Online film review of The Sara雛妓

Film review

The Sara showed the situation of prostitution, which focuses on lots of young girl being prostitutes. The Sara works better as a character piece than a social drama, as it only pays superficial attention to its discussion of the Sex trade in Hong Kong and Thailand

Objectifying the female is the main message of The Sara. Like the actress in the Sara, she was born in the underprivileged family. The film opens with the teenage Sara’s harrowing rape at the hands of her stepfather (Tony Ho) before depicting her flight from her family, including her compromised mother (Pauline Suen), and subsequent years as a teen vagrant. It then flashes to the present, with Sara working as an investigative journalist uncovering sexual misdeeds involving political personalities. For the most part, the film continues with this parallel narrative, contrasting Sara’s current involvement with Dok-My with her experiences as a youth. Both time periods present key moments; in the past it’s Sara’s occasional dust-ups with Kam over their relationship, while in the present it’s her introspection over her past. There’s a lot going on in Sara, with complex emotions and themes of reconciliation and realization flying around like so many bees buzzing in the air. The film takes its time to reveal where Kam is in the present, which accounts for some strong story tension. However, not all the events convince. Erica Li’s script offers plenty of relevant story checkpoints to define Sara’s character, but her growth and evolution aren’t strong enough to make all of the events in her life credible. In particular, Sara makes a serious decision (which happens to be spoiled on some marketing materials) that’s problematic because it doesn’t feel like a choice she would make. Besides lacking a proper buildup, the decision seems antithetical to Sara’s strong character.

There’s simply too much going on in Sara, and the filmmakers don’t cover their bases adequately. Besides the issues of abuse, love, identity and prostitution, the film touches on delinquency, dreams, forgiveness, idealism and more. There’s too much to cover in just two hours, especially given Herman Yau’s even-handed direction. Yau has never been a deliberately stylish director; his talent lies largely in his ability to inject humor, humanism or satire into edgy stories and genres. Sarais a straight drama, however, and needs a more facile hand to cover up the plot holes and make the narrative more convincing. References and allusions are clumsy or groan-worthy (e.g., the use of the song “Que Sera Sera” as a play on Sara’s name, or namedropping the novel “Daddy Long Legs” as Sara’s favorite novel). Also, Brother Hung’s score is treacly and on-the-nose. Sara needs to show more and tell less – though that’s a tough task given how overstuffed it is. The film is like the Cliff’s Notes to a four-part book series, rather than the single novel it should be.

Besides, there is also Love affair Simon Yam’s, especially an educator. Like a taboo, It signifies teacher-student love affair in Hong Kong., Their connection finally comes across as poignant, in large part due to Simon Yam’s expert underplaying. Unfortunately, the story doesn’t explore their relationship deeply enough. 

It’s a complex issue deserving of greater focus, but the script reduces the topic to a prop for Sara’s personal journey – and this is despite spending plenty of time with Dok-My. It doesn’t help that Sunadcha Tadrabiab is given little to do besides recite expository lines in heavily-accented English.

All in all, it is worthwhile to reflect by ourselves. To be fair, we must deal with those sexual problems and unfair sex trade in our society.

Wong Kai Chun, Matthew 10592137/21427983