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  • The impact "The Hawaiians" has made on this viewer stretches over many years. Not only because it finishes the story initiated by the earlier film release, "Hawaii," which is readily available on video. But also because within this film we enjoy an epic life's story of a Chinese m woman, played by Tina Chen, who only speaks the Hakah mountain dialect. She arrives in Hawaii with almost no English, but a strong desire to survive and succeed. She is the center figure of the story and as such, she gives birth to five sons and ultimately one daughter all by a man, also from China, played by Mako. She dedicates herself to him. This guy, by the way, is already married to a woman still living in China,his first wife, who he sends much of his earnings to. So our Heroine, must be her own children's "auntie."

    When her husband contracts Leprosy, Wu Chow's Auntie, as she is now called by everybody who knows her, nobly follows her husband to the outcast Island of Molokai where she takes care of him until he dies.(Mako is not Chinese but an excellent Japanese-American actor. We can see him in his latest film as the Admiral who attacks "Pearl Harbor."} Thanks to the friendship of the Hawaiian Island Master played by Charlton Heston, this great lady, who miraculously does not contract the dreaded Leprous disease, is allowed to return to her children, now grown to teenagers. All five boys,and the youngest, a girl, born at the Leper Colony and sent home just after her birth, have all managed to still be living together at the old homestead. Although missing for so many year, they are nevertheless, glad to see their mother, but when Wu Chow's Auntie begins to take charge and direct them, declaring which son will be a lawyer and which a doctor etc.; they are astonished and resistantly shout questions ... " How can we do this, we have no money. " Wu Chow's Auntie listens patiently to all the reasons for why her expectations are impossible. Then the noble mother pulls herself to her fullest height, surely no more then five feet, and declares, looking each child in his eyes until he is forced to lower them: "Impossible has come back from Molokai." Naturally to find out what happens to this woman you have to read James Michener's epic novel. This one scene alone, would make the film a MUST SEE in my opnion. I really am impatient with the controllers who are delaying the release of this wonderful story. Come on guys, get moving.. Give us "The Hawaiians," on VHS and DVD too.
  • Warning: Spoilers
    THE HAWAIIANS is the second half of Michener's saga about Hawaii, and in many ways I found it a much more satisfying movie. The film follows the life of an adventurer and opportunist, Charlton Heston, as he tries to strike it rich in 18th century Hawaii. His primary concern is money and power and he is willing to do most anything to acquire it--such as sneaking off to the Caribbean to steal pineapples to transplant in Hawaii, exploit his workers and stomp on most anyone who got in his way.

    At the same time, the story follows a Chinese woman (Tina Chen) that comes to work for Heston. She is the concubine of a Chinese man whose wife remained behind in China. Throughout the movie she is referred to by her biological children as "auntie" because she is not the official wife of the man (Mako). This is very sad, because she is devoted to him and when he contracts leprosy, she selflessly follows him to the hellhole island on Molokai to the leper colony. Somehow she survives and can rejoin her children, though the man dies of his disease. Once back, this polite and selfless woman begins to change to a hard-as-nails business woman.

    Later in the story, a romance buds between Heston's son and Chen's daughter and both prospective in-laws have to learn to put aside their bigotry and learn to accept this relationship. In a way, it is a metaphor for the "new Hawaiians" of the 20th century.

    The film has great action, acting and a story. Lots to hold your interest in this film.
  • The Hawaiians was made from the middle third of Michener's novel Hawaii. Compared to the Julie Andrews - Max von Sydow movie Hawaii, made from the first third of the book, The Hawaiians is unpretentious, lowbrow, but much more entertaining. The plot of The Hawaiians revolves around two stories -- the rise to political and commercial power of second generation American immigrants, and the arrival in Hawaii of Chinese and Japanese immigrants.

    The story of the American immigrants' rise to power follows the life of Whip Hoxworth, played by Charlton Heston. He gains wealth by establishing the first pinepple plantation in Hawaii, then participates in the overthrow of the Hawaiian monarchy, which led to the islands becoming an American territory.

    The story of Chinese and Japanese immigration to Hawaii is told through the life of Char Nyuk Tsin, played by Tina Chen. She becomes the second wife of fellow immigrant Kee Mun Kee, who fails at almost everything he does. But through hard work and perseverence, Char Nyuk Tsin prospers and creates a better life for her children.

    This is not highbrow cinema. The acting is second rate, the script is second rate, everything about it is second rate. For example, the attempts by the Chinese-American actors to speak Chinese is almost laughable. They speak Mandarin with atrocious accents, even though the characters are supposed to be speaking either Hakka or Cantonese. But it doesn't really matter. This is the sort of movie to watch when you don't want to have to think hard. It's an enjoyable no-brainer, a pleasant diversion while eating popcorn.

    The Hawaiians enjoys a footnote in the history of the MPAA's movie rating system. When it came out in 1970, it earned a PG rating, despite having two scenes of female nudity. Japanese immigrant farm workers are shown enjoying a traditional communal bath, and one attractive young woman is shown topless for a short time. This created a mild controversy at the time, although the scene is about as sexy as a National Geographic pictorial.

    I have not been able to find The Hawaiians on tape or DVD. If anyone in the business can get it released, please do!
  • bkoganbing13 September 2008
    I'm sure that what attracted Charlton Heston to sign on for The Hawaiians was the fact he'd be working with director Tom Gries with whom he had done Will Penny and Number One. Will Penny was Heston's favorite film. The Hawaiians would mark the third and final joint project the two men worked on.

    Heston plays the grandson of that New England sea captain Richard Harris from the film Hawaii and the James Michener book it is based on. He's every bit the hell raiser that grandfather was, but has an eye for business and does have a vision for Hawaii. Of course it's not the same vision as the native Hawaiians had or the same vision that Chinese and Japanese immigrants have. That in a nutshell is the history of Hawaii.

    The rest of the white characters are descendants from the characters in the first film. The added component are the characters of Mako and Tina Chen who immigrate to Hawaii from China and found a small dynasty of their own. Their story and that of Heston and his family entwine over several decades.

    One thing I will say about The Hawaiians that is most admirable. The Asian and Pacific Islander characters you see here are portrayed as three dimensional and with dignity. No fortune cookie stereotypes are to be found in The Hawaiians.

    I've always been of the opinion that you cannot make a bad film about Hawaii because the scenery is so beautiful. The Hawaiians is no exception and the film did get an Oscar nomination for costume design.

    Tina Chen does a remarkable job as the matriarchal head of her family after Mako dies of leprosy on the island of Molokai. In a patriarchal culture that was by no means an easy thing. Her performance is the best acting in The Hawaiians.

    The Hawaiians has an Edna Ferber like sweep in its plot and its subject. It's also sticking close to the facts in terms of Hawaiian history, a very worthy film to see.
  • This film today, is quite forgotten because it never turns up on TV and is not widely available on video, and certainly not yet on DVD. Tis is a great pity as THE HAWAIIANS is an excellent and interesting stand alone sequel to the whopper epic of 1966 HAWAII - which was a 70mm release with Julie Andrews and Max Von Sydow (and even Bette Milder in a crowd scene). James Mitchener and his tales of the south seas books presented film makers with many opportunities for grand and spectacular South Pacific extravaganza dramas and even one enchanted musical. THE HAWAIIANS is basically the story of how Charlton Heston started the pineapple industry in Hawaii, with the help of hard working clever Chinese peasants, some of whom were brought into the plantation household for love and 'marriage' and even unfortunately, a spot of leprosy. While that might sound trite, and I am not making fun of it, it allows for 'ordinary' people to feature center screen in an epic way. Because this film is not about "major Euro characters" like in the first film, THE HAWAIIANS unjustly has been derailed and forgotten. But it is actually more interesting because it is about someone else other than religious zealots smashing idols and their sexually repressed wives ripping the corset off to run barefoot down the beach with the native teenagers.. So if you wish to see a truly glorious epic film about the people who actually did something to and for Hawaii (whether it ultimately good or bad) THE HAWAIIANS lives up to its title showcasing the real hard working people who lived and loved in Hawaii a century ago. I had the unforgettable experience of seeing both HAWAII and THE HAWAIIANS back to back as a double feature (7pm-midnight) in a Sydney Suburban cinema one freezing winter night lashed by a monster cyclonic thunderstorm. Here we were rugged to the chin in woolly everything straining to hear the soundtrack over the crashing din of the rain on the theater's enormous tin roof whilst looking at a spectacular cinema-scope vista of tropical sunny island drama. About an hour into the first film, the plaster ceiling sprang several serious leaks and a very grimy waterfall left of screen that was washing 55 years of dirt from above the curtains. The tubby manager and the broom kid were heard scurrying into the ceiling with empty tin ice cream bins. With hissed directions from Mr Tubby, the kid was clomping about on the beams, creaking and thudding, placing empty tins under the drizzle from the roof above. That plugged the leaks but instead started a hilarious symphony of 'pling' and 'plong' and 'plish' and 'klading' and 'sklosh' as the huge raindrops fell into the empty bins and began to fill them. It sounded like when somebody plays "eidelweiss' using a dozen glasses of water of varying amounts. This began to cause the entire audience of a dozen of us to laugh and look about. Suddenly something crashed and splashed from behind the screen as the kid went straight through a part of the ceiling long unseen. A massive puddle gushed from under the masking, across the stage to the footlights and waterfall-ed straight into the front aisle. The kid made his way out from behind the screen cringing, wet and meekly looking about. The audience erupted into rapturous applause. The kid took a bow and slipped straight offstage onto the soggy carpet and out of sight. What a night! Value and extras like that never happen in multiplexes today. Anyway, after we survived HAWAII, we all got a free hot chocolate, congratulated the manager and wet kid, and went back in, storm raging still, buckets sploshing away , ceiling straining, and let THE HAWAIIANS transport us to another world in another (warmer) age. Such was the professional cinematic expertise of this very good sequel. I have never looked at a pineapple in the same way ever again.
  • I happened to be living in Hawaii when this was released (along with *Patton*) It was beautifully shot and the character portrayals were wonderful.

    Based somewhat on historical facts, Heston is the hard-bitten adventurer/entrepreneur responsible for bringing pineapples to the islands.

    As others have pointed out, the portrayal of the Asian immigration and subsequent influence in the islands is, if not accurate, certainly believable, given the Asian makeup of the island population, today.

    All of the performances are strong, revolving around Heston as the central 'motivator'. The camera work brings the beauty of Hawaii right up to your face. Finally, the fire is accurate - Honolulu suffered more than one huge fire in it's early days.

    I would very much like to see this out in DVD.
  • Given the epic nature of James Michener's thousand-page novel "Hawaii," if the first film did any kind of positive business whatsoever, a sequel was bound to happen. The result is actually quite good, though nowhere near as good as George Roy Hill's original. Practically none of the original cast or crew has returned. Hill was succeeded as director by Tom Gries; Trumbo and Taradash are replaced on script duty by James R. Webb ("How the West Was Won," "Cheyenne Autumn"), who certainly had a bizarre gift for crafting intelligible and reasonably entertaining stories out of momentous historical hoopla. And since it takes place a couple generations after the end of the first film, obviously the cast is all gone. Charlton Heston adds more than prestige (he also adds presence and strength) to the central character of Whip Hoxworth, with Geraldine Chaplin decent but underused as his odd wife Purity. Mako is terrific as a Chinese peasant farmer who comes to Hawaii after cheating himself a new wife-- Char Nyuk Tsin, played by Tina Chen in a performance that starts off rather uninteresting but blossoms into a real stunner. The story goes on through racial strife, economic and ecological developments on the islands, political turmoil, and personal tragedy, very much in the spirit of the first "Hawaii" but without all the buildup (remember how much time had passed before we saw the islands in the first one?) and with a quicker pace. The film is lush, intriguing, and adequately enacted, but there are a few obstacles to overcome before you can really get into it. The worst of these is Henry Mancini's tacky, obvious, ethnic clich√©-infused score, which comes nowhere near the scope, emotion or wonderment of Elmer Bernstein's original. If Bernstein couldn't have been secured, surely there was a better option (Jerry Goldsmith springs to mind) than Henry "The Pink Panther" Mancini. But the score does have a few moments of... well, adequacy. Given that the film obviously failed and-- having never been released on either VHS or mass-market DVD-- both suffers in obscurity while toiling in notoriety, and given that the first film was (at least to this reviewer) almost thoroughly a masterpiece, "The Hawaiians" is much better than can be expected. And compared to the lame sequels that stuff the cineplexes these days, it plays off like a "Citizen Kane" or a "Godfather."
  • Warning: Spoilers
    You have to admire James Michener's resolve. He's the guy who wrote the book this screen play is based on. Michener wrote one novel or non-fiction work after another, each of them requiring an unconscionable amount of historical and geographic research. There are a couple of dozen doctoral dissertations scattered among his books -- "Centennial," "Texas," "Alaska," "Poland," "Iberia." This is about a certain part of Hawiian history, a sprawling epic, as they say, following multiple narrative threads through three generations. The principal thread belongs to Charlton Heston, who begins as a reckless and uncaring sea captain and winds up as a cigar-puffing prosperous land owner, the evolution being the result of his willingness to take risks. The other main thread belongs to Tina Chen, who begins as an outcast young Chinese woman and becomes a socially prominent leader of the Chinese community in Honolulu. She's a minority among the Chinese in that she is Hakka, an internally marginal group in China. Her minority status isn't Michener's literary trick either. Hakka is one of half a dozen or so common dialects in Chinese and in one of my classes we had representatives of all of them lined up at the front of the room pronouncing one familiar word after another. There was an obvious family resemblance among most of them. You could "hear" the buried Cantonese word when it was spoken in Mandarin Chinese. But not Hakka. It was to the other dialects what Rumanian is to the other Romance languages.

    Wait a minute. Was that "off topic"? Well, it doesn't matter much. There's no describing the plot of this movie. If anything ever happened in Hawaiian history, it happens to somebody in this movie. You want to talk leprosy? Racism? The switch from a monarchy to a territory of the United States? The plague? Let it simply be said that it's all here.

    Charlton Heston is his usual monolithic self and fills the character appropriately. Tina Chen is a beautiful woman who is, at best, professional. We don't get to see much of Geraldine Chaplin, who rediscovers her native Hawiian genes and appears to go nuts. John Phillip Law isn't around much either. Tina Chen's husband is Mako (who is Japanese) and he's quite good in what is essentially the same role he played in "The Sand Pebbles." Some of the supporting players appear to have been chosen for their looks rather than their talent.

    I rather like Hawaii, at least as it was when I was last there, years ago. There's a good deal of solidarity to be found on the islands. During the turmoil of the 1960s when American cities were in the grip of violent revolutions or their simulacrums, Honolulu went quietly about its business, and that in a city more ethnically diverse than any found on the mainland.

    Anyway the film is worth watching. I can't say I was especially gripped by any of the incidents or characters. I'd recommend it if only for its educational properties. Michener was only rarely effective as a dramatist but all that time he put into his research certainly paid off.
  • James Mitchner's books on the south seas and the people living there are always fascinating reading. Any one of his novels can easily fit onto the silver screen. This particular film, " The Hawaiians " is a case in point. Following the exploits of the main character who draws the most attention, Charlton Heston plays Whip Hoxworth, an experienced sea Captain who dreams of overseeing a scheduled line of commercial vessels. His force of acting brings the worthy sea Captain ashore to confront the religious power of his clan. Having enough of the high Seas, Whip decides to stay shore-bound and tend to his Grandfater's sailing ships. Unfortunately, he arrives too late as his Grandfather left all his businesses to his laboriously pious and financially selfish family, leaving him an unpromising island called Hanni-Ki. Disappointed, he begins to despair his future when Milton Overpeck, a drunken driller (Don Knight) offers him an opportunity to become rich. At nearly the same time an oriental pair Tina Chen (Nyuk Tsin) and Mun Ki (Kako) arrive in Hawii and during the ensuing years, join Hoxworth in the ever changing social and political landscape. Geraldine Chaplin plays Purity Hoxworth a woman who slowly loses her mind, her son and her husband. John Phillip Law, Alec McCowen and Keye Luke add to the star studded film. With the magnificent Hawiian landscape as a backdrop, this movie is a splendid example of art come to life. The story is solid as is the acting with the result being a Classic created from a literary novel. ****
  • Out of all of the "Hawaiians" conversions of James Michner's novels, I lke this one best("The Hawaiians"). It has a possible plot of how Hawaii began its Pineapple industry. The Pineapple actually being in the Palm Tree family and what a person is eating is the soft inner pulp of the tree. It is was actually produced in New Guinee and it was a death offense to transport live Pineapple from there.
  • Warning: Spoilers
    Based on the James Michener novel Hawaii, this sequel (to Hawaii (1966)) received a Best Costume Design Oscar nomination. It follows the life of 'Whip' Hoxworth, played by Charlton Heston, and those he comes in contact with through many years on the islands before they became our 50th state, including the introduction of the telephone and early automobile. Directed by Tom Gries with a screenplay by James R. Webb, it features breathtaking views of land and sea, including those of sea-worthy sailing ships.

    It begins with Whip captaining a ship transporting Chinese workers to the islands for cheap labor. One of these is Mun Ki (Mako), who saves a woman Char Nyuk Tsin (Tina Chen) from being sold into prostitution by claiming she's his wife, when they arrive. Whip hires them as cook & servant and takes them to his luxurious home where he's reunited with his wife Purity (Geraldine Chaplin). I haven't read the book, but I will say that the film skips forward, 2-3 years at a time or more, many times as the story takes place over several decades.

    The first "segment" of the film establishes the relationships between the two "man and wife" combinations. Mun Ki is in fact already married to a woman in China and, as the resident Chinese Wise Man/Lawmaker Foo Sen (Keye Luke) explains to Char Nyuk Tsin, all the children she bears for him will be regarded as his wife's, whereas she will be known to them as their "auntie". However, there relationship is one of true love, he teaching her how to speak pigeon English since their native Chinese dialects are incompatible. Chen gives the performance of the film, one which inexplicably went unrecognized by the Academy in what was, IMO, a weak year for Best Actresses (e.g. given those that were nominated). She accepts her role, and eventually gives birth to four sons (instead of the five he'd wanted, named for each continent per Foo Sen) and one daughter. Her character is also transformed from one which she herself initially claims is "not smart", relative to her "husband", to a very strong (even progressive) female & minority role model, businesswoman, and leader. During this time, she demonstrates her deep commitment to Mun Ki by choosing to go with him to the leper colony, with no hope of return, on Molokai when he contracts the disease.

    Whip is married to a one-fourth native Hawaiian who, after bearing him a son herself, becomes withdrawn and eventually somewhat crazy as she immerses herself in the "dying" native culture, and ultimately leaves him. He is shocked to learn when he returns from the sea that his grandfather, and benefactor, has died and left him nothing but thousands of seemingly useless acres of land in lieu of the command of the family shipping fleet he covets. His wealthy missionary family, led by his cousin Micah (Alec McCowan), has control of the assets and offer to give him "his" ship if the "black sheep of the family" would leave and never return. He refuses, and hires a drunkard well digger (Don Knight) who finally finds fresh water on the property which enables Whip to eventually become a rich pineapple plantation owner.

    Whip becomes a man who believes he can do anything he wants, which he does by taking bigger and bolder risks throughout the story. He takes his son Noel back from his estranged wife, and "raises" him until the 15 year old departs for his "real" education on the sea, just like his father did. Whip commits several illegal acts, including ones which enable him to introduce pineapple growing to the islands.

    Noel is played by various different actors as he ages but only really figures prominently in the film's last, and weakest part (when John Phillip Law plays the role). Separated from his wife for years, Whip also sets up a Japanese concubine (Miko Mayama). The last part of the film is more about the political evolution of the island (involving Whip, Micah and Queen Liliuokalani, played by Naomi Stevens) towards annexation by the U.S., and isn't nearly as compelling as the first 90 minutes. It also includes a too contrived romance for Noel upon his return.
  • Based on the later chapters of James A. Michener's book "Hawaii", made into a film in 1966, opens with a new generation of characters circa 1870, with Americans bringing Chinese servants to Hawaii by ship. The sea captain (Charlton Heston, the black sheep of his family!) returns home to his woman who informs him his grandfather has died, leaving the family shipping lines to a cousin. The captain isn't pleased with what he has inherited--"a worthless piece of land"--however, in two years he strikes water and starts a pineapple plantation with help from a servant (Mako) and his concubine, Nyuk Tsin (Tina Chen), a fast-learning girl with a talent for gardening and with pre-feminist leanings. The servant already has a wife back in his native country, yet he and Nyuk Tsin have five sons and a daughter before he contracts leprosy and is shipped off to a leper colony on Molokai. Meanwhile, the captain's wife bears him a son before apparently going mad (she's repulsed by his touch, which isn't necessarily the same thing). Mammoth undertaking by screenwriter James R. Webb, who introduces and then disposes of characters in quick succession, with the years in-between the tragedies flashing by at a rapid rate. It may have been all too much for director Tom Gries to handle; the acting is uneven, the tone of the movie is often uncertain, and the last-act where the babies have now become adults and revolution breaks out under the dictatorship of a new queen (Naomi Stevens!) is akin to soap opera. Heston, Mako and Chen are the only performers who manage to create genuine characters, with Chen's return home to her long-estranged children the film's most moving sequence. Henry Mancini's flavorful score starts the picture on the right note, while cinematographers Lucien Ballard (who left the project ill) and Philip Lathrop give the Kauai and Maui locations a fine visual texture. ** from ****
  • Warning: Spoilers
    What I really enjoyed about the Hawaiians was the story of how Hawaii came to be such a cultural melting pot. The Polynesians were the aboriginal peoples of the Hawaiian novels. Next came the American and European whites mostly missionaries or seamen. Then came the Chinese followed by the Mediterranean European Portugese and then the Japanese and Filipinos. Hawaiians movie does a great job of covering the Chinese immigrants at the beginning of the story Tina Chen and Mako did a fine job in the film as a Chinese Man and his second wife whom by Chinese law at that time was considered in reality a concubine. The scenes at the leper colony was very close to the original in the book and the rape of the beautiful Hawaiian leper girl Kinau who did not show except for one sign of the disease is also graphically depicted in the film. In the novel the concubine has all sons.In the movie version the concubine has one daughter.A character that has been created from Japanese and Chinese characters in the book.The Japanese former comfort girl mistress of Charlton Heston was actually a made from several different females in the book. Charlton Heston did a great job in his part but in actuality and no fault of his own but of the screenwriter his Whip character did not remain faithful to the book portrayal and Geraldine Chaplin her character should have been left out entirely since it was another streamline of other female characters. People who viewed this movie couldn't relate to Geraldine's Purity's character. She apparently was unhappy in her marriage gave Whip a son but didn't want to return to the marriage bed.Frigid and emotionally detached. She kept going back to her full blooded Hawaiian relatives and the church. She was comfortable with the old ways and not the new and certainly not her husband's sex drive. John Phillip Law plays the son of Whip and Purity who later married a Chinese girl the daughter of the Chinese couple was told to keep his quarter Polynesian blood a secret by his father. There was racism by the so-called Pure white stock against Caucasians who had a little of the Polynesian ancestry. Pure Polynesian Hawaiians weren't too happy at first with their children intermarrying with Caucasians or mainland Asian Chinese then Koreans or other island Asiatic groups like Japanese and Filipinos but it happened. Bottom line on this sequel-Good Movie but not what one could call faithful to a James Michener's novel. The Chinese storyline pretty much stayed close to the depiction in the book. The James Michener novel Centennial was better adapted to the small screen than this epic sequel.
  • I have not read the books, so I have no idea how true the movie is to them. I also haven't seen "Hawaii", to which this is apparently a stand-alone sequel, so I can't make any comparisons. I did live in Hawaii during high school, and had quite a few lessons in state and native Hawaiian history - much more than the writers had, apparently.

    The Chinese casting was very good, and mostly Chinese. Unfortunately there were few if any Hawaiians involved, except a few extras. Queen Liliuokalani, for example, is played by a Jewish woman doing an accent that could best be described as "aristocratic Italian". There's a couple of white women with impressive spray tans at different points in the movie, both playing mixed racial characters as far as I could tell. The wife of the main character is played by a very white woman, yet is supposed to be one-quarter Hawaiian.

    The native Hawaiian movement to keep Hawaii as an independent monarchy is illustrated by the insanity of the main character's wife. Her desire to get in touch with her roots is intermingled with her portrayed hysteria and tenuous grip on reality. The natives she lives among for a while are apparently just as nuts, since they never appear to notice that she's unhinged. There's a brief condemnation of exploitative white businessmen by the Queen, which is itself immediately undercut when she irately orders the execution of one. This seems to be aimed at dismissing the lingering modern opposition to the forceful overthrowing of the Hawaiian government by the US government.

    So the general impression is of successful white American businessmen building the future state, versus various savage ethnic groups engaging in violence and spreading disease. The Chinese woman and her son gain some success and respect by embracing the American way, starting a business, and going to law school. And even that success is marred by the Chinese businesswoman promising to overcome by out-breeding the whites.

    The acting and scenery were excellent, but this movie is a eurocentric relic which should stayed buried.