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The Flower Drum Song (Dell D-series, D241)From Dell Books
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- Sales Rank: #4589526 in Books
- Published on: 1958
- Binding: Mass Market Paperback
- 256 pages
Most helpful customer reviews
0 of 0 people found the following review helpful.
But it is a delight to read
By art aratin
A paperback from 1957. It is falling apart as I read it. But it is a delight to read. Characters were changed for the play and movie.
0 of 0 people found the following review helpful.
Many charms
By Russell J. Sanders
C.Y. Lee’s The Flower Drum Song is the bestselling novel upon which Rodgers and Hammerstein, with Joseph Fields, based their musical play Flower Drum Song. That show later became a blockbuster movie, and eventually, in 2004, playwright David Henry Huang did a drastic revision of the plot. Written in the 1950s, Hammerstein and Joseph Fields created a supremely entertaining but flawed depiction of the Chinese inhabitants of San Francisco’s Chinatown. Asians had, and to some extent still have, a love/hate relationship with the show, for its 1950s sensibilities sometimes show Asians in a somewhat stereotypical light, while it showcases their culture. The film was the first major Hollywood film to have a virtually all-Asian cast, which helped to propel careers of Asian actors and show their abilities. That being said, Lee’s book, the source material, has none of those controversies. It is a universal tale of generational conflict, set against the backdrop of the Chinese culture. Old Master Wang, a Chinese immigrant, is totally set in his old-world ways. He fights his two sons Wang Ta—who is Chinese born, American assimilated—and Wang San—a teenager who is totally assimilated into American ways. The novel tells of this struggle, featuring Ta’s romantic entanglements which include, in the second part of the novel, his meeting May Li, a feisty young Chinese immigrant. The novel is rich with character and atmosphere. What makes it so wonderful is that it enriches the experience of enjoying the musical. Unlike so many movies or plays based on novels, we don’t find ourselves saying, “Well, they left that out” or “The adaptation would have been so much better if they hadn’t changed this or that.” What Fields and Hammerstein did in devising their show was to take Lee’s characters and incidents and use them to propel an almost new plot. The generation gap is still present, the quirks of the characters are still vividly portrayed, and incidents in Lee’s plot are spun into new scenes. In a sense, Lee’s The Flower Drum Song is different from the musical, but it still remains the same. We as readers are treated to an exercise in how adaptation should be, for this episodic novel could never have formed a cohesive musical comedy plot without the delicate weaving and stitching Hammerstein and Fields wrought. We marvel at Lee’s wonderful writing and, if you are as familiar with the musical play as I am, we see tiny things that caught the attention of the adapters and got elevated into song lyrics or plot developments. And that is what good writing is all about, both for Hammerstein and Fields and for Lee. As for that controversy, it still exists. Huang’s reworking worked on one level and is brilliant, but for those of us who loved the original version of the musical, there was something very lacking. Flower Drum Song, the 1958 musical, has its faults, but it also has its many charms. As does Lee’s novel The Flower Drum Song—many charms indeed.
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