In the film, adapted from Kevin Kwan’s best-selling novel of the same name, Wu plays Rachel Chu, a down-to-earth Chinese-American professor at New York University who is invited to a Singapore wedding by her boyfriend, Nick (Golding). She soon discovers he’s filthy rich, and Rachel falls victim to the snobbery of Singapore’s elite, including Nick’s controlling mother, Eleanor (Michelle Yeoh), who disapproves of her son’s “mainland” girlfriend. A psychological game of chicken ensues.
這部電影改編自凱文·關的同名暢銷小說，吳恬敏在劇中扮演紐約大學一位腳踏實地的華裔美國人教授朱瑞秋，她的男友尼克(戈爾丁飾)邀請她去新加坡參加婚禮。不久，朱瑞秋發現尼克的滿身銅臭，瑞秋成為新加坡精英諂上欺下的犧牲品，包括尼克控制欲極強的母親愛莉（楊紫瓊飾演），愛莉不同意兒子的“大陸”女友。一場斗雞博弈的心理游戲就此展開。
Unlike the broadly funny immigrant Jessica on Fresh Off the Boat, the challenge with Rachel was adding nuance to a “straight woman” surrounded by big personalities. “When you play someone from the outside, you can make that character sing, because they’re either a badass or funny—one thing or the other,” she says. “You’re painting with just blue, but there’s a lot you can do with that blue. This time,” she adds, “I had more tools, which is great, but it also came with more responsibility.”
和《初來乍到》中的有趣的新移民杰西卡不同，瑞秋這個角色的挑戰是給有很強個性的“直女”增加些細微差別?！爱斈惆缪菀粋€來自外部的角色時，你可以讓這個角色唱歌，因為他們要么是壞蛋要么是搞笑的——不是這樣就是那樣，” 吳恬敏表示。“你只用藍色作畫，但是藍色可以用來做很多事情。這一次，”她補充道，“我有了更多的工具，這很好，但它也帶來了更多的責任。”
Director Jon M. Chu is cautiously optimistic about how the film will be received following early test screenings. Audiences cried “not because of what happens in the movie,” he says, “but just at the idea of the representation.” And representation that offers a full spectrum of contemporary Asians, rather than simple clichés. Many are fabulously wealthy and entitled, like a Singaporean, played by Ken Jeong, who tells his son to finish his food, because “there are a lot of starving child in America.”
導演朱浩偉對該片在早期試映后的反響持謹慎樂觀態度。觀眾流淚“不是因為電影里發生了什么，” 朱浩偉表示，“而僅僅是呈現出來的概念?！边@種呈現提供了當代亞洲人的全貌，而不是簡單的陳詞濫調。很多亞洲人都很有錢有權，就像由肯·鄭扮演的新加坡人，他讓兒子不要剩飯，因為“美國有很多孩子在挨餓?！?/div>
Chu and screenwriters Peter Chiarelli and Adele Lim actually downplayed the over-the-top wealth in the novel. “Our budget wasn’t big enough for all those designer labels,” Chu says with a laugh. (Wu jokes that white viewers might question the legitimacy of such consumerism: “Hey, they didn’t buy designer clothes in Crouching Tiger, Hidden Dragon!”)Instead, the writers focused on the emotional journey any Asian-American takes when traveling to Asia for the first time—like Chu’s own trip, when he was 9. “Your cultural identity splits,” says the California-raised director, with a Taiwanese mother and a Chinese father. “You think you have to make a choice, whether you’re Asian or not. But then you get to remix your cultures—reassessing the philosophies of each and deciding what to carry on.”
朱浩偉和編劇皮特·基亞雷利和阿黛爾·林實際上在小說中淡化了過度的財富?！拔覀兊念A算不夠用上所有的設計師品牌，”朱浩偉笑著說。（吳恬敏開玩笑說，白人觀眾可能會質疑這種消費主義的合法性:“嘿，他們沒買《臥虎藏龍》里的名牌衣服!”） 相反，兩位編劇關注的是亞裔美國人第一次到亞洲旅行時所經歷的情感之旅——比如朱浩偉9歲時的第一次旅行?！澳愕奈幕矸莘至蚜?，” 這位在加州長大、母親是臺灣人、父親是中國人的導演說?！澳阏J為你必須做出選擇，不管你是不是亞洲人。但之后你要重新整合這些文化——再次評估每種文化蘊含的哲學，并決定要繼承哪一種?！?/p>
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