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

7.3
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Ratings: 7.3/10 from 640 users  
Reviews: 10 user | 11 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 »

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Title: Good Men, Good Women (1995)

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Cast

Credited cast:
Annie Shizuka Inoh ...
Liang Ching / Chiang Bi-Yu
Giong Lim ...
Chung Hao-Tung
Jack Kao ...
Ah Wei
Rest of cast listed alphabetically:
Ah-Cheng
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
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Storyline

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 <as9401k56@ntuvax.ntu.ac.sg>

Plot Summary | Add Synopsis

Genres:

Drama | History | Romance

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Details

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Release Date:

9 December 1995 (Japan)  »

Also Known As:

Good Men, Good Women  »

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1.78 : 1
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User Reviews

 
A masterpiece of personal and social tragedy
21 October 2000 | by (Rochester, New York) – See all my reviews

A film about time and isolation and loss on a personal level, and on a national level, too; the Taiwanese patriots in the film-within-a-film cannot even speak Chinese--Taiwan having been a Japanese colony since 1895--so they are strangers to the motherland and strangers when they return home. The personal story glides seamlessly into the political. Endlessly moving, and only slow if you cannot feel Hou's deep compassion and depth of understanding. Why is this film maker not celebrated everywhere?


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