Diversity in the arts is important. This is less of an opinion and more of an objective fact. Mainstream media has a tendency to often give attention to some groups over others, and the bigger the production, the less likely it is to find diverse representation, because of the outdated notion that audiences are attracted to a particular hegemonic form, with certain voices being given preference over others. Recently, Hollywood has been doing a great deal to counteract this problem, focusing heavily on inclusion and giving platforms to groups that are rarely, if ever, provided with the necessary attention. In all honesty, despite being present everywhere in the world, and having thriving film industries of their own, Asian representation in American cinema has been considerably lacking – usually relegated to supporting roles, and often being the subject of stereotype or parody, Asian performers are sorely under-exposed, as are their stories and cultures. However, this is not a problem that has gone unnoticed, as evident by the presence of Crazy Rich Asians, the perfect film to give a much-needed boost to Asian representation in popular film. What could be construed as merely escapism is far more complex than it would appear, and what it lacks in depth it makes up for in powerful resonance and endearing charms.

Based on the novel of the same title by Ken Kwan (and the first of a trilogy of extremely popular, albeit not particularly mentally-stimulating, books by the author), Crazy Rich Asians is about Rachel Chu (Constance Wu), a remarkable individual: raised by a single immigrant mother, she rose through a tough upbringing to become a history-making woman, becoming the youngest member of the faculty at New York University, where she is a beloved Economics professor. Her boyfriend is the dashing Nick Young (Henry Golding), who invites her on an “Eastern adventure”, which she soon discovers is an invitation back to his home of Singapore, where he is the best man at his friend’s wedding. What Rachel is entirely unaware of is that her humble boyfriend has neglected to mention that his family is not only rich, they are (to put it in the words of her friend), “crazy rich”, a dynasty of real estate developers that are akin to royalty in Singapore. However, Nick’s family is far less enchanted by his choice of romantic partner as she is of them, many of whom see her as someone who is not only less wealthy and far more of a commoner than they usually associate with, she is exactly what they wish to avoid: she’s different. Rachel’s largest detractor is Eleanor (Michelle Yeoh), Nick’s mother who disapproves entirely of Rachel, and will go to any lengths to convince her son to avoid marrying someone so oppositional to the family’s standards. Over the course of a few days, Rachel sees a different side of a culture she thought she understood, and soon learns that sometimes excessive luxury is not ideal, especially when it impinges on what matters most – love.

Like many people, I have been in complete adoration of Constance Wu for a while now. Her work in the incredible television show Fresh Off the Boat is nothing short of astonishing, and much like this film, the series proved to be a groundbreaking moment for mainstream Asian representation on major television. Crazy Rich Asians gives Wu the breakthrough she has been in need of since first appearing on our screens a while ago. She commands this film exceptionally well, bringing her unique talents and irresistible charms to a film that required someone who was not stereotypical, and through which the audience could venture into the lives of Asia’s rich and famous. I found Wu to be extraordinary, and while it may not be a particularly complex performance, Wu is just too likable to ignore, and her charisma is infectious. She is destined to be a true star, and if she continues to be given such pivotal roles in films that are intent on more complete representation, I have very little doubt that she will realize her full potential and become a staple of some terrific works. Her scene partner for much of Crazy Rich Asians is Henry Golding, an actor I was not too familiar with prior to seeing this film, but found to be exceptionally good in the role of Nick. In many ways, Nick is a thankless role: he serves to just be the vehicle for Rachel’s discovery of the excessive culture of the titular “crazy rich asians”. Therefore, it helps considerably the Golding elevates this character and imbues him with palpably dashing energy that makes him a compelling romantic interest, but perhaps nothing more. Regardless, both Wu and Golding have wonderful chemistry, and they work together in propelling this film further than one would expect with their great performances.

However, Crazy Rich Asians is distinctive for its cast. There is a panoply of great talents involved in this film that extend further than the two central performances of Wu and Golding. It is made even more significant when you consider that nearly every role in this film was played by someone of Asian descent, and as much as it should not have to be noted, such an approach is admirable. There are three supporting performances I want to draw attention to. The first is that of the iconic Lisa Lu, who has the small but pivotal role as the family’s matriarch. Lu is as magnetic here as she was in her earlier days, and while her role is relatively small, it leaves an indelible impression. In all honesty, it was great to see a true legend like Lu lend her talents to this film, giving it tangible gravitas. Awkwafina, who is having quite a year with Ocean’s 8 and Crazy Rich Asians, steals every scene she is in, bringing her rebellious idiosyncracies to a film that benefits greatly from her unique and adorable personality. Smaller performances from the likes of Gemma Chang, Sonoyo Mizuno and Ken Jeong, amongst others, make up the beautiful tapestry of talented artists that are present in this film, making the cast of Crazy Rich Asians one of the most potent, brimming with talent and using everyone exceptionally well.

However, Crazy Rich Asians features one of the year’s finest supporting performances on behalf of the incredible Michelle Yeoh, who is the third, and perhaps most important, part of this cast that I want to draw attention to. I have often considered her one of the most regal actresses working in contemporary cinema, and I would be dishonest if I didn’t admit that Yeoh was one of the main reasons I wanted to see Crazy Rich Asians. She certainly does not disappoint, and while her role is considerably smaller than her now-iconic performance in Crouching Tiger, Hidden Dragon, she is magnificent here. Her elegance is unwavering, and with even the most subtle movement or meaningful expression, she constructs a truly memorable villain that stands as one of her most interesting roles to date. I adore Yeoh, and it only makes sense that she occupies a central role in this film, because she is considered one of the most groundbreaking Asian artists to break into the mainstream, and while she has made her career in her native Asia, her contributions to American film and television are not to be ignored. I cannot express my adoration for Yeoh enough, and perhaps my own unconditional respect for her groundbreaking career does get in the way of objectivity, but I was truly astonished by her work here, where her commanding gracefulness was only matched by her delectable villainy, making her performance truly brilliant and awe-inspiring.

I will readily admit that I did not go into Crazy Rich Asians thinking it would be anything profound or overly meaningful, but I was not disappointed to find those expectations were not quashed, but rather heavily supported. It is very true that Crazy Rich Asians is a superficial film, a crowd-pleasing, often predictable romantic comedy that hits the same familiar notes that one would come to expect from a film like this, opting for a more fun, diverting approach. It is not a particularly innovative or subversive film, and that is perfectly alright, because Crazy Rich Asians has something far more important than originality: it has heart, which counts a great deal when focusing on inciting inclusion. Crazy Rich Asians may be a diverting film, but it is also as entertaining as they come, taking the audience on an outrageously enjoyable journey into a world previously unseen. One should not go into this film expecting anything other than a populist film that will appeal to the sensibilities of a wider audience rather than a niche group looking for something entirely unique.  Crazy Rich Asians is a well-made, and extremely entertaining, film that has an abundance of soulful wit and tear-jerking resonance, and in spite of some trite storytelling at some points (and perhaps being a tad too long), it is an effective and wonderful film.

I’ve mentioned it already, but Crazy Rich Asians counts for a lot when looking at the issue of representation. I am not of Asian descent, so I am not an authority on how accurate this film was, and I cannot give my own opinion as to how resonant this film will be to Asian audiences, who have received a film that represents them in a way many films do not. However, I can speak from the perspective of someone who finds inclusion not only a good idea – it is a necessary concept, something that should be implemented and exercised at every possible opportunity. We are living in a global world, and we simply cannot rely on the same groups to tell these stories, whether behind or in front of the camera. We need to give a voice to those who actually deserve it, but don’t always get it, especially not at such a grand level as this film. Crazy Rich Asians is more than just a big-budget, extravagent romantic comedy – it is a turning point for diversity in film, and strikes a profound note for the movement towards inclusion. Avoiding stereotype, but also not foregoing a sense of humor, Crazy Rich Asians is a marvelous achievement, and while the story may be unremarkable (yet, it is far from being boring or dull), the film derives a lot of nuanced meaning from how it handles the subject, with dignity and sensitivity. Diverse representation still has a long way to go, and it doesn’t stop with with Crazy Rich Asians, but this film is a significant moment for an artistic movement that is not only worthwhile: it is extremely overdue.

Perhaps I am just a fool for a good dose of escapism, but I found myself grinning like a goof throughout this film. There were a few moments where the tears started to well up, and many instances of sincere laughter. Crazy Rich Asians is truly an entertaining film, and while it is narratively not noteworthy, what it stands for – as well as how it conveys the story – makes it a truly wonderful film. In a landscape that relies on the same tent-pole films to make a profit, it takes courage to make a film like Crazy Rich Asians, especially not knowing how audiences will reactto the final product. However, the response, both critically and commercially, speaks for itself, with Crazy Rich Asians becoming the breakout hit of the year. An audacious, meaningful and delightful film, brimming with extraordinary performances from a brilliant cast and told with earnest humor and abundant heart. There are certainly films this year that are better than Crazy Rich Asians, but there are few as gloriously charming. A treasure of a film that will hopefully stand as one of the more endearing modern romantic comedies, because it does certainly deserve it. If only more films could be as inclusive as this, the cinematic landscape would be a lot more welcoming and endearing. Luckily, with a film like this, we seem to be heading in that direction, and its about damn time.