When it comes to remakes, the general rule of thumb is quite simple – either elevate the original material or make it different enough that it isn’t going to be needlessly compared to the source material, and is able to stand on its own. This is sometimes a challenge for directors who decide to remake English-language films for a different global market, since the reason for such adaptations is not to add onto the original, but rather to bring these stories to international audiences. It may seem unnecessary, and it is usually a case where these films pale in comparison, being very little more than middling facsimiles of usually terrific films. However, very few would consider Nancy Meyers’ What Women Want as being some unimpeachable masterpiece, and even fewer would feel like remaking it from another international perspective would somehow tarnish the reputation of the film, which is well-liked but far from the kind of classic that is immune to such attempts to look it from a different global angle. In this case, we have director Chen Daming who chooses to reconfigure this material from his native China, adapting it quite faithfully from Meyers’ original script, but adding a range of cultural nuances that make it quite fascinating on its own terms, rather than adhering too closely to the formula that drove the original film, which makes a profound different when we are looking at something that seems to be following a strict pattern. It is certainly not anything revolutionary, and it manages to be charming at best, but there is something so compelling about this film and how it takes common tropes of the romantic comedy and makes them seem far more shimmering and endearing than usual that keeps us engaged. All the elements that made the original captivating are brought over to this film, which in turn manages to be quite effective in how it develops on these themes, making for a terrific and engaging comedy that never takes itself too seriously, and instead focuses on the aspects that truly matter.

There isn’t any way to discuss What Women Want that makes it seem anything less than entirely conventional and adherent to the same tropes and traditions that usually underpin these romantic comedies – if there is anything that this film proves, it is that regardless of where a film is made, a romantic comedy is always going to follow the same formula. However, this is not anything to criticise, since it doesn’t suggest a lack of originality, but rather a consistency and the acknowledgement that there are certain elements that work. Films like this aren’t made to be inventive or change our perception of cinema, but rather to be satisfying diversions that offer us a couple of hours of solid entertainment, which we can walk away from without any need to spare too much further thought to the story or how it was executed. It allows these films to be lightweight and heartfelt, and removes the burden of having to somehow challenge conventions or present itself as bespoke, which is not always the wisest choice for something made with these ideas in mind. However, this doesn’t preclude this film from being very charming in its own way, and its efforts to take a very traditional story and make it special are not to be dismissed – watching it as someone from outside the culture depicted is quite fascinating, since we are able to get some intriguing insights into the culture that are otherwise missing in those films made to be marketed towards outsiders, and while we may miss some of the nuances and inside jokes that are mostly directed at native viewers, it doesn’t make too much of a difference, because these films all tap into the same universal set of ideas, just presenting them in different ways, and with the original film as a blueprint, it develops on these concepts from a uniquely Chinese perspective, which adds a lot of nuance and brings it to life with a rigorous honesty that is always very interesting.

The aspect that has always driven What Women Want, in either the original form or the remake (as well as the gender-flipped version that came a few years later) is the time-tested concept of the battle of the sexes, which has been around for as long as stories have been told. Perhaps it is a slightly regressive story (keeping in mind this film is over a decade old, and is itself a remake of a film that was made nearly a quarter of a century ago), but its intentions are strong enough to keep us interested and engaged, which is a major achievement. It certainly is not the resounding promotion of feminism that it believes itself to be, with the idea of an experienced female executive being the bane of a male co-workers existence not being nearly as edgy as it may have been a few decades ago, but it still is somewhat relevant, functioning as a film driven by the most entry-level introduction to gender studies imaginable, which may seem like a needlessly harsh criticism, but is ultimately the main reason why this story has been so palatable. However, below its simple premise, there is a level of subversion that we don’t notice until midway through the film, if we even take note of it at all. There is an undercurrent of genuine interest in exploring the differences between men and women, which is delivered in a relatively placid, straightforward manner, which ultimately doesn’t add too much to the conversation, but does give it a slightly more emotional edge that carries a lot of meaning and ultimately brings about several intriguing ideas that give the film a sense of authenticity, even if it is covered by a thick sheen of conventions that veer dangerously close to being a bundle of cliches. It all makes for very captivating viewing, and there are many elements that help keep the film captivating, even when it seems relatively simple on the surface.

Casting is always a key component of these films, and we often find that the best performances are given by those who are not only individually strong, but also have good chemistry with one another, which is why it was so interesting to see who was chosen to play the leads in this film. Andy Lau makes sense of the male lead, since he is extremely charismatic and can easily portray a self-centred hedonist with a touch of seduction, as well as handling the more introspective moments that come about later on as the character develops. He’s terrific in the role and holds the film together in a way that is quite impressive, especially since he never tries to be too debonair, since he knew that such an act could become quite grinding after some time. However, the real star of the film is Gong Li, whose casting may seem unexpected, but at the very least proves that she is capable of broad comedy – and not only is she a perfect person to play this larger-than-life, grandiose woman who commands respect from everyone the moment she walks into a room, she is also exceptionally gifted in how she gradually unravels the layers of this character, finding the depth hidden within her that we didn’t initially expect to be there, which makes this a very nuanced performance and one that is a highlight in an already exceptional career, but one that was sorely in need of something mainly comedic such as this, if only to prove that Gong is a brilliantly gifted actor regardless of genre, her performance here being a strong indication of her immense talents that can traverse just about any tone while never coming across as anything less that totally authentic and profoundly meaningful in ways that could be surprising to anyone who wasn’t expecting quite as spirited a performance in a film that is very much focused on consistency more than it is on strong, three-dimensional characters, which are brought about regardless by the two leads, who are firmly committed to their individual roles and their incredible chemistry.

While this version of What Women Want is by no means a masterful or elegant film, it is still an entertaining confection that is as endearing as it is hilarious, which is not always particularly easy to achieve when working with such simple material. The story is quite straightforward and never overstays its welcome (although the middle portion of the film does have a few unnecessary scenes, and they could have easily have been excised in favour of keeping this film at roughly 90 minutes, which is the perfect length for a romantic comedy of this calibre), and it delivers its main ideas with vigour and charm, which is quite a remarkable change of pace when we consider how seemingly convoluted this material could have been in the hands of just about anyone else. It’s a hilarious film with many tender moments, the oscillation between comedy and heartfelt melodrama being handled unexpectedly well, giving the film a depth that we may not have anticipated at a cursory glance. More than anything else, What Women Want is a film that offers exactly what it intends to achieve, which is an effortlessly charming, effervescent distraction of a film, an upbeat and hilarious series of mishaps between two eccentric characters that find themselves falling in love despite the odds, discovering that there is more to emotional connections than just that immediate emotional spark – and this film certainly does well in achieving everything it set out to accomplish, being as outrageously funny as it is genuinely sentimental, which is not always a common combination to find, but one that is unquestionably the reason behind the very strong sense of charm that drives this film, and which makes it so captivating, even at its most conventional.