Alan & Eric: Between
Hello and Goodbye
Reviewed by YTSL
In 1991, the United Filmmakers Organization
was co-founded by Peter Chan, Eric Tsang, Lee Chi Ngai and Jacob Cheung.
In the same year, three of these individuals were involved in making a
movie that can be retrospectively regarded as a prototypical U.F.O. dramatic
offering. Five years prior to that, the man who had been production
manager and assistant director for three Jackie Chan films -- but has mainly
made his name by directing and producing non-action movies like “He’s a
Woman, She’s a Man” and “Comrades, Almost a Love Story” -- had a job in
distribution and sales for Alan & Eric, a production company named
for singer-actor Alan Tam and Renaissance man Eric Tsang (See Fredric Dannen’s
“Hong Kong Babylon”, 1997:63-65).
It thus seems rather appropriate that Peter Chan’s
directorial debut work would be entitled ALAN AND ERIC: BETWEEN HELLO AND
GOODBYE as well as star Alan Tam (as a waiter turned chicken farmer turned
Cantopop star named Alan Tam!) and Eric Tsang (giving a HKFA Best Actor
performance as a chicken farmer turned fisherman(!) named Eric Tsang),
plus have Lee Chi Ngai as the co-scriptwriter -- along with a guest appearance-making
Barry Wong (as a bar-owner named Barry) -- of this Peter Chan-Eric Tsang
co-production. Given that the UCLA educated auteur has been labeled
“the region’s most Americanised film-maker” (In Miles Wood’s “Cine East”,
1998:9), it also makes some sense that this maudlin melodrama -- whose
focus is on the up-down, hot-cold friendship between two individuals with
antithetical personalities -- would be perceived to have been inspired
by the tear-jerking Hollywood “chick flick” that was “Beaches”. In
actuality though, I don’t see this at times charming -- but nonetheless
shallow and uneven (plus rough at the edges) -- offering having that much
in common with the 1989 weepie that starred Bette Midler and Barbara Hershey.
Instead, my stronger sense is that quite a few
of the thematic strands and plot devices that appear in this unfortunately
at times too immature feeling movie are ones that Peter Chan would return
to use to better effect in his more polished UFO works. E.g., the
love triangle that tested the friendships of Alan, Eric and an artistic
lass named Olive Cheung (played by a Maggie Cheung who was alternating
between being a cute gal and serious actress at this point in her career)
looked in some ways to presage that between “He’s a Woman, She’s a Man”’s
main trio. Relatedly, the sentiment expressed by a wistful Olive
at one point in the film -- re her ideal love being someone that combined
the more attractive attributes of her two favorite men -- is similar to
one that would be uttered by Wing re Sam and Fan-Fan in “Who’s the Woman,
Who’s the Man?”. Additionally, there were moments in ALAN AND ERIC:
BETWEEN HELLO AND GOODBYE that caused me to feel that Mr. Tsang and Ms.
Cheung were effectively rehearsing to play the roles that they ended up
essaying five years later in the also transnational “Comrades, Almost a
For the most part though, while the individual
chemistry between those two talents was already there (as was that between
them and Alan Tam), the overall mix and formula still did not feel quite
right in ALAN AND ERIC: BETWEEN HELLO AND GOODBYE. One contributing
factor that I can think of was the surprising lack of a specific localizing
sense that this nostalgia tinged production’s proceedings did largely unfold
in that part of the world whose Chinese name translates into English as
“Fragrant Harbor”. Somewhat unusually for a Hong Kong movie, there
seemed to be more flavor in the portions of the work that were filmed in
San Francisco and less readily identifiable parts of the U.S. Although
this by itself is not a bad thing, the problem is that the bulk of this
offering -- including those scenes which feature a fortune-telling, Cantonese-speaking
“Yank” (played by Paul Fonoroff) along with a Chinese man named Pierre
(played by Blackie Ko) -- does (presumably) take place elsewhere than North
America (even while it does begin and end in the Bay Area). Alternatively
put: This generally too shallow effort surely would have benefited
from being more grounded as well as possessing a greater contextualizing
My rating for the film: 6.
Distributed by Universe
The transfer is pretty good - a little soft
in the indoor scenes.
Cantonese and Mandarin language tracks
There are 8 Chapters.
The subtitles are in either Chinese, English
or Bahasa (Malaysian) - and are easy to read.
There is a trailer for this film (but I would
avoid till after seeing the film as it has a few spoilers within) and ones
for Beloved Son of God, Papa Can You Hear Me Sing and The Lunatics.