"The World of Suzie Wong" is a film that is believe it or not difficult. While racism and sexism in elderly movies are usually rationalized (if not excused) by historical context. Most audiences today will balk at moments in Suzie Wong where Suzie is beaten up, blames it on the incorrect man, and then brags about any of it to her girlfriends. And Asian Us citizens will cringe at her cracked English and insufficient conscience. But the film celebrates "American" equality even while its romantic relationships undermine it. The World of Suzie Wong is so cool and complete, so it almost justifies imperialism in the name of love. The film that instructs a love account between an American designer and a Hong Kong prostitute who get over pride and prejudice and begin a new stage of life. The storyline is defined in Hong Kong in the late fifties of the previous century. Robert Lomax is a middle-aged American architect tired of his routine, he requires a year off planing a trip to Hong Kong to go after his imagine being an designer. He encounters a wonderful woman (Suzie Wong) on Hong Kong's Celebrity Ferry to Kowloon, who pretends herself as from the prosperous family, then disappears mysteriously in to the crowd. Robert's like to Suzie, not only point out the love of Oriental beauty, but also express the creativeness of European imperial growth: an spectacular woman occupies icon equated with ownership of an unique land, through such possession, the Western completed the re-positioning. The film also tries to fully capture the incredible beauty of the old-time Hong Kong. A long time before it became the present day commercial centre it is today. Star Ferry, Central, Victoria Harbor, Sampans, rickshaw, floating restaurant, huts, hillside shantytowns, joss-sticks burning ritual all breathes the smells of the Orient. The film depicts a racial stress between Westerners and China and a solid struggle of top notch and poor. Suzie wears a european dress to lift up up her status and fears recognizing Robert's proposal of relationship due to her category of prostitute, a underlying part class in the modern culture then. Probably the most interesting and unique feature of the character of Suzie Wong is that she is not a common whore, without self-respect. She actually is pragmatic but also a dreamer, a person with her own concepts and character. For instance, she does not sleep around. She is the typical embodiment of the person with a center of platinum. She gives delivery to a kid whose dad has left behind her. Rather than give up the child to the father, she hides it. The film also beautifies her character. She is scarcely viewed with jaundices eye. On the other hand, she shows up a most energetic and full of energy creature. The World of Suzie Wong is best described as a melodramatic travelogue. Its more memorable details poke a sly, satiric dig at the attitude of the English colonial ruling category in the territory. For instance, the character of the English businessman who comes deeply in love with Suzie Wong is portrayed as a vulnerable, a drunkard and womanizer but yet is one unwilling to "lose face. " The environment of Suzie's world are seen as a a great difference between poverty and riches. It really is a multi-coloured but pestilential world, packed with crises (poverty, the crowds, and the natural and individual disasters waiting around to befall). The film captures the brilliant teeming streets of any long-vanished Hong Kong, before it became the gleaming commercial capital it is today. The story lines is stock Hollywood: boy-meets-girl, boy-loses-girl, boy-gets-girl-back-through-tragic-twist-of-fate. But, set in the "exotic Orient, " it becomes an imperialist trope. Suzie is the native waif looking for rescue (only if from herself), and while Kwan's considerable display screen occurrence manifests as both fiery defiance and knowing guile, Suzie never completely rises above an annoying petulance. Brusque, headstrong Robert represents upstanding morality. Unlike his United kingdom counterparts in colonial Hong Kong, he considers and treats the Chinese language as "real people. " For example, in one infamous scene, Robert can take Suzie out to dinner at a posh team for expats. Unable to browse the menu, Suzie points to something that turns out to be salad dressing. Once the snooty waiter questions her choice, Robert saves her from shame by declaring, "Make that two. " Disregarding his Anglo peers' castigating glances and snide comments, he is constantly on the barrel his way through awkward situations with "American" moxie and disregard for convention. Comparing his worth with the supercilious, old-World racism of the English, the film posits Yankee imperialism as the "good" kind. But, in one infamous arena, this idealism discloses the brutal hypocrisy at its center. When her English sugar daddy purchases her some expensive Western-style clothes, Suzie goes to Robert showing off her new finery. Looking her up and down, he telephone calls her a "cheap European streetwalker" and flies into a righteous trend. Within a symbolic rape, he forcibly strips her right down to bra and slide, throws her new clothes out the window, and leaves her sobbing on the foundation. By using description, he asserts that she doesn't need "everything that tinsel. " What he really means is the fact that her appearance should abide by his image of the authentic Chinese female. Robert is portrayed as the quintessential North american maverick -- tough, impartial and bull-headed, the sole "real man" among the effete Brits and childlike Chinese. The appeal of the stoic American rescuer of helpless Asian women is still powerful. Quite simply, there's no need to convince us of Suzie's love for Robert. The pervasive mythology of North american imperialism provides plenty of proof. The film offers uncritical visitors both a getaway from everyday certainty and a feeling of moral superiority. Prompted to identify with Robert, they are in once immersed in, but not a part of, the exotic area. Out of this privileged distance, it's easy to see American imperialism as a love account. All types of abuses are perpetrated and glossed over in the name of love. HOWEVER THE World of Suzie Wong, despite its familiar report and seductive product packaging, never quite escapes the glaring contradiction between its professed egalitarianism and the apparent inequalities it so blithely reproduces.