User Reviews

The setting is Hong Kong in the late fifties…

The film tells the story of a bittersweet love affair between an American architect who has decided to try painting and a wonderful Asian girl who uses with vigor and diligence her essentially dirty trade in a turmoil of mischievous fantasy…

Suzie Wong (Nancy Kwan), attracted to Robert Lomax (Holden), offers to be his "steady girlfriend," but a world-weary Lomax informs her that he has had enough of love and wants only to paint…

Paint he does, and the irresistible hooker, appointed as a model, appears in his work in a variety of poses… A compassionate Lomax suddenly realizes he loves her and takes her as his mistress…

There are comic moments in Richard Quine's movie concerning the lies Suzie relates to win the respect of her prostitute friends and her drunken admirer, Ben (Michael Wilding).

Nancy Kwan in her film's debut displays a large range of feelings, alternating hardness, affection, and affinity

"The World of Suzie Wong" was the second film in which William Holden plays an American who travels to Hong Kong and falls in love with a local girl; the first was "Love is a Many Splendored Thing" from five years earlier. The differences between the two films perhaps illustrate the way in which society was gradually changing as the fifties gave way to the sixties. In the earlier films the two principal characters, Mark Elliot and Han Suyin, are both middle-class professionals in their thirties. A film telling the story of their romance would therefore have been entirely uncontroversial were it not for the fact that Suyin is of mixed race, something which in 1955 was enough to make the film seem daringly controversial. (To soften the blow somewhat the character was played by a white actress, Jennifer Jones).

Here Holden plays Robert Lomax, a middle-aged American architect who gives up his job and moves to Hong Kong in order to pursue his ambition to become a painter. (In Richard Mason's original novel, Lomax was British and considerably younger than the character portrayed here). His love interest is Mee Ling, alias Suzie Wong, a twenty-year-old prostitute from the notorious Wan Chai district. Unlike Han Suyin, Suzie is supposed to be of pure Chinese blood, although a mixed-race actress, Nancy Kwan, was cast in the role. The film deals with the problems posed to their relationship not only by differences in nationality but also by issues not explored in "Love is a Many Splendored Thing", namely differences in age, in social class and (most importantly) outlook.

This was Nancy Kwan's first film, and she makes a ravishingly beautiful and tender heroine. (She was only the second choice for the role, the first choice, France Nuyen, having been sacked, allegedly for putting on too much weight). Her inexperience as an actress does tend to show, but this did not prevent her from going on to become the second major Hollywood star of Chinese descent after Anna May Wong. Holden is better here than he was in "Love is a Many Splendored Thing", in which he made a rather uncharismatic hero.

The film was of course highly controversial in 1960, and remains so today, although for different reasons. We may no longer raise an eyebrow at films about prostitution or white-man-and-Asian-girl love stories, even if Hollywood prefers to steer clear of some other racial combinations, notably black-man-and-white-girl. "The World of Suzie Wong" has, however, been criticised for allegedly perpetuating the racist stereotype of the meek, submissive Oriental woman.

This is not, however, a criticism I would accept. To point out, as this film does, that some women in poor countries- and Hong Kong certainly counted as such in 1960- regard the idea of becoming the wife or mistress of a wealthy foreigner as the best way out of poverty is not a patronising racist stereotype but a regrettable statement of the economic facts of life. (For a time Suzie becomes the mistress of Ben Marlowe, a married British colonial official). Suzie does not act submissively because she is submissive by nature, but because she has been forced into prostitution by economic circumstances and because her clients expect submission from her. Much of the film's psychological drama arises from the efforts of the rather moralistic Lomax to realise this, and Suzie's efforts to realise that he is not just another Ben Marlowe, that he genuinely loves her and that she does not need to put on her submissive act with him. There have been "tart with a heart" films which have taken a much more patronising view of their heroines, but because these heroines have generally been white the films have not been criticised in the same way.

The film also gives us an interesting picture of Hong Kong at a key moment in its history. Before and immediately after the war it had been regarded as something of a backwater, and had the Nationalists won the Chinese Civil War it would doubtless have been returned to China much earlier. The Communist seizure of power, however, gave it a much greater strategic and economic importance to the West, and its population was boosted by the stream of refugees from Mao's regime, a stream which by 1960 had become a flood owing to political repression on the mainland and the famines which followed the so-called "Great Leap Forward". In the long run, of course, it was the entrepreneurial skills brought by these refugees which were to be responsible for Hong Kong's transformation into a dynamic, prosperous trading centre, but in the short run they added to the city's problems of poverty and overcrowding, shown in this film by the shanty-town in which Suzie is forced to live.

Much of the interest of "The World of Suzie Wong" is today historical, although it is still highly watchable as a moving love story between two people of very different backgrounds. It is more than a "tart with a heart" melodrama. It also has some pertinent points to make about colonialism and sexual exploitation. Although few colonies still remain, what it has to say on the latter subject is perhaps even more pertinent today than it was in the colonial era of fifty years ago. Then only a few colonial officials, businessmen and wealthy travellers could exploit women in this way; today the internet and cheap air travel have placed "sex tourism" and "mail-order brides" within the reach of many more. 7/10

AT LONG LAST I saw The World of Suzie Wong at my school library today. You just have to see it to believe it. It is a shame that it takes an outsider (Hollywood) to capture the exotic beauty of the old-time Hong Kong. (With Love Is a Many-splendored Thing as the forerunner) I have never seen Hong Kong photographed in a flattering yet realistic light. Nancy Kwan ignites the screen with such charm and grace which Asian actresses seriously lack today. All through the film I smile whenever I see her. I love her chemistry with William Holden..yet another favorite of mine...Hong Kong is blessed to be immortalized by this exquisite romance.

I remember watching this movie years ago on TV one night and absolutely being mesmerized by the lovely Nancy Kwan..When I noticed it was available on DVD I rented it one evening and was again totally captivated by Nancy..Back in the sixties, Nancy Kwan was the biggest Asian star around! She made her debut in this lavishly filmed production and what a debut! She exudes an incredible amount of sex appeal yet there is an innocence about her that is very charming in this film! I've read that this film was criticized for negative portrayals of asians....but if you just look within the context of the story, I think it's a powerful love story..which is what it was meant to be! The locales are fantastic..William Holden is wonderful and the supporting cast is full of colorful characters!

I enjoyed the movie because I accepted it for what it was -- a love story between two PARTICULAR people. I did NOT see it as an allegory about East meets West, imperialism or feminism. To me it wasn't a documentary about interracial love. Thus, the title ("The World of Suzie Wong") is somewhat misleading. It isn't so much about the the world or Hong Kong, but about two individual people.

The Holden character was unique -- someone pushing 40, conventionally moral, unsure what would become of him professionally and geographically, suffered some bad romances in the past, couldn't afford to "keep" Suzie, and --though attracted to her-- couldn't bear the thought of her having to consort with other clients. Suzie had no other foreseeable job opportunities commensurate with what she could earn from prostitution. She created a fantasy personality/situation in her mind to deflect the grimness of her profession. As mentioned in the film, she was presented as particularly strikingly beautiful; for one thing, she was hailed as the prettiest girl in her hangout. For me they only had to prove things for themselves, not for the sociological things mentioned in the first paragraph.

I generally liked the movie -- quite a few interesting scenes scattered amongst the tedious parts.

Best part for me -- I loved that scene, near the end, with the burning of the paper models for a departed character, cried. At the very end of the scene, Holden asks her to whom he should address the "letter of introduction," which also was to be burned. She replies, "to whom it may concern." Wonderful. Worth staying through the whole movie.

American William Holden, as former architect turned struggling artist, Robert Lomax, a cynic who's "pushing forty," arrives in 1960 Hong Kong to make a valiant effort for his art. He's never been there and has no idea what to expect. On the ferry boat to Kowloon, he has a sort of altercation with the very young & attractive Nancy Kwan, who claims to be named "Mei Li," a very proper young lady about to enter into an arranged marriage set up by her wealthy father. Shortly before reluctantly introducing herself, she also almost manages to have Robert arrested by claiming he's a purse snatcher, which, judging from her mirthful expression, she does for the sheer entertainment value of the situation.

Robert, completely lost and not particularly wealthy, soon makes his way to the Wan Chai district, and, in his naivete as American abroad, fails to realize he's entered the main prostitution district in the city. His journey to the seedy hotel where he sets up shop as artist would be one of the highlights of the film: Robert's amazement and confusion at the bustling, vibrant city that has become his new home come across nicely. In many ways, the brilliant cinematography and camera work turn the city of Hong Kong itself into the unacknowledged third star of the film. However, it's a very different Hong Kong than now: very much a British colonial post, and, in segments of the neighborhoods, almost a Third World city.

Unfortunately, once Robert reaches the hotel, the movie loses much realism, and we've plainly entered a 1950's Hollywood set version of Hong Kong, complete with cartoonish prostitutes and Brit sailors on leave. It turns out that prim-and-proper Mei Li's none other than "very popular" Wan Chai "girl" Suzie Wong. There are some very dated scenes that follow, although actress Jacqui Chan's charming in an off kilter way as bar girl Gwennie Lee. Nancy Kwan vamps and spouts much pidgin English and says "for goodness' sake" about 500 times in a row. Fortunately, Robert, Suzie, and the camera eventually hit the streets of actual Hong Kong again.

Then, something odd happens with this film, bit by bit. The movie focuses more and more on Robert and Suzie as a couple, and, bit by bit, Suzie becomes less of a stereotypical bar girl and more and more of a human being who behaves unexpectedly. It turns out that she has developed a persona for herself, a very manipulative, successful one, that's given her an edge in a very harsh city for abandoned young women. She has an active fantasy life, that's enabled her to separate herself psychologically from the more sordid aspects of what she's done in order to survive. Robert too, becomes less and less Joe Gillis, Jr. (for those of you who've seen Holden in SUNSET BLVD. from a decade earlier), a one-note, crabby cynic with a paternalistic attitude towards Suzie, and more and more a human being who's in love. He shows this most plainly when he finds out that Suzie has an infant son, and Robert accepts little Winston affectionately as his own. In a complex way, Suzie, and also little Winston, act as muses for Robert, and his own art becomes more inspired and interesting because of them. Suzie also benefits from her love for Robert and shows some real emotion for him rather than her usual play acting.

This is where I find the movie interesting, as it depicts, much more realistically than one might expect in 1960, the dimensions of a biracial, bicultural couple's life together. Although Robert has made contact with the British elite in the city and needs them for patronage for his art, he's never really comfortable with them or their patronizing, mildly racist way of observing the Chinese. Kay O'Neill (actress Sylvia Syms), the daughter of a well-placed British banker, falls for Robert, but he doesn't really feel any emotion for her as he does for Suzie. Of course, she can't believe Robert would really prefer Suzie to her. When he announces he's thinking of marrying Suzie, Kay's father says that, of course, he could never hire someone in those circumstances. The rest of the Brits more talk around Suzie than to her whenever she's present. Likewise, most of the Chinese, while polite with Robert, don't know quite what to make of him, either, and he seems to do better either with Suzie as intermediary or because her friends help him along. It's obvious too that sometimes cultural miscues cause Suzie and Robert to misunderstand one another. This leads to the beginning of the climax of the film, which is somewhat tragic.

No doubt, this has been a controversial film. In the past, many Asian-American studies professors seemed to grow livid at the mention of it. This was supposed to be the ne plus ultra (or maybe the nadir, instead) for stereotypical portrayals of all Asian women as submissive little China doll characters or bar girls. There is some of that there (although much less than in most other 1950's-early 1960's American films), but, as I'd noted, the interesting thing's how the stereotype turns out to be a fake, something created for the advantage (if that's the word) of the heroine for relating to foreigners. It's also interesting how the genuine romance, one based on a sort of mutual respect between Robert and Suzie, becomes more important. Most interesting of all's the portrayal (that mostly rings true) of a biracial, bicultural romance between two human beings. As someone involved in such a relationship for many years, I found myself giving the film an extra star for this "rightness" alone.

Plus, if nothing else, this movie's a terrific time capsule/travelogue of Hong Kong, as it was never so brilliantly captured elsewhere on screen in that era.

I remember The World Of Suzie Wong but had never seen it. I dug it up because I am planning a 2016 trip to Hong Kong, and that is where this story takes place. I was 14 in 1960, and this movie would have been over my head. William Holden is an American architect who wants to become a painter. He goes to Hong Kong to pursue his dream and gets in with Nancy Kwan as Suzie Wong. She is a prostitute, although we have to read between the lines. I was more interested in the city than I was in the drama that ensued between Holden and Kwan. It comes out toward the end that Suzie has a baby, which ultimately dies in a flood. I felt like the story had to kill off her baby so Holden and Suzie would be free to marry and have one of their own. It was good to see an older man get the girl.

If there was one beautiful face on the screen that mesmerized me in 1960--it was Nancy Kwan as Suzie Wong in "The World of Suzie Wong". Forty five years later, I bought the DVD and I treasure this movie as much as I did in 1960. This was the time when Stars were Stars and beauty was not skin deep. Nancy Kwan stole the scenes from her "Permeanent boy friend, Lobert!" (Chinese version of Robert!). William Holden who was at the peak of his career at that time gave a subtle but memorable perf. There is more romance in this movie than "Casablanca" and "Sound of Music" combined. The location is beautifully captured, with background music embellishing the landscape. This was produced by Ray Stark and masterfully directed by Richard Quine. This was when Hollywood was the glamor capitol of the world and artistry and talent took higher billing. This movie is an attestation to the fact, that-you make good movies, people will see them no matter what, when and where. The movie was a visual treat, with an old fashioned romance and an innate beauty that the newer movies will never capture. "To who it may concern," Why can't Hollywood make more movie's like this?-"For Goodness Sake"!!!.

When I heard Nancy Kwan mention her work in her debut feature on the commentary track of Flower Drum Song, I knew I had to see The World of Suzie Wong sooner rather than later. So I managed to check this out of the library and just watched this with Mom, whose first time this was also for viewing. We marveled at the Hong Kong locations, the impossibly blossoming romance between William Holden and Ms. Kwan, and the drama of some of the sequences of the crowded tenements which my mom recounted experiencing when visiting the country several years back. If there's one quibble we had about the movie, it's the one scene where Nancy-after suffering a real beating from a sailor who Holden subsequently beat back-"brags" to her girlfriends about Holden's "beating" her because it meant he "loves" her! Talk about political incorrectness! Other than that scene, we both loved The World of Suzie Wong especially the touching ending. So that's a recommendation.

There are layers to "The World of Suzie Wong". I find it engaging, surprisingly witty, and William Holden and Nancy Kwan have charisma to spare. However the way the film highlights how the Chinese were classed as social inferiors is wince-inducing. Especially so now that China is an emerging super power, and the fact that if you go to a hospital in my city, Sydney, your life is very likely to be saved by a Tan, a Chan or a Wong.

But this film is a time capsule of the way things were. The film actually treats the Chinese rather respectfully. Even though the bar girls at the centre of the story are prostitutes, they are presented as worthwhile people and given a certain dignity although I can't imagine Elizabeth Taylor or Audrey Hepburn swapping places with Nancy Kwan when William Holden tears off her dress.

As an artist, I enjoy the art aspect of the story. It's amusing watching William Holden pretending to paint Suzie in his bedroom studio. Bill is a neat painter. No dustcoat or apron for him, even though a spatter of Alizarin Crimson or Cerulean Blue would turn his trousers into painting pants immediately - I possess about 50 pairs of painting pants.

But I have always admired the paintings he executes as the story unfolds. Bold, confidant works with powerful composition and superior draughtsmanship.

Recently I discovered that they were done by Elizabeth Moore, a sixteen-year-old art student attending Kingston Art School in London. Sixteen! Amazing. Better known as Liz Moore, her first love was sculpture. She went on to create the Star Child for Kubrick's 2001 and then the 'nude' furniture for the Korova Milk Bar scene in "A Clockwork Orange". Finally she was involved in creating the costume for C3PO and the Stormtrooper helmets for "Star Wars".

There are a couple of sites that have tributes to her and show other work including busts of The Beatles and Dame Sybil Thorndike. Another site features "The centrepiece painting from the film 'The World of Suzie Wong'", revealing thickly applied impasto. Photos of her show a vibrant blonde. Sadly that beauty and talent was crammed into too short a life. She was killed in a car crash in Holland in 1976 aged only 32.

To those who know, "The World of Suzie Wong" is a legacy to that burgeoning talent and a gift that would seem to have been divinely inspired.

When William Holden and Jennifer Jones scored well in Love Is A Many Splendored Thing about an interracial romance set in Hong Kong on a loan out to 20th Century Fox, the folks at Holden's home studio at Paramount figured that the long running Broadway play, The World of Suzie Wong was a natural for Bill. They bought the property and took a one scene play in the cheap Hong Kong hotel room into big production. So big it kind of dwarfs the tender love story.

But the worst part of Suzie Wong is that Bill Holden is so terribly miscast. The then 43 year old Holden is playing a part that on Broadway was done by William Shatner then age 28. The part of the architect who wants to become an artist and goes to Hong Kong to discover his talent would have been better for someone like Paul Newman or Marlon Brando or even Montgomery Clift.

However newcomer Nancy Kwan who is from Hong Kong scored well in the title character that France Nuyen did on Broadway. Back in the day Kwan and Nuyen seemed to do just about every young beautiful oriental woman role that came to the screen.

Also well cast was Sylvia Sims who's carrying a torch for Holden as the banker's daughter trying to help him in art circles and Michael Wilding the two timing cad who enjoys Kwan's favors as a prostitute and would like to make the arrangement semi-permanent.

Love Is A Many Splendored Thing made a lot more sense because Holden was romancing a professional woman his own age in Jennifer Jones. He comes off more a like a dirty old man in this film.

Jen and Bill have their high windy hill in that other film and in The World of Suzie Wong there's another hill where Suzie lives part time and which sustains a mudslide after the monsoon. Let's just say it's not something to write a romantic hit song about.

The World of Suzie Wong does have some nice location photography of Cold War Hong Kong. The plot has some similarities to Some Came Running, but it isn't half as good.

Come to think of it, I thought Frank Sinatra was miscast as the lead in that film as well.

When Nancy Kwan turned her beguiling eyes on William Holden in this 1960 [risque for the time] movie I felt weak in the knees. I was 13 and in my little home town of Miles City, Montana I was far removed from the type of life depicted here. The plot though very understandable featured tough realities to depict. Kwan's beauty seemed vibrant, fresh and full of innocense, how could she play a prostitute? [Her spectacular performance kept me spellbound throughout the movie and I knew THEN that girls must be much more complex than my heretofore 13 year old male pysche could imagine.] The obvious age difference between William Holden and Kwan was a hurdle few professional actors and actresses at the time could have so skillfully surmounted, they were superb, they sizzled then they were tender, then they were angry. I count this film in my top-ten ALLtime for these and a number of other reasons.

William Holden plays Robert, an artist whose plan is to go to Hong Kong for a year to paint portraits. He meets Susie Wong, a hostess girl played by Nancy Kwan. The movie is about their relationship, the ups and downs, the folly and the serious, the happiness and the frustration. Its a good film about a relationship between two cultures, and probably depicts a way of life at that time in Hong Kong, but it still doesn't feel wholly authentic somehow to me. Nancy Kwan does a good job, but her character sometimes annoys me. I guess the thing is you have to believe William Holden would be willing to have the patience to deal with her, especially given the fact that she has multiple "boyfriends". In the end, what we have is a well made film with good performances, but a film you finish kind of shaking your head to. Recommended, but don't expect a great film.

Handsome screen-adaptation of Paul Osborn's hit 1958 play (via Richard Mason's 1957 novel) can't overcome its stagy roots, nor the fake-exotic plushness which prevents the scenario from blooming (glossy doesn't equal exotic). Story about a Hong Kong prostitute should not have been this tame, even if Nancy Kwan shimmers in the titular role. Strolling through as an American artist who woos the illicit Suzie Wong, William Holden gives one of his weaker performances; he clearly isn't into this role and one can hardly blame him, the story being so clichéd and the set-up so concocted. Soap fans will be the movie's best audience, and George Duning has composed an attractive score. ** from ****

Today there are many "chick flicks." The World of Suzie Wong is the quintessential "romance for guys."

There are two parallel themes in this film: 1) the "Pygmalion" theme, which was old when George Bernard Shaw's play first appeared in 1913. Pygmalion, in classical legend, was the king of Cyprus who fell in love with his own sculpture. Hence the theme of beginning with a raw material (in this case a woman of no great position or education) and to some degree transforming her into she whom you might adore.

Some may object to this theme carrying racist overtones, but in my view the reverse is true. The very fact that in this type of romantic union the protagonists are of unequal social position means that the man is attracted to the woman because of her human qualities, not because of any advantage she can provide to him in terms of social status or wealth. In fact, a man who loves such a woman is often looked down upon socially, which is present in this story. The object of Robert Lomax's love is Susie Wong for who she is as a woman and how she makes him feel, and he gladly, even cynically disregards the disparagements of those who do not approve.

2) Theme number two is the enchantment of the East. This is magic stuff for those so smitten, and once smitten, these is no cure. In this way, this wonderful story (novel and film) is understated. It is barely believable that Lomax's attraction to Suzie would start from nothing and grow so slowly to compelling strength. This mixture of desire and fascination is more likely to stormily seize a man's heart, but "Robert meets Suzie-falls crazy in love-marries Suzie" would make for a ten-minute film, and that just wouldn't do, would it?

It's also an interesting commentary on the film makers of the fifties that when they wanted to tell the story of interracial romance they had to attenuate the effect. Both Nancy Kwan and France Nguyen (in South Pacific) were of mixed parentage.

When a guy with Quixotic romantic notions (which Lomax clearly has, or he would not be in Hong Kong trying to paint professionally) beholds the lovlieness of a Nancy Kwan in those subtle, but oh, so sexy silk dresses (cheongsam in Cantonese, Qipao [shee pow] in Mandarin), he sees a vision of feminine loveliness he thought could only exist in the Platonic realm of the form. He sees perfection. He is enchanted. There is no cure save to have this woman for his own or death. This enchantment your humble correspondent knows first-hand, and therefore connects deeply with Robert and Suzie.

The World of Suzie Wong is so very romantic, and the themes explored here are enduring. I love the novel -- I love the film. I can't imagine anyone but William Holden playing Lomax. This role belongs to he.

Though William Holden's age is part of what makes him awkward as the lead, another obstacle is his being American, as the hero ought to be English. The novel was written by an Englishman, and all the Westerners we meet in the movie, as Hong Kong was then a British protectorate, are English. Along with not being young and sexually timid or naive (the better to contrast with Suzy), Holden, a big, virile-looking man, does not share the washed-out-looking sexual primness of the English, and therefore seems almost as much an outsider among them as does Suzy. He does not have the cautious, deferential manner of the Englishmen, who, we are told, often have Chinese mistresses--not surprising at a time when good women were not supposed to enjoy sex, even after marriage. Michael Wilding, as the pathetic English businessman, says he was "grateful" when his wife allowed him to make love to her for the first time in a year.

In viewing The World of Suzy Wong, one must keep in mind that it was made at a time when the ethos of the wife was different from that of the prostitute only in that she would limit herself to one man. Both types of women, in return for money, gave not only sex but submission and obedience. Suzy's belief that a man who really loves his woman will beat her is treated as comic, but at the time the picture was made this was indeed the belief of many women, and not just in the Orient. And while many other women might not have equated male violence with passion, they tolerated it as part of the price they had to pay for financial security. Despite the stricter morals of the time, it might actually have been easier for a man to see a prostitute as a potential wife than it would be today, when she would not be looked down upon for her sexual promiscuity (which could be fixed with a proposal) but for her low earnings and poor career plan.

A disillusioned, grizzled American architect called Robert Lomax (William Holden) puts his career on hold and leaves everything behind to have a go at painting. Along the way, the wanna-be painter with no much success meets a Hong Kong hooker (Nancy Kwan) who lies to him about her profession, her family and herself, as he hires her as a model. Then the Asian protitute plays cat-and-mouse with the American painter. At first he's just amused, she's bemused, but little by litte he falls for her. Despite their marked differerences their relationship flourishes for a while. The most tender and touching love story of its time!. You are the first man I ever loved... and the world has only just begun...It is, only the stuff that dreams are made of !.

This is an attractive comedy with some dramatic incidents about an enchanting subject, containing emotion, a love story and hilarious as well as tragic moments. Holden plays the aspiring young artist in Hong Kong who falls for a prostitute. Marvellous Nancy Kwan, she's just adorable as the hooker: a star-making acting in the old tradition. Opposite her, Holden unexpectedly blossoms as a light romantic comedian of the very deftest touch. Romantic comedy/drama makes a comeback in style , even with a few tears at the end. The film is pretty well, despite major failures like poor script, the loating of her way of life and the restrictions that taste demanded of films in those days. But denied the chance of being honest about its subject, it soon degenerates into euphemistic soap opera, with vague gestures towards bohemianism and lukewarm titillation. The main stars are well accompanied by a a good secondary cast, such as: Sylvia Syms, Michael Wilding, Jacqueline Chan, Laurence Naismith and Bernard Cribbins. At times, director Quine seems to have devoted most his attention to the Hong Kong location.

It packs a colorful and brilliant cinematography in Technicolor by Geoffrey Unsworth. As well as catching and sensitive musical score with plent of oriental sounds by George Duning. This modestly entertaining bit of whimsical tale was professionally directed by Richard Quine, though it has its ups and downs. Quine was nice actor and director who met fellow MGM contract player Susan Peters on the set of the film Tish (1942), they became engaged and married during the filming of their second movie together, Dr. Gillespie's New Assistant (1942). Quine was a good artisan expert on comedy and drama as proved in the following ones : Hotel, Oh Dad poor dad Mama is hung you in the Closet , Paris when it sizzles, W, Prisoner of Zenda, Sex and the Single Girl, Bell, Book and Candle, among others. Rating The World of Suzie Wong(1960): 6.5/10. Acceptable and decent Dramedy. The flick will appeal to William Holden and Nancy Kwan fans. The whole thing's so warm (exception for a tragic event) and funny you'll cry.

In this adorable, sad, dated, accessible romance, Nancy Kwan and William Holden shine. I don't usually like William Holden, but I loved his passion and depth of feeling in this movie. I used to say I only liked him in Picnic, but now I can proudly say I like him in two movies! This was Nancy Kwan's first film, and with no previous acting experience, it's amazing how she owns the role and commands attention on the screen.

William Holden, a starving artist, meets the prim and proper, beautiful Nancy Kwan while on a ferry boat to Hong Kong. He rents a room in a seedy hotel that's a favorite of prostitutes and sailors because it's all he can afford. Imagine his surprise when he recognizes one of the working girls in the downstairs lounge as Nancy Kwan! Nancy is adorably contradictory, and their on-again, off-again romance is beautiful and tender. Parts of the movie wouldn't be included in a remake-Nancy repeated asks Bill to beat her up so she can brag to her girlfriends that he gets jealous and possessive-but strangely enough, those parts work. It totally makes sense that Nancy's character would say those things, since she's young and stupid, and also since she's a low-class prostitute. Women who choose that line of work have a different idea of safety than other women.

I love this movie, so I'll absolutely recommend it if this type of love story appeals to you. Nancy is so adorable, even when she's given lines that are supposed to drive you crazy, you can't help but love her. Bill is seasoned and passionate, trying to grasp a slice of happiness as life passes him by. With two wonderful performances and an engaging love story, what else do you need?

DLM Warning: If you suffer from vertigo or dizzy spells, like my mom does, this movie might not be your friend. There are a couple of scenes where the camera bobs up and down on the water, and that will make you sick. In other words, "Don't Look, Mom!"

What an excellent movie. Not only is the script well done, and the acting superb, but the scenery is gorgeous even while showing the wretched underbelly of Hong Kong in the '60s. There had been a bunch of movies set in Hong Kong, when The World of Suzie Wong came out. But I think what set this movie apart was that instead of just showing that glitz & glamor, it showed the slums that the Chinese lived in. the struggles of the underclass. Their beliefs & dreams. Although the romance was average, and obvious where it was going, Richard Quine does an excellent job focusing on the other aspects of the movie.

& Nancy Qwan is just stunning. She lights up every scene that she is in. She also plays her character very well. I highly recommend this movie

Long before "Pretty Woman", "Maid in Manhattan" and "In the Mood For Love" were dreamed up, we have this beautiful film from the fifties which is the meatiest of them all.

True the film is a bit long, but this does not detract from the general impression it gives to the spectator.

The dialogues are sublime, the technicolor is wonderful and both protagonists are very beaufiful actors. I saw this on TV and would dearly love to have it on DVD ( chance would be a fine thing !!! ) to have a better sound quality for the dialogues.

For pure unadulterated romance and passion, this film is hard to beat. One gets the impression that it was rather ahead of its time when it came out.

Lastly, those frightening landslide sequences close to the end are really impressive, and the "baby's funeral" also leaves a bitter taste in the mouth.

A truly magnificent film, seemingly little known today, and which would gain from being made better known to the general public .......

This film begins with an American architect by the name of "Robert Lomax" (William Holden) arriving in Kowloon and boarding a ferry to Hong Kong with the intention of beginning a new career as an artist. While looking for inspiration he happens to notice a beautiful Chinese woman who eventually tells him that her name is Mei Ling and she is the daughter of a wealthy business man who owns several houses there in Hong Kong. Although he would prefer to stay in a more modern place he settles for a poor area of the city known as the Wan Chai district where he hopes to stretch out his meager savings for a while. But then, as luck would have it, he rents a room at an inexpensive hotel in the red light district which is next to a nightclub where he just happens to run into the same woman he met on the ferry-only this time her name is "Suzy Wong" (Nancy Kwan) and she is the most popular bar girl in the entire area. Now rather than reveal any more I will just say that this was an excellent film which benefited from the exotic scenery along with superb performances from both William Holden and Nancy Kwan. As a matter of fact, Nancy Kwan was nominated for a Golden Globe award for "Best Actress" while William Holden was nominated for a Golden Laurel award for "Best Actor". Having said that, I wholeheartedly recommend this film for all interested viewers and have rated it accordingly.

My mom, who had a crush on William Holden, game me a copy of this movie, a beautiful interracial romance set in Hong Kong. It was very interesting to see the city I grew up in, long before it became the modern financial centre it is today. William Holden was very good as the struggling American artist Robert who must overcome British prejudice and his own traditional concepts of morality to realize his love for Susie. Susie is a young woman, born in poverty, who has to earn a living doing a dirty job, but who nevertheless has maintained her pride in herself and her love for her baby. Nancy Kwan is wonderful in her role. She portrayed Susie with a charm and innocence that reminds me a bit of Audrey Hepburn. It was a rare early example of a Chinese actress in a sympathetic role in a major western film, and my mom said people were very excited at the time to see a "local girl" make it big.

Robert (William Holden) was a success in the business world but found it unfulfilling. Thus, he made what could be called a major life change! Moving to Hong Kong so he can devote himself to his real goal, making it as an oil painter, he can only afford to rent digs in a cheap hotel. All too soon he discovers that the native call girls of the city meet their American or European beaux in the same place! One absolutely lovely gal is Suzie Wong (Nancy Kwan) who catches Robert's eye and visa versa. But, since Robert is comparatively poor at the moment and Suzie must make ends meet for herself and her family, the situation becomes rather sticky. A romance between the two is out, so a friendship develops. However, the more time they spend with one another, the more their hearts become entwined. Soon, Robert doesn't want Suzie to see any other men but him yet, if she doesn't, she will fall on hard times. Even then, when Robert does take Suzie out to a restaurant, the native wait staff and other "high society" Caucasians make fun of the two together, for they know what her profession is. Will love still triumph? The powers that be in sixties television must have gotten this film cheaply, for it was on quite a bit of the time. As such, my sisters and I really adored the movie, having seen Kwan in Flower Drum Song and admiring her beauty. Because the call girl angle is truly subtle, it took awhile for us to really understand the big picture. We saw it more as a romance between two people from different worlds, which it also is. As the two principals, Holden and Kwan make for a great couple while the scenery, costumes, and photography from Hong Kong are also a treat. Meanwhile, the script displays a touching tale of socially forbidden love while the direction sensitively deals with a rather difficult subject. Therefore, if you see the late, late show is featuring this flick, don't miss out. Even 50 years later, it is still a romantic and entertaining view.