Down 2,655 this week

Good Men, Good Women (1995)
"Hao nan hao nu" (original title)

Your rating:
    1 2 3 4 5 6 7 8 9 10 -/10 X  
Ratings: 7.3/10 from 704 users  
Reviews: 10 user | 10 critic

Intended as the concluding film in the trilogy on the modern history of Taiwan began with Beiqing Chengshi (1989), this film reveals the story through three levels: a film within a film as ... See full summary »


(as Hsiao-Hsien Hou)


(novel), , 1 more credit »
0Check in

Interview: Magic Mike

The Magic Mike XXL guys give some relationship advice to a 74-year-old fan.

Watch Now

User Lists

Related lists from IMDb users

a list of 2383 titles
created 09 Oct 2012
list image
a list of 1000 titles
created 05 Feb 2013
a list of 326 titles
created 9 months ago
a list of 45 titles
created 2 months ago
a list of 257 titles
created 1 month ago

Related Items

Connect with IMDb

Share this Rating

Title: Good Men, Good Women (1995)

Good Men, Good Women (1995) on IMDb 7.3/10

Want to share IMDb's rating on your own site? Use the HTML below.

Take The Quiz!

Test your knowledge of Good Men, Good Women.
11 wins & 2 nominations. See more awards »


Learn more

People who liked this also liked... 

Crime | Drama
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

A glimpse at the lives of two petty criminals in Taipei.

Director: Hsiao-hsien Hou
Stars: Shih-huang Chen, Hsiang Hsi, Kuei-Ying Hsu
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

In Shanghai in the 1880s there are four elegant brothels (flower houses): each has an auntie (called madam), a courtesan in her prime, older servants, and maturing girls in training. The ... See full summary »

Director: Hsiao-hsien Hou
Stars: Tony Chiu Wai Leung, Michiko Hada, Michelle Reis
Biography | Drama | War
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

In the first half of this century, young Li Tienlu joines a travelling puppet theatre and subsequently makes a career as one of Taiwan's leading puppeteers. During World War II the Japanese... See full summary »

Director: Hsiao-hsien Hou
Stars: Tian-Lu Li, Giong Lim, Ming Hwa Bai
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 6.9/10 X  

Taipei. A voice off-camera looks back ten years to 2000, when Vicky was in an on-again off-again relationship with Hao-Hao. She's young, lovely, and aimless. He's a slacker. Cigarettes and ... See full summary »

Director: Hsiao-hsien Hou
Stars: Qi Shu, Jack Kao, Chun-hao Tuan
    1 2 3 4 5 6 7 8 9 10 7/10 X  
Director: Hsiao-hsien Hou
Stars: Yo Hitoto, Tadanobu Asano, Masato Hagiwara
Drama | History
    1 2 3 4 5 6 7 8 9 10 8.1/10 X  

A beautiful, historical film based upon the complex lives of four brothers.

Director: Hsiao-hsien Hou
Stars: Tony Chiu Wai Leung, Shufen Xin, Sung Young Chen
Vive L'Amour (1994)
    1 2 3 4 5 6 7 8 9 10 7.4/10 X  

The film focuses on three city folks who unknowingly share the same apartment: Mei, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-ang, who's ... See full summary »

Director: Ming-liang Tsai
Stars: Chao-jung Chen, Kang-sheng Lee, Kuei-Mei Yang
Drama | Romance
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

A-yuan and A-yun are both from the small mining town of Jio-fen. In the city, A-yuan is an apprentice by day and goes to night school, and A-yun works as a helper at a tailors. Everyone ... See full summary »

Director: Hsiao-hsien Hou
Stars: Shu-Fang Chen, Lawrence Ko, Tian-Lu Li
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

When a young brother and sister spend a pivotal summer away from home, they are changed. Ting-Ting and Tung-Tung (Wang Qiguang) are children of the city, but when their mother is struck ill... See full summary »

Director: Hsiao-hsien Hou
Stars: Chi-Kuang Wang, Shu-Chen Li, Hsiu-Ling Lin
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  
Director: Edward Yang
Stars: Li-Mei Chen, Shiang-chyi Chen, Yi-wen Chen
Biography | Drama
    1 2 3 4 5 6 7 8 9 10 7.8/10 X  

The semi-autobiographical film on director Hou Hsiao-Hsien's childhood and adolescence, when he was growing up in Taiwan, living through the deaths of his father, mother and grandmother.

Directors: Hsiao-hsien Hou, Jia-hua Lao, and 2 more credits »
Stars: Chia-bao Chang, Neng Chang, Chih-chen Chen
    1 2 3 4 5 6 7 8 9 10 7.9/10 X  

A metaphysical mystery about the lives of three couples in Taipei that continually intersect over a span of several weeks.

Director: Edward Yang
Stars: Cora Miao, Bao-ming Gu, Wang An


Credited cast:
Annie Shizuka Inoh ...
Liang Ching / Chiang Bi-Yu
Giong Lim ...
Chung Hao-Tung
Jack Kao ...
Ah Wei
Rest of cast listed alphabetically:
Chia-Hui Bao
Cheng-Liang Chen
Chiao-e Chen
Duan Chen
Fei-Wen Chen
Hsin Yi Chen
Ming-Chung Chen
Shu-Fang Chen
Yi-Shan Chen
Kuei-Chung Cheng
Ching Hsia Chiang


Intended as the concluding film in the trilogy on the modern history of Taiwan began with Beiqing Chengshi (1989), this film reveals the story through three levels: a film within a film as well as the past and present as linked by a young woman, Liang Ching. She is being persecuted by an anonymous man who calls her repeatedly but does not speak. He has stolen her diary and faxes her pages daily. Liang is also rehearsing for a new film that is due to go into production soon. The film, entitled Haonan Haonu, is about a couple Chiang Bi-yu and Chung Hao-tung who returns to China to participate in the anti-Japanese movement in China in the 1940s and are arrested as communists when they go back to Taiwan. Written by L.H. Wong <>

Plot Summary | Add Synopsis


Drama | History | Romance





Release Date:

9 December 1995 (Japan)  »

Also Known As:

Good Men, Good Women  »

Filming Locations:


Company Credits

Show detailed on  »

Technical Specs


Sound Mix:


Aspect Ratio:

1.78 : 1
See  »

Did You Know?


Follows The Puppetmaster (1993) See more »

Frequently Asked Questions

This FAQ is empty. Add the first question.

User Reviews

Puzzling multi-layered picture of Taiwan's past and present
26 February 2006 | by (Berkeley, California) – See all my reviews

Hou's concept is an interesting one: instead of a straight linear narrative either about the White Terror period in Taiwanese history or about an actor with a dead gangster boyfriend, he overlaps the two, and adds a further layer by putting the gangster a couple of years ago, and the actress now getting ready to act in a historical film about the White Terror, while being bugged in the present by somebody who sends her faxes of a stolen diary about the gangster, and calls and breathes into the phone. Hou isn't trying to spoon-feed us, and that's admirable. He is also allowing us to ponder complex inter-historical relationships. But the effect of the spliced layers is jarring and doesn't always work. Another DVD reviewer (like me), John Wallis, of DVD Talk, has already commented that he "could not see how the film about the White Terror atrocities affected the actress in any way -- other than it made her lamenting over her lost boyfriend and soiled past seem pretty trivial." Is it that bad? Nick Schrager and Aquerello have offered the interpretation that after the gangster boyfriend's death, Liang Ching, the actress, is guilty of a " betrayal of his memory during her subsequent years as a drug-addled bar hostess." Schrager concludes that "The implication, as subtle as it is powerful, is that Liang's struggle to come to grips with her own disloyalty reflects modern-day Taiwan's attempts to confront (and accept) its own shameful past persecuting communists." Aquerello puts it that "Liang's betrayal of Ah Wei's memory is a modern day, personal manifestation of a national, historical event: the seemingly random persecution of Taiwanese people by their own government during the White Terror." That's a nice idea, but in fact Liang was a drug-addled bar hostess while involved with Ah Wei (Jack Kao), the gangster; when they have a discussion of her pregnancy while caressing in front of a mirror -- a stagy but compelling scene many writers have commented favorably on -- she points out that being a bar hostess, she has slept with many men, and she doesn't know for sure who the father is. ("Still, I'd like to see a little Ah Wei," says Ah Wei, rather lamely.) The guilt is not so clear. What is clear is that Liang Ching has had an unsavory past, and that her dissolute life has been a far cry from the dedication of the brave revolutionary she is going to portray on screen.

What is also clear (though the Fox Lorber DVD tonal quality is mediocre, particularly in the black and while segments) is the idealism of the Taiwanese nationalist fighters, who go to China to fight the Japanese who have been oppressing them but then after the war is over, are systematically exterminated (in a policy designed to please America, by the way). Some of these scenes, such as one where one person after another is briefly interrogated, have an arresting and somehow heartrendingly tender vérité quality, as does the scene where female fighters are taken from a prison room to be executed. There is a wealth of beauty in the film, even when the present-day sequences seem most contrived and boring, like a gangster dinner with city contractors just before Ah Wei's shot.

It is also true as Acquerello says that, "As Liang becomes the entrusted emissary for the story of Chiang Bi-Yu's struggle, she gradually becomes the generational conduit between Taiwan's turbulent past, and the decadent, uncertain future." That's about all we can say; what Hou means by this linkage is hard to guess, and perhaps only meant to be pondered, without any conclusions being drawn.

Howard Shumann has written a typically clear and informative review of "Good Men, Good Women" for Cinescene that clarifies the general structure and historical references of the film. My own reactions are quite different, however. I wouldn't be as extreme as the IMDb commenter who has called Hou's film-making "cinematic masturbation," or use the language of Sam Adams of the Philadelphia City Paper (2002) who calls "Good Men, Good Women" "a confused exercise" and suggests it's self-indulgent. But I have to agree with Adams that, "Good Men feels so arbitrary that its closing-title dedication — to the victims of the anti-Communist purges of the 1950s — is almost shocking; it's hard to believe the director could take a subject that seriously and make a film this self-indulgent." The shifts from the present-day actress's discomfort and her flashbacks to life with Ah Wei to the historical film-making never seem predictable. Some might find that intriguing; to me is merely seems arbitrary and random.

"Good Men, Good Women" is far more multi-layered and ambitious than a purely present-day musing like "Millennium Mambo" (despite the latter's tacked-on comment that the voice-over occurs ten years later). But the randomness of the splicings makes the implied relationship questionable, even frivolous. Hou may be better off separating his historical treatments from his modern ones, as he does quite simply with three segments in his recent "Three Times."

4 of 6 people found this review helpful.  Was this review helpful to you?

Message Boards

Discuss Good Men, Good Women (1995) on the IMDb message boards »

Contribute to This Page

Create a character page for: