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Release Date=2019 /
user Rating=6,4 of 10 /
country=USA /
genre=Drama /
Writer=Chris Dinh /
1 Hours 27 m.
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Jump to Press alt + / to open this menu We won’t support this browser soon. For a better experience, we recommend using another browser. Learn More See more of Ms. Purple on Facebook Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created – November 21, 2018 Great film. Great film. Broke my heart. Like life does. Wonderful, it touched my heart The story was well-written. It’s easy to get drawn into the characters & want the best outcome for… the protagonist. It was also a nice dive into the K-town lifestyle. See More.
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Tiffany Chu stars as Kasie in Ms. Purple, an indie drama about a Korean American family from director Justin Chon.
Oscilloscope
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Don’t let the title fool you, Ms. Purple is intensely blue. Set in the darkest corners of Los Angeles’ Koreatown, director Justin Chon’s third feature film is a moving, melancholic drama following Kasie, a 23-year old first-generation Korean American woman, as she fights to care for her dying father. Kasie’s world, we quickly learn, is one in which she is meant to be seen and not heard. The film opens on Kasie as a young girl, standing stoic as her father brushes back her hair, straightens out her colorful pink and gold hanbok, and tells her how beautiful she is in her traditional New Years’ garb. “How can your mother not come and see this beautiful princess? ” He asks her. “We have to look good for your mother. ” The next scene is grown-up Kasie, clearly drunk, stumbling home listlessly as the sun rises behind her. She wears a purple hanbok this time, it’s tattered purple ribbons fluttering in the wind. It’s a poignant if unsubtle visual foreshadowing of the story ahead, of a woman burdened by obligation and silent in her misery. Kasie, played by the excellent Tiffany Chu, works as a doumi, an escort who gets paid to keep the company of men in the darkly lit K-town karaoke bars near where she lives. Her nights begin within a lineup, in which we see her hoping to be chosen among a dozen other girls with equally beautiful faces and little black dresses. The men doing the choosing are mouthy and handsy at best, vitriolic and physically violent at worst. Her nights end with booze and drugs and dancing to wash it all away. Her mornings are spent counting what’s left of her cash and tending to her father’s bed sores. Rinse and repeat.
And then one morning, Kasie’s bad becomes worse when her father’s live-in nurse, urging her to put her father in hospice, quits without warning. Left with no one else to turn to, she calls Carey (Teddy Lee), her aimless, absentee brother, to care for Dad (James Kang) while she works. The sibling story that then unfolds in Ms. Purple is a continuation of sorts for Chon, whose 2017 film Gook explored the relationship between two Korean American brothers on the first day of the 1992 Rodney King riots. The film, shot in grainy black-and-white and lauded for its unflinching portrayal of race relations in ’90s LA, scored Chon a Sundance Audience Award for Best of Next. This newest endeavor is just as ambitious as Gook in its portrayal of the Asian American family outside of the “model minority” stereotype, and is more focused, if not always balanced. The naturalistic scripting throughout Ms. Purple often serves to heighten Kasie and Carey’s alienation, but the film’s emotional impact is loudest in its quiet moments: in Kasie’s silent tears as her brother asks her about why she gave up piano, in the crackling static between what they don’t say to each other on the phone. The result is a deeply visceral story about siblings finding common ground after surviving abandonment, and also poverty, and also cruelty—and about the unique ways they hurt and help each other the way only siblings can. The greatest strength of Ms. Purple is also its weakness — Kasie is so real, her fragility so tangible, that the rest of the characters feel a bit flat by comparison. Teddy Lee’s depiction of Carey is admirable. He’s clearly hurting, clearly troubled, but generally so useless throughout the film it’s hard to find sympathy for him when he lashes out. The bombastic machismo of Kasie’s boyfriend Tony (Ronnie Kim) rouses the desired effect, but is so two-dimensional it can be hard to stomach. Octavio (Octavio Pizano), playing a valet love interest, steals the few scenes he’s in, but we don’t spend enough time with him to really care. Then there’s ailing father Young-Il, the still-living specter around which the central question of the film revolves. Every time you hear him, you feel his pain, but you may not get enough of him soon enough or often enough to feel Kasie’s staunch commitment to him is justified. Cinematographer Ante Cheng, who also collaborated with Chon on Gook, works skillfully with saturated, mood-matching color and sweeping shots of the palm-treed L. A. skyline to create a vivid world, but can sometimes lean too heavily towards the melodramatic. We could do with one or two less angst-filled slow-motion actions shots ala the cheesy music videos you might see at any Korean karaoke bar — but the film is grounded in an emotional reality so palpable that the sometimes heavy-handed visual metaphors throughout are easy to forgive. Where Chon’s Gook is cluttered with the chaos of the outside world, Ms. Purple is very much an internal journey. Plenty happens throughout the course of the film — beer bottles broken over heads, boyfriends lost and gained, comatose fathers traipsed through downtown LA on a roller bed — but more than anything Ms. Purple is a case study in familial sadness, in living through brokenness. And together, these various shades of misery swirl together to create a beautiful portrait of a fractured but resilient family.
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Greetings again from the darkness. Kasie (an excellent Tiffany Chu) lives with her father (James Kang) who has an unidentified terminal illness, and has been in an extended coma, showing no real chance for recovery. Kasie is the primary caregiver, and out of familial duty, refuses to put him in hospice for professional care. She also works as a Hostess/Escort at a popular Karaoke bar and has a rich boyfriend, although there seems to be no love between the two – it’s more of a business relationship.
Out of necessity, Kasie re-connects with her older brother Carey (Teddy Lee) who bolted from home many years ago after disputes with the father. He seems to have done little with his life, and frequently gets booted from an internet café for lack of cash. Carrying guilt for deserting his sister and father years ago, especially since the mother/wife left home when the kids were very young, he agrees to help Kasie with caregiving, and even takes dad for “road trips. It’s quite a comical sight to see son pushing dad’s bed through town set to The Proclaimers’ I’m Gonna Be (500 Miles. Much of the siblings’ adult issues can be traced to mom abandoning them for a better life with a rich man. Some emotional scars never heal, so this bit of levity is welcomed.
Director and writer Justin Chon (co-written with Chris Dinh) was behind the critically acclaimed GOOK in 2017 (a Korean DO THE RIGHT THING. Here he uses Kasie’s flashbacks to childhood with her dad and brother as a framing device, demonstrating how the father dealt with his wife leaving, and laying out the responsibilities and burdens that family can bring. There are recurring shots of lone palm trees whose significance to Kasie is only explained late in the film. but does provide more insight into the bond she has with her father. The contrast between memories of her father telling her she’s a beautiful girl and the obnoxious, entitled behavior of her rich Karaoke customers is heart-breaking. A nice young valet (the car parking type) played by Octavio Pizano offers Kasie a taste of normalcy and it slowly brings her back towards center.
Ms. Chu carries the film. Her performance relays the vast array of emotions – the duty she fulfills that wears her down. She is quite something to behold. The film has a terrific score of violin music from Roger Suen, and lets us know that finding one’s self while caring for another can be a breakthrough that may sometimes be loud, and may sometimes be quiet. I was fortunate to stumble onto this movie at the 2019 Dallas International Film Festival when another screening got cancelled. Such a pleasant surprise.
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