In the early 1950s, Lily Kawamura tells her pre-adolescent daughter Mini about her father and the life that she barely remembers, as the two of them are walking to a rural train station.
In 1936, Jack McGurn is a motion pictureprojectionist, involved in a campaign of harassment against non-union theaters in New York City. One such attack turns fatal, as one of his fellow union members starts a fire. McGurn's boss, knowing that the feelings of guilt would likely cause Jack to go to the police, urges him to leave the city. Jack moves to Los Angeles where his brother Gerry lives. Jack's role as a "sweatshoplawyer" strains an already-rocky relationship with Gerry who is willing to have any job, barely keeping his family afloat during the Great Depression.
Taking the name McGann, Jack finds a job as a non-union projectionist in a movie theater run by a Japanese American family by the name of Kawamura. He falls in love with Lily, his boss' daughter. Forbidden to see one another by her Issei parents and banned from marrying by California law, the couple elopes to Seattle, where they marry and have a daughter, Mini.
Finally visiting the camp, he arranges a private meeting with his wife's father, telling him that he has gone AWOL and wants to stay with them, whatever they have to go through. They are his family now and he belongs with them. The older man counsels him to return to the Army, and says that he now believes that Jack is truly in love with Lily, and a worthy husband.
Returning, ready to face his punishment for desertion, he is met by FBI agents, who have identified "McGann" as being the McGurn wanted for his part in the arson of years before.
Finally, in the 1950s, the train arrives and Lily and Mini reunite with Jack, who has served his time in prison and is now returning to his family.
Title
The title of the film is inspired by a line of the short poem "I Hear The Oriole's Always-Grieving Voice" by Russian poet Anna Akhmatova, which ends with the following lines:
I don't expect love's tender flatteries,
In premonition of some dark event,
But come, come and see this paradise
Where together we were blessed and innocent.
Writer Alan Parker was unable to locate Akhmatova's original poem and wrote his own poem before writing the script to try and say what the film would say:[3]
We all dream our American dreams
When we're awake and when we sleep
So much hope that grief belies
Far beyond the lies and sighs
Because dreams are free
And so are we
On review aggregator Rotten Tomatoes, the film has a 'fresh' 64% rating based on 11 reviews, with an average rating of 5.5/10.[4] Noted Chicago Sun Times critic Roger Ebert gave it 3 stars out of 4 and wrote that "Come See the Paradise is a fable to remind us of how easily we can surrender our liberties, and how much we need them."[5] The film was entered into the 1990 Cannes Film Festival.[6]
A 2014 study by Gabriel Rossman and Oliver Schilke, two sociologists at the University of California at Los Angeles (UCLA), identified Come See the Paradise as the most deliberate example of Oscar bait in their study of 3,000 films released since 1985. The identification is based on various elements calculated to be likely to draw Oscar nominations, including the previous nominations of Parker, the film's setting in Hollywood (including Quaid's projectionist character), and its depiction of a tragic historical event against the background of war and racism. It was only released in a few cities during the last week of that year to make it eligible for the awards. However, it was not nominated for any Oscars and failed at the box office.[7]
Home video releases
The VHS tape was released June 12, 1991. The DVD version was released June 6, 2006 and included a 2-sided disc:
Side A: Movie, audio commentary by writer/director Sir Alan Parker
Side B: Images of Come See the Paradise featurette, The Making of the Film essay by Sir Alan Parker, Rabbit in the Moon 1999 documentary,[8] theatrical trailers
