Photos Top cast Edit. Afdlin Shauki Fisherman as Fisherman. Chee Baba as Baba. Yuhang Ho. Kenny Nyonya as Nyonya. Seng Tat Liew. Namewee Chef Huang as Chef Huang. Reshmonu Hero Resh as Hero Resh. More like this. Storyline Edit. Young Chef Huang Namewee struggles to get his restaurant business going because he cannot adapt to the 'localized' cooking his patrons are looking for. However, contradictory to his unpopular cuisine, he is also well-known as 'Hero Huang' in the local neighborhood where he carries out good deeds in helping the community until he met Xiao K Karen Kong who got him into deep trouble.
In order to get his life and the restaurant business back on track, Chef Huang must now seek help from a mysterious hawker stall lady Adibah Noor , who summons him to embark on the extraordinary journey of his life.
During this self-enlightening experience, he will also meet many 'local heroes' each lending their support to help him re-discover his roots and the real hidden message of 'Nasi Lemak'. Add content advisory. Did you know Edit. Soundtracks Rasa Sayang 2. User reviews 10 Review. Top review. No Ratings Yet. Nasi Lemak 2. Duration: 90 min Quality: Webrip Release: IMDb: 6. Download Server Language Quality Links. Multi-hosting Chinese Webrip p Download.
Comments Leave a Reply Cancel reply Your email address will not be published. You May Also Like. Country: USA. Genre: Comedy , Horror. Watch Movie Favorite. Genre: Action , Comedy , Horror. Genre: Action , Comedy , Crime. Country: China , USA. Country: South Korea. Genre: Comedy , Romance. BrRip Ooops! Noah is Gone… Ooops! At the same time, it also speaks to the popularity of Bollywood and its influence on Malay cinema.
Such film- makers deal with personal questions of belonging as marginalized ethnic groups within their nation, seeking to belong while asserting a right to be different. For example, the question of national loyalty vs. Yet when he wakes up and meets the Malay man of his dreams in real life, the latter is warm and welcoming, as if implying that it is only politi- cians who hyperrealize racism by championing the Malay cause, not ordinary Malays in everyday situations.
In another scene where one waiter voices that the cooking competi- tion reminds him of the Thomas Cup badminton championship when Malaysia played against China , he asks for which national team his friend would cheer. The question is deftly left unanswered but nevertheless it is a question commonly asked of Chinese Malaysian subjects. In a key scene in Warriors, the founder of the Chinese Republic Dr. Sun then advises Du Yao that rather than escape adversity, he should face it like a man and not fear hardship or authority.
Nevertheless, the patriotism in both films is not uncritical of the current state of affairs in the country. For example, Chef Huang in Nasi Lemak 2. The complaints include policemen harassing unlicensed Chinese vendors but not Malay vendors, illegal gambling, water supplies being cut off, clogged drains, being rejected for student loans despite scoring 10 As in the national exams, and petty and personal crime.
These are social problems commonly encountered by Malaysians, especially ethnic minorities. However, his community is homogenously all-Chinese; that he has to take a journey to learn to embrace diversity and regain humility suggests that communal leadership embod- ied in race-based parties like the Malaysian Chinese Association MCA and racialization no longer holds much value.
Thus, the film is as much a critique of Chinese chauvinism as it is an overt critique of ketuanan Melayu. Read in the political historical context of its time,17 Nasi Lemak 2. Similarly, there is a parallel democratic principle at work in Petaling Street Warriors. Those in power are represented as unreliable and inefficient in curbing corruption and dis- order. For his own interest, he cares nothing about catching the real bad guys.
At the same time, the anti-corruption sentiments expressed in Petal- ing Street Warriors also raise questions about the role of ordinary citizens as complicit in perpetuating corruption at an everyday level when they pay money to those operating out- side the parameters of the law to smooth things over.
Populist democracy is internalized by the migrant work ethic and a belief in self- reliance and the entrepreneurial spirit. He saves Namewee from a keris-wielding ethnofascist Malay representing Ibrahim Ali of Perkasa, a Malay right-wing non-governmental organization by stopping the keris from stabbing Namewee using a pair of chopsticks. Selecting an ethnic Indian actor to play Hang Tuah is playful and strategic as it critiques both the discourse of Malay authenticity as well as Chinese resistance to Malay dominance that manifests as rumours that Hang Tuah may actually be a Chinese rather than Malay name.
They suggest that Chinese Malaysians do take an interest in national issues that are not solely related to Chinese culture despite years of racialization and marginalization. Chinese Malaysians like Namewee and James Lee may have Mandarin and Cantonese in common with Taiwanese, Chinese mainlanders and Hong Kongers but they also establish their own unique national identity while resist- ing assimilation to Malayness as minority Chinese Malaysians.
Chef Huang undergoes this process on his journey to learn how to make the perfect nasi lemak from members of vari- ous ethnic groups: an Indian man who only instructs him in Tamil, a couple of Peranakan Chinese descent, and a happy Malay polygamous family.
All three cross-cultural encoun- ters are symbolic. In the second instance, the Peranakan couple turn out to be ghosts, as if to signify symbolic spec- tral reminders of a much longer history of Chinese migrant localization and cultural hybrid- ity that continues to haunt the Malaysian racialized landscape even as this hybridity is being repressed by both Malay and Chinese purists.
Conclusion International audiences who readily approach the film from the perspective of film genre alone may miss intertextual references to political scandals and social issues that dominated the local media in the years leading up to that provoke a rich social heteroglossic reading for Malaysian viewers. For example, Nasi Lemak 2. Without further research into audience reception, it is not clear how much local inflection these audiences missed or noticed.
Indeed, critics and reviewers regard the hybrid localized elements that mark the films as Malaysian as a barrier to global markets or as limiting their potential for overseas success Gaultier Likewise, Naficy has observed that accented films tend to command niche audiences. The ideological requirement for a monologic style is moulded by the long global monopoly of Hollywood narrative and cultural conventions.
Downloaded by [University of Nottingham], [Gaik Cheng Khoo] at 18 February Hollywood with its American English dialogue and adaptations of foreign film titles, because of its fear of the use of subtitles, may one day be overtaken by the rising economic power, China and concomitantly, perhaps, its own monologic use of Mandarin over all other dialects like Cantonese, Hokkien, Hakka, etc. However, treating these kung fu comedies as heteroglossic texts or accented cinema enriches the reading of the films.
It allows the filmmakers to smuggle in biting satire and social commentary that this article has hopefully helped to tease out. Acknowledgements I would like to thank Song Hwee Lim and Lim Kien Kiet for sharing their invaluable polyglossic and heteroglossic insights on the films; without their Mandarin and Cantonese skills, this article would be much poorer.
My utmost gratitude goes to the two anonymous referees who provided pro- ductive feedback. She has published extensively on Malaysian independent filmmaking. Her research interests include food, film and cosmopolitanism, and exploring relation- ships between citizens and non-citizens. Notes 1. Cosmopolitan Malaysians are those able to identify with others not because they are of the same ethnicity but on the basis of a shared outlook and common values, for example wanting a corruption-free government.
Khoo 3. A noodle dish stir fried with black sauce and pork lard associated with the Hokkien dialect group that is popular in Kuala Lumpur. Malays are defined in the constitution as Muslim and have a difficult time leaving Islam.
Lina Joy is a Malay Muslim who wanted to change the stated religion on her identity card from Islam to Christian to reflect her conversion. Her case was highly controversial and politicized by ethno-nationalists. For example a bizarre scene in the car when Chef Huang without any reason starts to sniff Xiao K, who is driving, and seems to want to bite her neck.
In an interview with James Lee, the director explained to me that these low-brow scenes were inserted by his Hong Kong co-director and producer, Sampson Yuen. UMNO, a party formed to protect the rights of ethnic Malays during British colonial times, has been in power since Independence in Descendants of Chinese who settled in Malacca in the s through mar- riage to local women , the Peranakans created a hybrid culture by adapting to the local dress and language while keeping their rituals such as ancestor worship and religion.
Their cuisine borrows and blends Chinese with Malay ingredients and cooking styles. The most blatant political historical context for the film is Bersih 2. However, racism towards foreign workers, like the Nepali security guard whom Chef Huang consistently abuses, continues. In , a video clip secretly recorded on a mobile phone in surfaced in the media. It showed a man believed to be a prominent lawyer, V.
Journal of Chinese Cinemas 15 Hang Tuah is a famous legendary Malay warrior and hero from the days of the Malacca Empire. References Aidil Rusli. Anderson, Amanda. Minneapolis: University of Minnesota Press. Bakhtin, Mikhail. The Dialogic Imagination: Four Essays. Michael Holquist.
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