Today, February 7th, is the first day of this year’s Chinese lunar calendar, and it’s an important holiday all over the world.  I’m sure you’ve seen the recent news footage of hundreds of thousands of Chinese citizens embroiled in horrible winter weather-related travel delays as they attempted to travel home to celebrate.  Although it’s a stretch, I’m going to take advantage of the date to highlight a somewhat-forgotten Rodgers and Hammerstein musical, set in San Francisco’s Chinatown.  I’m referring to Flower Drum Song, of course.

The musical is not without controversy these days, although probably less so than some years ago.  And not without reason; a musical about Chinese Americans, based on the novel by C.Y. Lee and born out of late 1950’s attitude (the stage version premiered on Broadway in late 1958), could hardly be expected to reflect contemporary sociopolitical attitudes, but overall, Flower Drum Song has begun to earn back the respect of viewers who might have previously mocked or scorned certain aspects of the film.  It’s acknowledged as one of the few mainstream entertainment productions to feature an all or predominantly Asian cast, with the notable exception of the original Broadway production which starred the versatile but quite Caucasian Larry Blyden in a major role.  That aside, when director Gene Kelly brought the lovely Rodgers and Hammerstein score to Broadway it was a hit, and was soon snapped up by Hollywood to be converted into a motion picture.

Some of the cast — like Jack Soo (this would be his first film, and of course he later became famous for his role as Det. Yemana on Barney Miller) and Myoshi Umeki (who had won an Oscar for her role in Sayonara and became a TV pop culture as icon as Mrs. Livingston on The Courtship of Eddie’s Father) — made the transition to the film version, but other roles were filled by Asian actors and actresses already well-known to movie audiences. Gorgeous Nancy Kwan, after her acclaimed and popular role in The World of Suzie Wong, was tapped for the part of the perky nightclub singer (and would have her singing dubbed). 

James Shigeta, who had made a couple of movies prior to this, was brought in to play the romantic male lead, and he went on to a career as one of the most sought-after actors, in movies and especially for TV guest roles.  Benson Fong, who had starred as Chan’s son in several of the Charlie Chan mysteries, was cast, as was Victor Sen Yung, who also played Chan’s son and made hundreds of movie and TV appearances over his long career (including his beloved turn as Hop Sing on TV’s Bonanza).  Juanita Hall, who though African American had been a huge success in another Asian role Rodgers and Hammerstein’s South Pacific (as Bloody Mary), reprised her stage role in the movie, as did Patrick Adiarte, who had become known for his role as the King’s oldest son and heir in the movie of The King and I. 

In terms of Rodgers and Hammerstein output, Flower Drum Song comes just before The Sound of Music, but after Oklahoma, Carousel, South Pacific, and The King and I, and several other less iconic musicals.  The screen version was directed by Henry Koster, who many years before had helped Deanna Durbin make it in Hollywood, and who had a long and distinguished list of credits including The Robe, A Man Called Peter, Harvey, The Bishop’s Wife and many, many others.  The movie was opulent, a brilliantly colorful evocation of a culture that was enticingly exotic to many moviegoers.  The main theme of tradition vs. modernity, played out via several romantic relationships, was timeless, and brought to life through the often lovely Rodgers and Hammerstein score.  The best known song to come out of the score and end up a popular tune was “I Enjoy Being a Girl”, a saucy and sexy paean to 1958-era female goals, most of which would set eyes rolling these days, but it’s a lively tune and can be enjoyed as a quaint reminder of the good old days when men were men and women thought that was just dandy.

When the musical was revived on Broadway in 2002, the book was changed and updated, the songs moved around, but the music still resonated.  That’s probably the best thing about the movie, too, the parade of lovely tunes and of course the sweet performance of Myoshi Umeki, the strong leading man performance of James Shigeta, Nancy Kwan’s dynamic characterization, and Jack Soo’s amusing deadpan take on the nightclub owner.

Asian American film scholars and cultural experts have taken the musical to task for some stereotypical portrayals and perhaps an overly-simplified, musical comedy look at a complex culture, but even at that, there is a growing appreciation for the array of Asian American talent on display in the movie.  It’s a dream cast of nearly every familiar and beloved Asian face from that era in Hollywood, and for that Flower Drum Song is easy to love.

So, on this Chinese New Year, let us celebrate the hundred million miracles of music and song in Rodgers and Hammerstein’s Flower Drum Song.

(And in terms of Oscar month, the movie received five nominations, but unfortunately didn’t take any home.)