Make no mistake this is unapologetically romantic and genuinely moving, but like many modern non-Hollywood directors, Chan is able to navigate us around the pratfalls and foibles of the plight of star-crossed lovers without cloying sentimentality.

Perhaps one of the strongest points in this films favor is that there is nothing really to dislike. It touches upon a number of cultural significances, mild politics and un-gushing love scenes, but none too heavy-handed or over-played. Combine this with the brilliance of expressive and magnetic actress, Maggie Cheung, and a tumultuously changing ten year span in Hong Kong's history ( 1986-96' ) and you have a strong contender for use of the word "masterpiece". If that seems strong, "masterful" is quite adequate to describe Ivy Ho's clever script and Chan's restrained direction. I can understand both its virtual sweep of the 1997 Hong Kong Film Awards (9 statues including director, film, screenplay and actress) and inclusion in Jonathan Rosenbaum's Top 10 of 1997.

Cantonese Teen-Pop idol Leon Lai plays in this his first significant film feature as lovable innocent XiaoJun Li. Recently off the train in Kowloon from China's mainland (city of Tientsin, in the North), hoping to land a job and save enough to bring his over his girlfriend and eventually get an apartment together. His endearing "fish out of water", rootless bumpkin portrayal is done quite well, with fundamental purity and loyalty brightly shining through. 
Qiao Li (Maggie Cheung) represents the other side of the émigré coin. She is a practical opportunist seeking the "golden goose" in Kowloon. She outwardly appears willing to forgo even her principals to achieve the riches and success that she craves. After the stock market crash in 87' she requires some financial assistance which she finds in a kindly dumpling-of-a-man named Pao, a low-end gangster, who is also, always "on the hustle".

We are shown the bustle of the big city from the naiveté vision of XiaoJun Li, whose first foray as a stranger in a strange land is his use of a never-before-seen escalator. His lack of bank account, language barrier and non-obtrusive pride are also visible, as he exaggerates his living quarters and employment position to those back home.

Never over-utilized are the sub-plots and prevalent theme of cultural identity loss. These come in the form of Li's love of basketball, Aunt Rosie's crush on Hollywood icon William Holden, MacDonald's, Mickey Mouse or even the inventive camera shots from inside the ATM. Chan proves that the greatest attribute of a director can be subtle restraint. Regardless, this is not a political film but his point is intelligently made. With both characters ending up in New York city is yet another quiet statement: Perhaps Hong Kong is not the land of opportunity that many mainlanders surmise?

Chan's commitment to this film is shown as he gave up part of his directors salary to ensure the perfect casting of Miss Cheung, who had recently returned from a two year sabbatical of world travel. With a small budget the film is able to maintain a fitting unpretentious aura. My only apprehension for my rating being its strong romantic flair, which, after all, is what the film is all about, even if it is capable of disguising itself so well.