A Moving and Powerful ‘M. Butterfly’

I was very surprised and rather upset at the extremely harsh critique Kenneth Turan gave “M. Butterfly” (“Chasing an Elusive ‘Butterfly,’ ” Oct. 1). Turan obviously loved the stage production of David Henry Hwang’s play and finds the film “drab,” “pedestrian,” “limp” and “tepid.” It seems as though Turan’s having seen the play prevented him from enjoying the film, for his criticism basically stems from the fact that the film is not the same as the play.

Although I did not see the play, I had read much about it; thus, I went to the movie with high expectations. I was not disappointed. My husband and I found the film entirely absorbing, compelling and believable--especially the ending, which to us was a stunning, powerful finale.

We both found John Lone’s portrayal of Song Liling utterly convincing--not simply as a woman but convincing as a beautiful, seductive woman, with her husky, sensual voice; her slow, deliberate speech; feminine mannerisms, body movements and facial language.

Even though I knew that Song Liling would turn out to be a man, I still found it difficult to see the man in Lone’s highly sensitive, consistently subtle performance. Lone’s phenomenal artistry was especially evident in the paddy wagon scene, where Lone floated, like the elusive butterfly, in and out of himself/herself in his/her last attempt, as a male butterfly, to seduce diplomat Rene Gallimard.

Perhaps, if I had seen the play, my opinion would be different. But my opinion, notwithstanding, is no less valid. The provocative themes, sardonic wit, emotional depth, profound ironies and stereotype-breaking characterizations of Hwang’s story are presented ingeniously in the film, all capped by an astoundingly powerful, bone-chilling climax.

MABEL WONG HOGLE

Sepulveda