6.6/10
345
6 user 3 critic

On na ma dak lin na (1998)

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

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Cast

Credited cast:
...
Chan Kar-fu
...
Yau Muk-yan
...
Mok Man-Yee
Rest of cast listed alphabetically:
...
Policeman (Guest star)
...
Editor (Guest star)
Kin-Shing Choi
Chun Chung
Van Da La ...
Insensitive mental patient
Joseph Henry
Duone Dang Hinh ...
Musician
Chun-Ming Ho ...
Masked person B
...
Michelle
Yen Hoang ...
Nun
Yuet-Jan Hui ...
Masked person A (as Jojo Hui)
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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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Release Date:

28 May 1998 (Singapore)  »

Also Known As:

Anna Magdalena  »

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Aspect Ratio:

1.85 : 1
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Spoofs Psycho (1960) See more »

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User Reviews

An unusual way to convey a story from ordinary material
22 December 2003 | by (Boston, USA) – See all my reviews

Anna Magdalena is certainly a very interesting film. It is interesting in that this film's plot does progress linearly, bilaterally or whatever. In fact, it is hard to categorise this style of storytelling. Besides being a comedy and a drama, I think this film can also be categorised as a fantasy. To some people, a plot is considered to be an essential ingredient in a film. A certain setting must lead to a certain event, and then that event must be developed further into a plot. However, this movie has proven to the audience that a motion picture need not be bounded by the rules of literature or the theater. In portraying a romantic story, most artistic screenwriters will use a narration, but a creative screenwriter like Ivy Ho chose a much more fantastic style. In the middle of the film, the Anna Magdalena that is chapterised in a style that resembles a classical music piece, spins off to the inner fantasy of Chan Ka Fu(Takeshi), who has written it down and sent it to a publisher. As Chan's flight of imagination is being played out, the subtle love of the assistant editor(Yuen) and the editor(Cheng) are also being portrayed. Granted, The love triangles of Chan, Mok(Kelly Chan), and You(Aaron Kwok), and the As. editor, the editor and his wife are seemingly irrelevant, but the screenwriter has already made it clear that this film is not about the telling of a single story, but a more general, more common yawn for true love among Hongkongers. For those who are tired of set ways, who want a little spice in the dough, who are open-minded to different things, this movie is a must-see.


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