Tag: Music

“Devdas” (2002) starring Shah Rukh Khan, Madhuri Dixit, Aishwarya Rai, & Jackie Shroff

Emma3 Comments

[1] The dance sequences are stunning…

[2] I will start off by stating my bias….that I generally hate Bollywood movies because of their excesses, and their general lack of realism. In that light, Devdas is classic Bollywood.

[3] Devdas and Paro, or Chandramukhi and Devdas had a lot of emotions and feeling unexpressed in the original story. The love the three possessed was spiritual, not physical. That is why Paro loved Devdas for so many years without having seen him.

[4] One has to admire the technical execution of parts of the film, the sometimes stunning cinematography, the lavish sets and costumes. But the director forgets that form and content can not be separated, that more is not always more, that often less is more.

-Excerpts from comments on IMDB

This Bollywood movie is based on a Bengali romance novel by Sarat Chandra Chatterjee. Despite being finished in 1900, the novel was not published until 1917 (due to Chatterjee’s hesitance over some autobiographical elements). He wrote it under the influence of alcohol and was embarrassed by it. According to Wikipedia: “he is arguably the most popular novelist in the Bengali language. His notable works incl. Devdas, Srikanto, Choritrohin, Grihadaha, etc. Most of his works deal with the lifestyle, tragedy and struggle of the village people and the contemporary social practices that prevailed in Bengal.” Due to lack of funds, he couldn’t attend college. Chatterjee wrote since his teen years and lived in Burma (Myanmar), working in the public works office. His first wife and son died due to illness. Eventually, he moved to Calcutta (Kolkata); he married his second wife, who he taught to read and write.

Devdas has been adapted for the screen 19 times in various South Indian languages. This version is directed by Sanjay Leela Bhansali; he later went on to make Ram-Leela, Bajirao Mastani, and Padmaavat. At the time of its release, Devdas was the most expensive Bollywood film ever, w/ a budget of $10.3 million. It was a commercial success in India and abroad, becoming the highest grossing Indian film of the year. Devdas was nominated for the BAFTA Award for Best Foreign Language Film and was also submitted for the Academy Award for Best Foreign Language Film. The film was screened at the 2002 Cannes Film Festival- not something you hear often (or maybe ever) re: a Bollywood film!

In the early 1900s, Devdas Mukherji (Shah Rukh Khan- then 36 y.o.) is the only son of wealthy zamindar (landowner) of a Bengali Brahmin family. After 10 yrs of boarding school and studying law in England, he returns to his village, where his extended family prepares to welcome him. In the original story, Devdas comes back from studying in Calcutta. However, their happiness changes to shock when Devdas prefers to visit his childhood sweetheart, Parvati AKA Paro (Aishwarya Rai- in her most notable role at 28 y.o.) before paying respect to his mother, Kaushalya (Smita Jaykar). In the first song (Silsila Ye Chaahat Ka), we see Paro dancing w/ the diya (small lamp) which represents the life of Devdas. Then only 16 y.o. Shreya Ghoshal sang five songs for this movie as the singing voice of Paro.

When Devdas’ grandma, Badima (Dina Pathak), lays out her jewelry, his greedy/cranky sister-in-law Kumud (Ananya Khare) giggles and picks up an elaborate bangle. Badima says she can have it all, but not that bracelet, b/c she saved it for Devdas’ future bride. Devdas jokes w/ Kumud, but she gets mad and storms off. She is followed by Kaushalya, who wants to calm her down (b/c she’s pregnant). Later that night, Devdas gives Paro the bangle (Bairi Piya). Kumud watches them (w/ binoculars) and then shows this to Kaushalya.

Devdas’ mother isn’t keen on the match, as she tells her husband when they are alone. The father (a lawyer knighted by the British government) flatly says no way. Paro’s mother, Sumitra (Kiron Kher), tells her husband that Devdas will ask for Paro’s hand, but her father looks worried. Sumitra dresses up and goes next door to Devdas’ house, full of hope. We learn that Paro comes from family that had a tradition of being entertainers and accepting “bride price” (dowry) from the groom’s family. Sumitra explains that was a long ago; they plan to give Paro away (send dowry with her). Kaushalya says it’s settled; both sides will handle the costs of Paro’s wedding. Sumita performs a song and dance re: the love between two Hindu deities- Radha and Krishna (Morey Piya)- while Paro and Devdas frolic by a lake. I esp. liked the lighting in the lake scene.

After her (emotional/dramatic) performance, Sumitra learns the bitter truth- her friend/neighbor thinks Paro- and therefore her family- beneath them. Sumitra explains that their children are deeply in love and pleads w/ Kaushalya to allow them to marry. Kumud (a one-note villain) makes a nasty remark, insulting Paro’s character. That’s the last straw for Sumitra; she declares (in tears) that this decision will lead to the “ruination” of Devdas.

Paro still holds out hope for marrying Devdas (after her mother has been insulted). In a bold move, Paro sneaks into Devdas’ room and declares her love for him. He is nervous and tells her that his father is opposed. Paro (not thinking of her reputation) says they can change his mind. Devdas says he will escort her home, but they run into his father, Narayan (Vijay Crishna), who insults Paro (and her mother). She runs away in tears. Devdas gets mad at his father; he gets slapped. After their big argument (which I thought could’ve been acted better), Devdas leaves home w/ the shawl that Paro dropped. Paro runs after his buggy, but is left in the dust. As I noted before, this director is not a fan of subtlety. After the first 45 mins-1 hr, the film becomes slower.

As journalist Rajib Kanti Roy noted (in an article published on September 14, 2018 in Daily Sun): According to Sarat Chandra, pure love of a woman is a treasure for the world. That is why he has made no mistake in highlighting true love of Bengali women in his fictions. The character of Parboti in Devdas is a classic example of that. A girl of strong willpower and passionate feelings, Paru (Parboti) is not dependent on Devdas. When confronted with the practical choice of marrying a rich man to save her family name, or pining for a fickle lover who changes his mind on the whim, Paru chooses the former.

Devdas writes a letter to Paro, saying that he doesn’t love her, but sees her only as the “girl next door/friend.” We realize that he doesn’t want to go against his father. Devdas stays w/ a friend from college who drinks and lives a life of debauchery, Chunnilal (Jackie Shroff). When Devdas looks “stressed,” Chunnilal (who some viewers consider annoying) tells him to relax and offers him a drink. Devdas says no, as he never drinks alcohol. The men go off to “escape” in the next scene; Devdas meets a courtesan named Chandramukhi (Madhuri Dixit- then 34 y.o.) She and her fellow dancing girls perform (Kaahe Chhed Mohe). This song (by Kavita Krishnamurthy, Dixit, and Birju Maharaj) carries on the Radha-Krishna romance theme. Before the number ends, Devdas gets up to leave; he regrets that letter and wants to go to Paro. Chandramukhi stops him; he advises her to do something else w/ her life (giving her his wallet). Suddenly, she goes from flirty to very serious; she has fallen in love w/ Devdas. I thought Dixit did as well w/ this clunky dialogue; her eyes expressed much.

As Roy noted: Chondromukhi is a prostitute who stands out for her assertiveness and independence. Though repeatedly scorned by the man she loves, her body and mind remain free from the societal control that women are subjected to. She stoops only to love and that too out of her own choice.

Sumitra (w/ in a week) arranges a marriage for Paro; she helps dress and adorn her daughter as Devdas returns. We take notice of their big argument; Paro stands up for herself and the pride of her family. Devdas (who is spoiled and temperamental) thinks it’s not too late, but she is headed for a new life (where she will be “an aristocrat”). About 12 yrs ago, I met a young Indian-American woman at a literary event in NYC; she was writing a PhD dissertation on domestic violence in Hindi cinema and discussed the next scene. Devdas calls Paro “vain,” grabs a heavy pearl choker, and hits the top of her forehead. Though he claims this is “the mark of his love,” we see that it is physical abuse. The saddest song of the movie follows (Hamesha Tumko Chaha) as Paro leaves home; the two voices are Krishnamurthy and Udit Narayan. One of the main things here is that before touching her parents’ feet (sign of respect), Paro crosses the courtyard to touch Devdas’ feet.

Bhuvan Choudhry is a widower w/ a large estate; his white-haired mother introduces Paro to his adolescent son and daughter (who will call her Choti Ma- “little mother”). We also hear of an older daughter who is not happy about having a stepmother. After the wedding night, some giggling maids reveal that the bride and groom slept apart. Bhuvan explains that he married only b/c he needed a “lady of the manor and a mother for his children.” He shows Paro a picture of his late wife, saying that he will remain loyal to her memory. The look on her face is hard to determine- maybe she is a bit surprised and relieved.

We learn from Chunnilal that Devdas (very distraught) was taken care of for two nights by Chandramukhi. When Devdas cuts her down and offers her money, she retorts that he already paid her. We see that she wants to dance for him. She waits for his arrival, which annoys Kali Babu (an impatient patron w/ a thick mustache). As Devdas watches this song/dance (Maar Dala), he pours out some drink. (SRK actually drank alcohol while shooting some drunk scenes, so had to do many retakes.) He admits to Chandramukhi that he’s drinking to forget memories of Paro that haunt him- yeah, no kidding! I never got the feeling that SRK was losing control here, or in the following scene (where he cries, yells, and displays self-pity).

Back at her mansion, Paro is handling things quite diplomatically. She isn’t intimidated by a formidable guest (mother-in-law of Yashomati, Bhuvan’s oldest child). Since they are close in age, Paro explains to Yashomati that they can relate to each other as mom and daughter or friends. Yashomati (also a new bride) is very touched and gives her a hug. Then the groom enters to touch Paro’s feet- it’s Kali Babu- the creepy guy we saw earlier.

Paro goes to visit her family and sees that many people of the village are flocking next door. Sumitra explains that Narayan is at death’s door. Paro (being forgiving/kind-hearted) insists that they go to pay their respects, too. The old man weakly calls out for his son, but finds Paro instead. Kaushalya weeps, recalling how Paro used go find Devdas when he’d run off. Now, the family doesn’t know where to look for him.

Devdas is staying w/ Chandramukhi, but they are not together; he won’t let her touch him. She continues to listen to him go on… and on… Suddenly, Dharamdas (a loyal servant from his house) comes w/ a message- his father is dead! At the funeral, Devdas is falling-down drunk in front of his relatives and other mourners. I liked this next scene- both actors played it well (and it wasn’t too over-the-top). He opens a small treasure chest filled w/ items which belonged to her- anklets, a water pitcher, and the shawl (from when they were last alone). Paro (again in tears) insists that he stop drinking, but he refuses. She can’t bare to see him in this condition. Paro says she wants to take care of him; Devdas asks her to “elope” w/ him that night. What a clueless man- that’s what some viewers were thinking- no doubt! We see that Paro has matured, but Devdas is still a little boy.

Devdas finds Kumud (who holds a big ring of keys) and his older brother plotting to steal all the inheritance. He comments that Kumud doesn’t know re: the “crazy” side of his family, then sets a fire in his father’s office. For six mos. after he’s kicked out of the house (by his mother), there is no sign of Devdas. Paro finds an excuse (Durga Puja) and goes to check out the brothel (having learned of it from Dharamdas). Chandramukhi is no longer a courtesan and keeps praying for Devdas’ return. We see an altar, some of his possessions, and a diya which she lit for him (a recurring motif). Paro realizes that this woman also loves Devdas; Chandramukhi says she “worships” him. Before Paro leaves, she presents the bangle (which Devdas gave her) to Chandramukhi. They meet again at the Durga Puja, talk, and dance together (Dola Re Dola). This has a mix of Indian classical dance forms w/ steps that come from Kathak and Bharatnatyam.

As an Indian viewer noted (on IMDB), it is unlikely that a conservative Hindu woman (like Paro) would’ve visited a brothel or danced at a gathering (even in her own home). When Kali Babu reveals who she is, Chandramukhi is not bowed- she gives some strong retorts (calling out the hypocrisy of the aristocrats). I enjoyed that scene- she’s a badass! As he leaves, Kali Babu apologizes for what he did, but also tells Paro that her husband and mother-in-law now know of her er “friendship” w/ Devdas. When Bhuvan asks re: Devdas, Paro replies that he’s her “first love” (just as his dead wife). Bhuvan decides that she will not be allowed to step outside the manor, and she accepts his punishment. When the old lady tries to put out the diya (“fire in own house”)- Paro quickly stops her. I think this was a kind of gutsy scene- I hadn’t remembered from previous viewings.

At a bar, then on the streets, Devdas and Chunnilal drink (Chalak Chalak). Some women join in, incl. Chandramukhi (who is very happy to see Devdas again). Some viewers commented that they liked this number (sung by Ghosal, Narayan, and a few others). It starts out humorous, then becomes more frenzied/unsettled. We see that Devdas’ health has deteriorated; a doctor says he’s in a “treacherous” state. This is basically a drawn-out form of suicide. Devdas (finally) tells Chandramukhi that he loves her! He also tells her “if they meet again in Heaven, he will not be able to renounce her.”

Devdas travels by train w/ Dharamdas watching over him; Chunnilal finds him and they drink to friendship (not a good idea). His friend learns that Devdas is “incurable.” Devdas gets off at a station and travels to Paro’s manor, as he promised. Paro hears his voice (in her mind) and wakes up in the middle of the night. In the early morning, there is a crowd of men gathered around Devdas sleeping on the lawn just outside the manor’s gate. Paro runs through the house, evading servants and family, but her husband orders the gate to be shut. Devdas dies and the diya’s fire is blown away w/ the wind. This last sequence is well done and very intense, even to those of us who know how it ends.

“Humraaz” (2002) starring Bobby Deol, Akshaye Khanna, & Ameesha Patel

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…a look into the dark side of ambition. Each character has questionable motives, and the human drama alone kept me riveted through the film. The acting is convincing and the plot has many surprising twists and turns.

The plot was sneaky. You didn’t know what was going to happen next. I was totally shocked with the ending. They put a lot of work into the dancing, and it showed.

Abbas Mustan [the directing duo] lay pretty heavy emphasis on the villains in their films, and this film is no exception.

This is the Bollywood remake (or re-imagining) of A Perfect Murder (1998) starring Michael Douglas, Gwenyth Paltrow, and Viggo Mortensen. It was also somewhat influenced by Hitchcock’s Dial M for Murder (1954). The title of Humraaz (“soulmate”) refers to “someone who knows your secret or someone whom you have shared your secret with.” You can’t skip the songs here, b/c every great playback singer of that era sung in this movie! Karan (Akshaye Khanna), the head of a dance troupe and his girlfriend, Priya (Ameesha Patel), are two 20-somethings who have energy, passion, and talent. They audition to perform on a cruise ship owned by young industrialist, Raj Singhania (Bobby Deol).

They get the cruise job and put on a fun number (Bardaasht Nahin Kar Sakta sung by KK and Sunidhi Chuahan). Raj can’t keep his eyes off Priya. He sends her flowers, invites her to a fancy dinner, and they dance under the stars. Raj is quickly developing feelings for Priya; they go sightseeing in Malaysia (Dil Ne Kar Liya sung by Udit Narayan and Alka Yagnik, my favorite Bollywood duo). Priya didn’t want to go out, b/c she vowed to walk barefoot all day (since the troupe had become “permanent status” on the cruise line). Raj decides to go barefoot also; he finds her beautiful, charming, and innocent (basically the girl of his dreams)!

On her birthday, Raj throws a big bash, and asks Karan for a “special song” (Piyar Kar sung by Udit Narayan, Shaan, and Kavita Krishnamurthy). The lyrics fit very well w/ the story. Later on deck, Raj offers Priya a ring. For a brief moment, Priya looks conflicted, but then puts it on, saying “some dreams do come true!” Priya reveals to Karan that she’s engaged. At first, Karan looks shocked, but then smiles and hugs her, exclaiming “I can’t believe it happened so fast.” It was their plan all along- get Raj to marry Priya! One of the guys in their troupe watches from afar, wondering what is up.

Raj takes Priya to his family estate in Jaipur. Dadi (Raj’s grandma w/ whom he shares a close bond) declares the couple will be married ASAP. The family and guests celebrate w/ a sweet/hopeful song (Life Ban Jaayige sung by Sonu Nigam and Jaspinder Narula). On their wedding night, Priya tells Raj that she took a vow of celibacy for one month (b/c destiny had brought them together, as she’d prayed). Raj is surprised, but then says he respects her decision.

Raj and Priya hold a reception at their house; Karan comes to congratulate them. Raj describes his new life and the many emotions w/in him (Tune Zindagi Mein by Udit Narayan). This song starts off as pretty innocent, but we get some lines where Raj talks about jealousy (foreshadowing). More drama (life-altering) ensues. We see more of the violent side of Karan (as in the opener). One morning, Priya realizes that she does love her husband! We get the title song (Sanam Mere Humraaz sung by Kumar Sanu and Alka Yagnik). From here on (the last 45 mins or so), the movie takes dark turns (w/ scenes that are guaranteed to shock some viewers)!

Are you missing the (loud/colorful) hair and fashions of the ’90s? FYI: Khanna is wearing a hairpiece (as he started losing his hair before his mid-20s). Do you get a kick out of seeing (old) technology? Then this may be the movie for you! It’s around 3 hrs long (no joke), so it could take 2 days to watch. The first 90 mins go pretty quickly, thanks mainly to the musical numbers. The dancers here are also supporting actors (which is rare for Bollywood). I’m a fan of Khanna; his older brother (Rahul Khanna) is also actor. Rahul is seen in indies and TV shows (in both the US and India). I recently came across an article re: Patel (who is now 44); she celebrated 20 yrs of working in Bollywood. She still looks youthful and fit; she is producing movies now.

The comedic supporting characters are mostly one-note; they are present to serve the larger story. Raj’s loyal personal assistant, Mr. Darshan (Johnny Lever) is a veteran of Bollywood. In one scene w/ Karan, Darshan (who is always worried re: “what ifs”) sums up the entire story! After leaving school (lack of funds) as teen, Lever worked on the streets (selling small items) and copied famous actors. He worked at Lever’s soap factory in Mumbai, where he entertained co-workers and earned the nickname “Johnny Lever.” Eventually, he studied comedy and toured in variety shows. In the ’80s, he met Amitabh Bachchan and started getting small roles in movies. Lever is short, stocky, curly-haired, and dark-skinned. He is from Andra Pradesh; Telegu was his first language, not Hindi. In Bollywood, there are few actors like him who have become a success.

School Girls; Or, The African Mean Girls’ Play (Round House Theatre-Bethesda): SEPT 18-OCT 20

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Pretty, popular H.S. senior, Paulina (Kashayna Johnson), longs to become Miss Ghana 1988; she’ll do whatever it takes to win the crown. Suddenly, there is a new student at the Aburi Girls Boarding School, Ericka (Claire Saunders), who arrives from America w/ dresses from Macy’s and the latest beauty products. With humorous lines, deep insight, and timeless themes, Jocelyn Bioh’s award-winning comedy (sold out last year off-Broadway) reveals much about all of us, not just teenage girls.

The teen girls are the focus of the story. Paulina is the “queen bee” who takes charge of her peers, yet carries deep insecurities. Ama (Awa Sal Secka) is a very smart senior looking forward to college w/ a serious boyfriend. All the girls are part of a choir; some ’80s music is featured in the play. Cousins Mercy (Debra Crabbe) and Gifty (Moriamo Temidayo Akibu) provide moments of humor. Mercy’s father is a doctor, but very careful w/ money; the girls want new clothes and shoes. Nana (Jade Jones) is the girl w/ a heart of gold who (eventually) finds a way to stand up for herself. Her stepmother put her on a strict diet, disapproving of her weight.

The adults in the story are former classmates- Headmistress Francis (Theresa Cunningham)- a motherly, no-nonsense woman and self-serving, elegant Miss Ghana 1968- Eloise Amponsah (Shirine Babb, a theater veteran). The headmistress wears traditional clothes, incl. headwraps; Miss Amponsah wears high heels and Western skirt suits. Though all her girls are excited re: the beauty pageant, Headmistress Francis insists that education comes first. Only one girl will be chosen to represent this school- everyone is sure it will be Paulina.

Acceptance, standards of beauty, colorism (experienced outside Africa as well), and pains of growing up are the main themes of this play. It starts out like a broad comedy, then you get to know the girls, and realize just how layered their lives are (as we find in real life). This play is being put on by a team of all women- how rare! Also, Round House Bethesda was renovated recently (w/ a upper level of seats); check it out for yourself if in the DMV area. I went to see this play on one of the PWYC nights and really enjoyed it!

Blinded by the Light (2019) directed by Gurinder Chadha

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Gurinder Chadha (a British Asian Sikh journo turned filmmaker) made a big splash w/ the 2002 indie film, Bend it Like Beckham, starring Parminder Nagra (a theater actress who US audiences watched on ER) and a teen Keira Knightley (who became a worldwide success). At first, Chadha (now a mom of twins w/ her writing partner/husband Paul Mayeda Berges), felt that Blinded was too similar to her previous film. After Brexit happened, she was determined to tell the story (based on the life of a journo of Pakistani/Muslim heritage Sarfraz Manzoor). The movie was approved by Bruce Springsteen two years ago; after a private screening, The Boss told Chadha: “I love it. Don’t change a thing.”

Javed (Viveik Kalra) is a 16 y.o. living in ’80s Luton, England; it’s not a good time to be Pakistani, Muslim, or a dreamer who wants more than what’s planned by his parents. Margaret Thatcher is Prime Minister. The National Front (NF) supporters spray hateful graffiti on mosques and homes, including in Javed’s working-class neighborhood. Though he (secretly) wants to be a writer, his immigrant father- Malik (Kulvinder Ghir from Goodness Gracious Me)- wants him to be a doctor, engineer, or estate agent. Jobs are scarce in this town; money is tight in the family; the parents are anxious re: upcoming wedding of Javed’s older sister. Javed and his mom give their earnings to Malik; this was a surprise to many people in my screening.

Javed has been keeping journals for many years; he also writes songs for his best friend/neighbor Matt’s (Dean Charles Chapman from Game of Thrones) band. Things start to change between the long-time pals when Matt gets his first girlfriend and Javed goes into the sixth form (in preparation for university). Javed’s new English teacher, Ms. Clay (Hayley Atwell), sees potential in his work. She explains that he has an unique voice. Another British Asian kid in school, Roops (Aaron Phagura), introduces Javed to the music of Springsteen. Roops is based on the (real-life) best friend of Manzoor, who also co-wrote the screenplay. Javed falls in love w/ this American rock music (which was fading from popularity- FYI), feeling that Bruce is singing about his life!

Suddenly, Javed’s father is laid off from the factory job he’s had for 16 years. From the nightly news clips, we see that many people in factory/industrial towns are out of work. His mother, Noor (Meera Ganatra), has to take in more sewing to support the family; she works well into the night w/o complaint. Even Javed tries to go back to the bread factory where we worked the last summer, but there are no jobs. About half-way through the film, we get a (touching/sensitive) scene between Malik and Noor. I don’t think another filmmaker would have done it as well as Chadha. The parents would’ve remained more stereotypical, one-note, and unchanging. One critic esp. liked how they showed how much Malik cared for his fellow Pakistanis and mosque.

Javed’s younger sister, Shazia (Nikita Mehta), doesn’t understand why he’s so into Springsteen. We later learn that Shazia has a bit of a rebellious side also; she goes to “daytimers” (parties featuring bhangra music w/ fellow British Asian students). I had never heard of these events before- they look fun! Though this story is centered on a boy and his dad, it’s great to see a bit into a girl’s life.

One of the girl’s in Javed’s English class, Eliza (Nell Williams), is an activist who is impressed by his writing and personality. We eventually learn that she’s from a wealthy Tory (politically conservative) family. Her parents comment that Eliza dates boys who are “controversial” in the scene where Javed goes to their house. Aside from his obsession w/ Bruce, Javed is “a good, straight arrow kid” (as a film critic noted), so there isn’t much for her parents to worry about.

There is more to this (optimistic) story; you should check it out if it’s playing nearby. It doesn’t shy away from (in your face; period accurate) racism. FYI: People in my screening were shocked by a few scenes. A desi man in my audience commented after the film: “I grew up in Birmingham; it’s pretty accurate.” There is lot to like about this film, but it’s not perfect. The musical scenes may put some people off; a few viewers in my audience and critics considered them “cheesy” or “cringey.” They didn’t always fit well w/in the story; I was expecting them to be more naturalistic. FYI: 19 different Springsteen songs were featured through the film- WOW!

Always Be My Maybe (2019) starring Ali Wong, Randall Park, Keanu Reeves, & Daniel Dae Kim

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Real-life pals, Ali Wong (check out her Netflix comedy specials: Baby Cobra and Hard Knock Wife) and Randall Park (Fresh off the Boat) wanted to make a modern-day, Asian-American version of When Harry Met Sally, the iconic 1989 rom com that paired a sweet funnyman (Billy Crystal) w/ a beautiful, yet also eccentric, girl-next-door (Meg Ryan). Wong (who is a 37 y.o. actress/writer of Chinese and Vietnamese heritage) plays ambitious celeb chef, Sasha Tran, who is on the verge of opening more restaurants, incl. in NYC, LA, and her hometown (San Francisco). She is engaged to Brandon Choi (Daniel Dae Kim from Lost), a very handsome, successful, and somewhat older real estate developer. Before they settle down, Brandon wants to travel the world for a year and live like a single man (much to Sasha’s dismay). Her assistant/best friend, Veronica (comedian Michelle Buteau), says this is crazy, but Sasha agrees to Brandon’s terms.

A few months before the San Fran restaurant is set to open, Sasha and Veronica fly to the city and set up shop (and a very nice house for Sasha). Without telling Sasha, Veronica hires Kim & Son to set up the A/C system; when they arrive, Sasha is shocked and Marcus Kim (Park) acts very awkward. Mr. Kim (veteran character actor Jamies Saito) is happy to see Veronica and Sasha; they haven’t been around since high school. It turns out that Sasha’s immigrant family lived next door to the Kims (who are second gen Korean-American) and she and Marcus were best friends all through their childhood! Mr. Kim always thought they would end up together.

There is no one way to be Asian, but you would’t know that from consuming mainstream TV shows, movies, or most media. Here we have two individuals coming from unique families: the Wongs (who speak w/ accents) worked long hours at their store to save for their future and Sasha (though she resented it); meanwhile, the Kims (who have no accents) welcomed Sasha into their home after-school and she developed her interest in cooking from Marcus’ mom, Judy (Susan Park). There are certain touches that add texture to what could’ve been a typical rom com story: kids removing their shoes when entering a home; cooking traditional dishes at home; Asians of various backgrounds as neighbors, friends and romantic partners; a New Age type of Asian woman who works w/ at-risk youth; Asians rapping about their unique experiences, and (perhaps most striking) an Asian male as a romantic lead. Oh, and fans of Keanu Reeves are in for a treat, as are his haters. This is must-see, b/c I feel that different viewers will relate to it on different levels! I recommend it to foodies, immigrants (or those who are second gen in US), rom com fans, and even those who avoid the rom com genre. My favorite thing about Always Be My Maybe was the fact that this was a love rooted in friendship (which is one of the reasons that When Harry Met Sally was so popular).