LAST week I went to see “Crazy Rich Asians” at the Giftland Mall. It was something I had been looking forward to ever since I read the novel. The stellar reviews and the dialogue the film has engendered about Hollywood and the representation of diverse casting and representation in film also had a lot to do with me wanting to see the movie. However, my trip to see the first film with an all-Asian cast in 20 years (since “The Joy Luck Club”) was made all the more important by the fact that I was accompanied on my trip to the movies by some young people. I saw an opportunity to include the future of the country in a conversation about themes that the upcoming generations may encounter in an even more visceral form than my generation is and I realised that “Crazy Rich Asians” was a chance to see a lovely romantic comedy, but, more importantly, it had the potential to allow people to engage with its myriad of important themes that we may encounter in the real world (social class, traditions in a contemporary world, culture clash, etc.), as well as themes that might be far removed from what we are used to (Singaporean culture, extreme wealth, and the Asian-American experience). Furthermore, “Crazy Rich Asians” is one of the films of the modern era which can help to dismantle the hierarchy of race in Hollywood and the ideology behind its existence as a film is one that exists behind many other works of art, movies, books, songs, paintings, theatre, that continue to represent the work of non-white peoples around the world.

Constance Wu stars as Rachel, a Chinese-American woman whose boyfriend, Nick, turns out to be the heir to one of the wealthiest families in all of Singapore. On a trip back to his home, Nick introduces Rachel to his stuck up, filthy rich, traditional family, who immediately take a strong disliking to Rachel and her American ways. While this concept of the family not approving of a potential daughter-in-law is not strikingly original, at least not in the romantic comedy genre, the way in which it is presented in the movie makes the idea come alive in a vibrant, wild, luscious, hilarious display of comedy, emotions, and breathtaking vistas of tropical Asia.

It is truly arresting the way in which “Crazy Rich Asians” makes use of the beautiful locales to full effect in this film, and it is a stark reminder of the importance of the use of locations in filmmaking. Every shooting location, from the Singapore’s famous Supertree Grove and Tyersall Park, to the West Village and the Perdana Botanical Gardens in Kuala Lumpur, there is ample use of architectural and natural beauty that are used perfectly to imbue the central family of the film with the required sense of being extravagantly rich.

The humour in the movie is also quite rich. Awkwafina as Peik Lin, Rachel’s best friend from college, is hilarious, serving lots of loudmouthed sass and tons of energy. Her complete lack of filter and the vocalisation of almost every thought that crosses the minds of audience members give her a chorus-like quality, giving a voice to the audience, verbalising what they think of Nick and his family. Peik Lin’s parents, played by Ken Jeong and Koh Chieng Mun, are also quite funny, satirising the new money wealth of Singapore in their gold-gilded mansion and blatant displays of wealth.

Other characters in the supporting cast are also quite good. For example, the immensely talented Gemma Chan, playing Astrid Leong-Teo, showcases the beauty and struggles of her character in a powerful way, managing to stand out without taking anything away from any of the other actors. She somehow manages to bring the melancholy and mystery and staggering beauty of the character in a way that is exactly as the character is presented in the novel. It is indeed rare to have an actor perform a role without a smidgen of difference from the portrayal of the same character in another medium, and this is a testament to her strength as an actress.

Michelle Yeoh as Eleanor Young, Nick’s mother who disapproves of Rachel and considers her son’s choice of a girlfriend to be below the acceptable standards is as strong as she always is. Eleanor is played as a stoic and sharp woman, willing to do whatever it takes to protect her family and her son, while still having an emotion core hidden deep, deep in her heart. Next to Chan’s performance, she comes closest to representing the character exactly as the character appears in the novel.

Sonoya Mizuno and Chris Pang as Nick’s friends also perform well in their roles. Pang plays his character as that solid, reliable best friend that everyone wants, while Mizuno demonstrates her range, playing a light, adorable role after a serious role in “Ex Machina” and a smaller part in “La La Land.” I’m excited to see her in Netflix’s upcoming “Maniac.” Mizuno and Pang’s wedding scene is truly one of the highlights of the film, and in some ways, the trip to the cinema is worth it just for this scene alone and resplendent reception scene that came right after.

Finally, the leads, played by Constance Wu and Henry Golding have very good chemistry and are extremely believable in their roles as a young, passionate, college professor and a secretly wealthy Singaporean billionaire, respectively. Wu deserves this lead role in a feature film and hopefully, this will serve as an inspiration for more Asian leads in film.

Her eyes are so expressive, that the silent moments when she thinks about the jealousy she has encountered from the girls besotted with Nick or when she contemplates her future with or without Nick are truly powerful moments of acting. The emotions that are brought out by Rachel and Nick, particularly in the climactic scenes are a testament to strengths of both actors and it is enough to make you leave the theatre weepy and forlorn, ready to look for love.