiNai, the sister of Billi’s grandmother. Wang said that after some takes on set she would ask her great aunt if the scene felt authentic, in which Ms. Hong, knowing the facts of the real NaiNai’s condition, would provide her approval or criticisms thereof.
Ms. Wang’s instinct for camera placement and letting scenes play out while we observe is a comforting feeling. It presents itself as an easy film to involve yourself with. Certainly made in such a way that we too have a place at the table with the family, or in the rooms where scenes take place. Most of the shots are wide, and are master shots. The coverage for editing is simple—it’s not an action film—so capturing the truth in scenes, on location, is easier than forcing it in the editing room. We get to be voyeurs and not feel bad for staring or eavesdropping, but that we also, because we have grandmothers too, feel a part of this family. And since we know that she, the character in the film, and our own grandmothers, are only here for a limited time we should just enjoy our time with them while we can.
The Flaws: Curiously, there is a little bird that appears in Billi’s apartment, after she hears the news of her grandmother, when she returns to her apartment in New York after coming home from being out. Billi asks, “where did you come from, how did you get in here,” then she opens a window and lets the bird out. I get a strong sense the bird is exemplary or symbolic of NaiNai, or of Billi, or simply of life in general, action oriented flapping winged bird landing and wondering what its own situation is, compared to Billi’s, to ours. It’s nice. It’s sort of poetic. But it happens again when Billi gets to China, and it’s the same bird. Identical. As if maybe the bird followed Billi. And Billi doesn’t comment on it. The coincidence doesn’t become an issue with her but I think it is with the audience, because it’s not addressed. I’m distracted by it mostly because there is no explanation or character exposition enlightening us to something potentially special, and maybe supernatural, that has occurred here. And without a sense of a motif being established—like the magpies in the third season of the British TV show The Detectorists (what a random comparison), or any film or creative work where birds are a metaphor for the characters, or experience, in the story—we are sort of left wondering why the bird makes another appearance. Sure we can contemplate it all we want but it doesn’t do anything to help Billi or NaiNai’s situation. Or ours for that matter. Taking that second to process it distracts from this realism Ms. Wang has lovingly presented.
And there are traits of a music video, as a sort of denouement to the film, after HaoHao’s wedding and after the family members sort of part ways back to their corners of the Earth, leaving NaiNai with her sister, and live-in male friend, Mr. Li (who is comic relief in the film). Briefly, the family come back again in what seems like a “flashback” moment; as a collective they all walk down the street with strong steps, sort of like The Monkees, or The Beatles, something from a Richard Lester film, playfully, with vaudevillian moves and serious looks on their faces as they stare out of the screen at the audience, reminiscent of choreographed music videos from the likes of Britany Spears, or Michael Jackson, and virtually every music video in their wake, as if to say, here are the players in this play, these were the performers in this play—in this conspiracy—of family members living with the fact they lied and hid the truth from the family’s matriarch.
It’s a wonderful piece to the film but doesn’t exactly fit. And if there were other moments in the film similar to this then sure it would be more fitting. Or maybe even if it were over credits at the end of the film. Could be there are behind-the-scenes details that maybe production wise something didn’t go as planned, like if Awkwafina who is known for her rap music, if maybe she had a song for the film which Ms. Wang chose to not include. But the sequence itself, the music video moment, it’s a flaw in the sense it removes us from the realism of the film. It’s formalism and it’s noticeable at that. Coming at the end of the film however is the sequence’s saving grace.
Additionally, I did feel a sense NaiNai at times, in Billi’s conscious, is like Father Karras’ mother in The Exorcist (1973). There is a scene where Billi envisions her NaiNai in the subway, in New York, after Billi first hears the news of her grandmother’s diagnosis. I saw the similarity, and later in a Q & A after the film’s screening, Ms. Wang confirmed that she did incorporate traits from the horror genre. Smart, because those closed camera compositions and some of the centered character placements in rooms, combined with subconscious audible room tones, add a complexity to the emotional impact of some of the more serious or dramatic scenes where death is a true, hidden, ghostly antagonist. That NaiNai appears in Billi’s subway is almost too on the nose to William Friedkin’s mother Karras in The Exorcist. If you’ve seen that movie previously you’ll know it, and you’ll feel it, not as homage, not as a rip-off either, but as an accidental, subconscious placement by Ms. Wang that might slightly undermine her own original characters and story.
The Call: Spend the ten. The Farewell is a beautiful film regardless of very minor flaws. The sheer enjoyment of connecting with a family that is certainly yours as well as mine as well as Billi’s is a powerful achievement for Lulu Wang. The concept—a family who chooses not to tell their grandmother she’s going to die of cancer—is strong, script and production wise, even if some of what appears to be scripted may have been authentic cinema verite of Ms. Wang’s real family collaborating with actors. And as a wedding proceeds, what is usually a quirky, fun, family event in films—from the wedding film genre—it does so under false pretenses that are every bit bitter, corrupt and, conversely, the sweetest moments you’ll ever see. A perfect set-up for a lovely character to charm us out of our daily grind and give us back a sense of heart and soul if only for a few hours. And if NaiNai’s in on the news, knowing she might die, well that just shows how much courage she really has. Just like a grandmother, putting her family first before herself.
The Farewell is not yet rated. Running time is 98 minutes. A24 is distributing. In theaters July 12, 2019. Nationwide August 2nd, 2019.
0 notes
atlff19 · 5 years
Text
THE FAREWELL
My affection for this film, which I saw at the 2019 Atlanta Film Festival, and for what I feel is one of the most beautiful films I’ve seen in years, stems from the fact the audience, and the main character’s family in The Farewell, are in on the news that grandma, or NaiNai in Chinese, has been diagnosed with stage four lung cancer. And instead of telling her the sad news the family decide collectively to not tell her. And gather around her, instead, for what could be last visitations, under the guise of cousin HaoHao’s wedding.
The Story: Billi, played by rap artist Awkwafina, hears the bad news from her parents. They are going to China to visit with the family’s matriarch, NaiNai, played with the sweetest humility, and with strong will, by Shuzhen Zhou. Billi is determined to go even though her parents think it’s better if she stays. Billi is saddened by the news, just as all of the family members are, and when they all arrive in China it’s under the pretense of cousin HaoHao’s (Han Chen) marriage to a Japanese girl (Aoi Mizuhara) who doesn’t speak Chinese. To make things a bit more heart-rending, yet also moving in a humorous way, is that NaiNai is determined to coordinate the wedding invitations and banquet for her grandson HaoHao, as she is always beaming with pride, and love, that her grandson is getting married.
The Goods: It’s this pathos and emotional stirring every time NaiNai is on screen demanding the best for HaoHao—the son of NaiNai’s second son—like insisting it is to be lobster on the menu, not crab, at the reception site for the banquet following HaoHao’s wedding ceremony, that makes the film so touching. To see NaiNai so excited, and happy, and thrilled that her family has gathered for the event, that her other son Haiyan (Tzi Ma, who has been in a ton of films and TV since the ‘80’s) has come, with Billi, from America, while knowing she’s dying, and that NaiNai is clueless (or maybe she’s not, it’s understood she is unaware) is such a powerful experience for the viewer that this “user event” in itself, in the theater, makes the film one of the best of the year, regardless of how it all culminates or how it resolves itself.
NaiNai’s joy and grandmotherly instincts with children and grandchildren is so universal. Like well composed songs that find fans everywhere in the world, she oozes a sense of goodness and care, historical perspective and set of rules that all grandmothers seem to have—she will discipline her family members like a mother/grandmother would—with a personal regiment of health tips and what might sound like “old wives’ tales” remedies that come across astoundingly accurate, realistic and true. She even gets Billi up in the mornings to practice her own self-created ‘NaiNai health regime’ that involves stepping around and yelling. Billi handles NaiNai’s routine with a dose of embarrassment, hesitant, but pushed by NaiNai she eventually embraces it if at times losing her composure, in the middle of street outside NaiNai’s high-rise building community, to laugh a bit.
Awkwafina, real name Nora Lum, who told me on the Atlanta Film Festival’s red carpet that though she is of Korean and Chinese decent, grew up in New York, in Queens, speaking only English. She had to brush up on Chinese which family members spoke but she did not. She said she was supported by the crew and cast who all helped her with her lines while filming on location in China. You would never know it. Awkwafina, in a more subdued role compared to her loudish, eccentric character Peik Lin Goh in Crazy Rich Asians (2018), or her cool, collected jewel thief Constance in Ocean’s 8 (2018), or preppy sorority girl Christine in Neighbors 2 (2016), seems like a natural here. Partly too to what Lulu Wang is doing with direction. The film is written and directed by Wang who adapted her own very true story from a short radio episode of This American Life called What You Don’t Know (Episode 585, https://shortcut.thisamericanlife.org/#/clipping/585/110?_k=dc1yj4).
There’s so much of what one senses is realism, like Wang’s radio piece, that the film is like a documentary, at least more so than Lulu Wang’s previous feature film Posthumous (2014). The two feature films are worlds apart and show with striking comparison the tremendous growth and innate talent Ms. Wang has for telling stories with such visual impact while sort of letting characters just be. None of the acting feels forced or rehearsed. And Awkwafina, whose character wants to say something about the deceit, confront the truth, discuss it with her grandmother, but chooses to play along, is a huge part of that. As is Ms. Lang’s real great aunt, Lu Hong, who plays Little NaiNai, the sister of Billi’s grandmother. Wang said that after some takes on set she would ask her great aunt if the scene felt authentic, in which Ms. Hong, knowing the facts of the real NaiNai’s condition, would provide her approval or criticisms thereof.
Ms. Wang’s instinct for camera placement and letting scenes play out while we observe is a comforting feeling. It presents itself as an easy film to involve yourself with. Certainly made in such a way that we too have a place at the table with the family, or in the rooms where scenes take place. Most of the shots are wide, and are master shots. The coverage for editing is simple—it’s not an action film—so capturing the truth in scenes, on location, is easier than forcing it in the editing room. We get to be voyeurs and not feel bad for staring or eavesdropping, but that we also, because we have grandmothers too, feel a part of this family. And since we know that she, the character in the film, and our own grandmothers, are only here for a limited time we should just enjoy our time with them while we can.
The Flaws: Curiously, there is a little bird that appears in Billi’s apartment, after she hears the news of her grandmother, when she returns to her apartment in New York after coming home from being out. Billi asks, “where did you come from, how did you get in here,” then she opens a window and lets the bird out. I get a strong sense the bird is exemplary or symbolic of NaiNai, or of Billi, or simply of life in general, action oriented flapping winged bird landing and wondering what its own situation is, compared to Billi’s, to ours. It’s nice. It’s sort of poetic. But it happens again when Billi gets to China, and it’s the same bird. Identical. As if maybe the bird followed Billi. And Billi doesn’t comment on it. The coincidence doesn’t become an issue with her but I think it is with the audience, because it’s not addressed. I’m distracted by it mostly because there is no explanation or character exposition enlightening us to something potentially special, and maybe supernatural, that has occurred here. And without a sense of a motif being established—like the magpies in the third season of the British TV show The Detectorists (what a random comparison), or any film or creative work where birds are a metaphor for the characters, or experience, in the story—we are sort of left wondering why the bird makes another appearance. Sure we can contemplate it all we want but it doesn’t do anything to help Billi or NaiNai’s situation. Or ours for that matter. Taking that second to process it distracts from this realism Ms. Wang has lovingly presented.
And there are traits of a music video, as a sort of denouement to the film, after HaoHao’s wedding and after the family members sort of part ways back to their corners of the Earth, leaving NaiNai with her sister, and live-in male friend, Mr. Li (who is comic relief in the film). Briefly, the family come back again in what seems like a “flashback” moment; as a collective they all walk down the street with strong steps, sort of like The Monkees, or The Beatles, something from a Richard Lester film, playfully, with vaudevillian moves and serious looks on their faces as they stare out of the screen at the audience, reminiscent of choreographed music videos from the likes of Britany Spears, or Michael Jackson, and virtually every music video in their wake, as if to say, here are the players in this play, these were the performers in this play—in this conspiracy—of family members living with the fact they lied and hid the truth from the family’s matriarch.
It’s a wonderful piece to the film but doesn’t exactly fit. And if there were other moments in the film similar to this then sure it would be more fitting. Or maybe even if it were over credits at the end of the film. Could be there are behind-the-scenes details that maybe production wise something didn’t go as planned, like if Awkwafina who is known for her rap music, if maybe she had a song for the film which Ms. Wang chose to not include. But the sequence itself, the music video moment, it’s a flaw in the sense it removes us from the realism of the film. It’s formalism and it’s noticeable at that. Coming at the end of the film however is the sequence’s saving grace.
Additionally, I did feel a sense NaiNai at times, in Billi’s conscious, is like Father Karras’ mother in The Exorcist (1973). There is a scene where Billi envisions her NaiNai in the subway, in New York, after Billi first hears the news of her grandmother’s diagnosis. I saw the similarity, and later in a Q & A after the film’s screening, Ms. Wang confirmed that she did incorporate traits from the horror genre. Smart, because those closed camera compositions and some of the centered character placements in rooms, combined with subconscious audible room tones, add a complexity to the emotional impact of some of the more serious or dramatic scenes where death is a true, hidden, ghostly antagonist. That NaiNai appears in Billi’s subway is almost too on the nose to William Friedkin’s mother Karras in The Exorcist. If you’ve seen that movie previously you’ll know it, and you’ll feel it, not as homage, not as a rip-off either, but as an accidental, subconscious placement by Ms. Wang that might slightly undermine her own original characters and story.
The Call: Spend the ten. The Farewell is a beautiful film regardless of very minor flaws. The sheer enjoyment of connecting with a family that is certainly yours as well as mine as well as Billi’s is a powerful achievement for Lulu Wang. The concept—a family who chooses not to tell their grandmother she’s going to die of cancer—is strong, script and production wise, even if some of what appears to be scripted may have been authentic cinema verite of Ms. Wang’s real family collaborating with actors. And as a wedding proceeds, what is usually a quirky, fun, family event in films—from the wedding film genre—it does so under false pretenses that are every bit bitter, corrupt and, conversely, the sweetest moments you’ll ever see. A perfect set-up for a lovely character to charm us out of our daily grind and give us back a sense of heart and soul if only for a few hours. And if NaiNai’s in on the news, knowing she might die, well that just shows how much courage she really has. Just like a grandmother, putting her family first before herself.
The Farewell is not yet rated. Running time is 98 minutes. A24 is distributing. In theaters July 12, 2019.
0 notes
focalwriterwriting · 5 years
Text
THE FAREWELL
My affection for this film, which I saw at the 2019 Atlanta Film Festival, and for what I feel is one of the most beautiful films I’ve seen in years, stems from the fact the audience, and the main character’s family in The Farewell, are in on the news that grandma, or NaiNai in Chinese, has been diagnosed with stage four lung cancer. And instead of telling her the sad news the family decide collectively to not tell her. And gather around her, instead, for what could be last visitations, under the guise of cousin HaoHao’s wedding.
The Story: Billi, played by rap artist Awkwafina, hears the bad news from her parents. They are going to China to visit with the family’s matriarch, NaiNai, played with the sweetest humility, and with strong will, by Shuzhen Zhou. Billi is determined to go even though her parents think it’s better if she stays. Billi is saddened by the news, just as all of the family members are, and when they all arrive in China it’s under the pretense of cousin HaoHao’s (Han Chen) marriage to a Japanese girl (Aoi Mizuhara) who doesn’t speak Chinese. To make things a bit more heart-rending, yet also moving in a humorous way, is that NaiNai is determined to coordinate the wedding invitations and banquet for her grandson HaoHao, as she is always beaming with pride, and love, that her grandson is getting married.
The Goods: It’s this pathos and emotional stirring every time NaiNai is on screen demanding the best for HaoHao—the son of NaiNai’s second son—like insisting it is to be lobster on the menu, not crab, at the reception site for the banquet following HaoHao’s wedding ceremony, that makes the film so touching. To see NaiNai so excited, and happy, and thrilled that her family has gathered for the event, that her other son Haiyan (Tzi Ma, who has been in a ton of films and TV since the ‘80’s) has come, with Billi, from America, while knowing she’s dying, and that NaiNai is clueless (or maybe she’s not, it’s understood she is unaware) is such a powerful experience for the viewer that this “user event” in itself, in the theater, makes the film one of the best of the year, regardless of how it all culminates or how it resolves itself.
NaiNai’s joy and grandmotherly instincts with children and grandchildren is so universal. Like well composed songs that find fans everywhere in the world, she oozes a sense of goodness and care, historical perspective and set of rules that all grandmothers seem to have—she will discipline her family members like a mother/grandmother would—with a personal regiment of health tips and what might sound like “old wives’ tales” remedies that come across astoundingly accurate, realistic and true. She even gets Billi up in the mornings to practice her own self-created ‘NaiNai health regime’ that involves stepping around and yelling. Billi handles NaiNai’s routine with a dose of embarrassment, hesitant, but pushed by NaiNai she eventually embraces it if at times losing her composure, in the middle of street outside NaiNai’s high-rise building community, to laugh a bit.
Awkwafina, real name Nora Lum, who told me on the Atlanta Film Festival’s red carpet that though she is of Korean and Chinese decent, grew up in New York, in Queens, speaking only English. She had to brush up on Chinese which family members spoke but she did not. She said she was supported by the crew and cast who all helped her with her lines while filming on location in China. You would never know it. Awkwafina, in a more subdued role compared to her loudish, eccentric character Peik Lin Goh in Crazy Rich Asians (2018), or her cool, collected jewel thief Constance in Ocean’s 8 (2018), or preppy sorority girl Christine in Neighbors 2 (2016), seems like a natural here. Partly too to what Lulu Wang is doing with direction. The film is written and directed by Wang who adapted her own very true story from a short radio episode of This American Life called What You Don’t Know (Episode 585, https://shortcut.thisamericanlife.org/#/clipping/585/110?_k=dc1yj4).
There’s so much of what one senses is realism, like Wang’s radio piece, that the film is like a documentary, at least more so than Lulu Wang’s previous feature film Posthumous (2014). The two feature films are worlds apart and show with striking comparison the tremendous growth and innate talent Ms. Wang has for telling stories with such visual impact while sort of letting characters just be. None of the acting feels forced or rehearsed. And Awkwafina, whose character wants to say something about the deceit, confront the truth, discuss it with her grandmother, but chooses to play along, is a huge part of that. As is Ms. Lang’s real great aunt, Lu Hong, who plays Little NaiNai, the sister of Billi’s grandmother. Wang said that after some takes on set she would ask her great aunt if the scene felt authentic, in which Ms. Hong, knowing the facts of the real NaiNai’s condition, would provide her approval or criticisms thereof.
Ms. Wang’s instinct for camera placement and letting scenes play out while we observe is a comforting feeling. It presents itself as an easy film to involve yourself with. Certainly made in such a way that we too have a place at the table with the family, or in the rooms where scenes take place. Most of the shots are wide, and are master shots. The coverage for editing is simple—it’s not an action film—so capturing the truth in scenes, on location, is easier than forcing it in the editing room. We get to be voyeurs and not feel bad for staring or eavesdropping, but that we also, because we have grandmothers too, feel a part of this family. And since we know that she, the character in the film, and our own grandmothers, are only here for a limited time we should just enjoy our time with them while we can.
The Flaws: Curiously, there is a little bird that appears in Billi’s apartment, after she hears the news of her grandmother, when she returns to her apartment in New York after coming home from being out. Billi asks, “where did you come from, how did you get in here,” then she opens a window and lets the bird out. I get a strong sense the bird is exemplary or symbolic of NaiNai, or of Billi, or simply of life in general, action oriented flapping winged bird landing and wondering what its own situation is, compared to Billi’s, to ours. It’s nice. It’s sort of poetic. But it happens again when Billi gets to China, and it’s the same bird. Identical. As if maybe the bird followed Billi. And Billi doesn’t comment on it. The coincidence doesn’t become an issue with her but I think it is with the audience, because it’s not addressed. I’m distracted by it mostly because there is no explanation or character exposition enlightening us to something potentially special, and maybe supernatural, that has occurred here. And without a sense of a motif being established—like the magpies in the third season of the British TV show The Detectorists (what a random comparison), or any film or creative work where birds are a metaphor for the characters, or experience, in the story—we are sort of left wondering why the bird makes another appearance. Sure we can contemplate it all we want but it doesn’t do anything to help Billi or NaiNai’s situation. Or ours for that matter. Taking that second to process it distracts from this realism Ms. Wang has lovingly presented.
And there are traits of a music video, as a sort of denouement to the film, after HaoHao’s wedding and after the family members sort of part ways back to their corners of the Earth, leaving NaiNai with her sister, and live-in male friend, Mr. Li (who is comic relief in the film). Briefly, the family come back again in what seems like a “flashback” moment; as a collective they all walk down the street with strong steps, sort of like The Monkees, or The Beatles, something from a Richard Lester film, playfully, with vaudevillian moves and serious looks on their faces as they stare out of the screen at the audience, reminiscent of choreographed music videos from the likes of Britany Spears, or Michael Jackson, and virtually every music video in their wake, as if to say, here are the players in this play, these were the performers in this play—in this conspiracy—of family members living with the fact they lied and hid the truth from the family’s matriarch.
It’s a wonderful piece to the film but doesn’t exactly fit. And if there were other moments in the film similar to this then sure it would be more fitting. Or maybe even if it were over credits at the end of the film. Could be there are behind-the-scenes details that maybe production wise something didn’t go as planned, like if Awkwafina who is known for her rap music, if maybe she had a song for the film which Ms. Wang chose to not include. But the sequence itself, the music video moment, it’s a flaw in the sense it removes us from the realism of the film. It’s formalism and it’s noticeable at that. Coming at the end of the film however is the sequence’s saving grace.
Additionally, I did feel a sense NaiNai at times, in Billi’s conscious, is like Father Karras’ mother in The Exorcist (1973). There is a scene where Billi envisions her NaiNai in the subway, in New York, after Billi first hears the news of her grandmother’s diagnosis. I saw the similarity, and later in a Q & A after the film’s screening, Ms. Wang confirmed that she did incorporate traits from the horror genre. Smart, because those closed camera compositions and some of the centered character placements in rooms, combined with subconscious audible room tones, add a complexity to the emotional impact of some of the more serious or dramatic scenes where death is a true, hidden, ghostly antagonist. That NaiNai appears in Billi’s subway is almost too on the nose to William Friedkin’s mother Karras in The Exorcist. If you’ve seen that movie previously you’ll know it, and you’ll feel it, not as homage, not as a rip-off either, but as an accidental, subconscious placement by Ms. Wang that might slightly undermine her own original characters and story.
The Call: Spend the ten. The Farewell is a beautiful film regardless of very minor flaws. The sheer enjoyment of connecting with a family that is certainly yours as well as mine as well as Billi’s is a powerful achievement for Lulu Wang. The concept—a family who chooses not to tell their grandmother she’s going to die of cancer—is strong, script and production wise, even if some of what appears to be scripted may have been authentic cinema verite of Ms. Wang’s real family collaborating with actors. And as a wedding proceeds, what is usually a quirky, fun, family event in films—from the wedding film genre—it does so under false pretenses that are every bit bitter, corrupt and, conversely, the sweetest moments you’ll ever see. A perfect set-up for a lovely character to charm us out of our daily grind and give us back a sense of heart and soul if only for a few hours. And if NaiNai’s in on the news, knowing she might die, well that just shows how much courage she really has. Just like a grandmother, putting her family first before herself.
The Farewell is not yet rated. Running time is 98 minutes. A24 is distributing. In theaters July 12, 2019.
0 notes