If you’re familiar with the name Hou Hsiao-Hsien, it’s probably for his role in the Taiwanese new wave and as one of the major directors of so called “slow cinema”. It might come as a surprise then that his first three movies were pop star vehicles, heavy on catchy tunes and universal humour but light on deep themes and social commentary. However, even if everything about his first film Cute Girl is intended to be just another run of the mill populist rom-com, many of the elements from Hou’s later films are already present from long lenses and longer takes to interesting ideas about composition and a noticeable town/country divide.
The story is predictable enough, poor boy Da-gang falls for wealthy Wen Wen who quite literally doesn’t give him a second glance. That is until she runs off to stay with an aunt in the country for a last holiday before her father has her married off to the son of an important businessman. Da-gang coincidentally ends up in the same village as part of a survey team for a new road (that’s going to go right through the middle of someone’s house). Being Da-gang he also gets bitten by a caterpillar and ends up being left behind to recover whereupon he begins a tentative romance with Wen Wen at last! However, disaster strikes when her father calls her home to meet her prospective husband – will Wen Wen and Da-gang ever find the happiness they deserve? The answer’s sort of obvious but it’s still fun finding out!
The film features pop stars Fong Fei-Fei and Kenny Bee (from Hong Kong) and is unsurprisingly heavy on pop music including the title track which recurs several times throughout the film. Though Cute Girl is undeniably formulaic and intended as nothing other than disposable entertainment hoping to capitalise on its stars profile and sell a few more records, the film has undeniable quirky charm. Full of strange, not quite slapstick humour and silliness you can’t help but find yourself hugely invested in the screwball style love story of Wen Wen and Da-gang.
No, it’s not a film for the ages. It doesn’t tackle the deep themes Hou would return to time and again in his later career but it does have a degree of heart and commitment that make it a very enjoyable example of the late ’70s/’80s Taiwanese musical romantic comedies.
For the extra curious, here is the undeniably catchy tune itself!