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Ngon na ma dak lin na (1998)

6.7
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Ratings: 6.7/10 from 312 users  
Reviews: 6 user | 3 critic

Two young men fall for the woman staying upstairs when she practises J.S. Bach's "Notebook for Anna Magdalena".

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Title: Ngon na ma dak lin na (1998)

Ngon na ma dak lin na (1998) on IMDb 6.7/10

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Cast

Credited cast:
Kelly Chen ...
Mok Man-Yee
Jacky Cheung ...
Policeman
Leslie Cheung ...
Editor
Chun Chung
...
Chan Kar-fu
Leo Ku
...
Yau Muk-yan
Ga-Wai Lee ...
(as Brenda Lee)
Wei Wei
Anita Yuen ...
Assistant Editor
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Storyline

Scruffy but irresistibly attractive Yau Muk-yan, without a job or a place to live, moves in with sensitive, shy piano tuner Chan Kar-fu. Both are disturbed, then obsessed, by the amateurish piano playing of upstairs neighbour Mok Man-yee. Obsession turns to romance, and romance to fantasy. The film is structured in four "movements": two themes (Yau Muk-yan, Mok Man-yee), a duet (Yau Muk-yan & Mok Man-yee), and a set of variations (a wild fantasy of Chan Kar-fu in his new novel). Written by L.H. Wong <lhw@sfs.org.sg>

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Genres:

Comedy | Music | Romance

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Details

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Release Date:

28 May 1998 (Singapore)  »

Also Known As:

Anna Magdalena  »

Filming Locations:

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Technical Specs

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Aspect Ratio:

1.85 : 1
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Connections

Spoofs Psycho (1960) See more »

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User Reviews

 
A nice surprise
14 June 2004 | by (california, USA) – See all my reviews

I went into this film with no expectations, and came away very pleasantly surprised. It is one of my most favorite romantic films.

The main storyline, a romantic triangle, was nice enough. Each of the three main characters (Chan Kar-fu, Mok Man-yee, Yau Muk-yan) have such different approaches to life and romance that it was pleasant (and sad) to watch the ways they connect and fail to connect. I felt this storyline was satisfying by itself, but I think it was given some richness by a series of very peripheral characters that comment on the theme of the film with their own inabilities to romantically connect with the people they are attracted to. For me, however, the thing that made this film stand out most strongly was the eccentric story-within-a-story (written by Chan Kar-fu, read by the assistant editor) which both lightened the serious tone of the film, and deepened the theme of love and the difficulty of admitting that love.


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