Tockinit not horrible nor great

ChicDragon It's a mild crowd pleaser for people who are exhausted by blockbusters.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Brendon Jones It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Xander Seavy (RiffRaffMcKinley) Given the epic nature of James Michener's thousand-page novel "Hawaii," if the first film did any kind of positive business whatsoever, a sequel was bound to happen. The result is actually quite good, though nowhere near as good as George Roy Hill's original. Practically none of the original cast or crew has returned. Hill was succeeded as director by Tom Gries; Trumbo and Taradash are replaced on script duty by James R. Webb ("How the West Was Won," "Cheyenne Autumn"), who certainly had a bizarre gift for crafting intelligible and reasonably entertaining stories out of momentous historical hoopla. And since it takes place a couple generations after the end of the first film, obviously the cast is all gone. Charlton Heston adds more than prestige (he also adds presence and strength) to the central character of Whip Hoxworth, with Geraldine Chaplin decent but underused as his odd wife Purity. Mako is terrific as a Chinese peasant farmer who comes to Hawaii after cheating himself a new wife-- Char Nyuk Tsin, played by Tina Chen in a performance that starts off rather uninteresting but blossoms into a real stunner. The story goes on through racial strife, economic and ecological developments on the islands, political turmoil, and personal tragedy, very much in the spirit of the first "Hawaii" but without all the buildup (remember how much time had passed before we saw the islands in the first one?) and with a quicker pace. The film is lush, intriguing, and adequately enacted, but there are a few obstacles to overcome before you can really get into it. The worst of these is Henry Mancini's tacky, obvious, ethnic cliché-infused score, which comes nowhere near the scope, emotion or wonderment of Elmer Bernstein's original. If Bernstein couldn't have been secured, surely there was a better option (Jerry Goldsmith springs to mind) than Henry "The Pink Panther" Mancini. But the score does have a few moments of... well, adequacy. Given that the film obviously failed and-- having never been released on either VHS or mass-market DVD-- both suffers in obscurity while toiling in notoriety, and given that the first film was (at least to this reviewer) almost thoroughly a masterpiece, "The Hawaiians" is much better than can be expected. And compared to the lame sequels that stuff the cineplexes these days, it plays off like a "Citizen Kane" or a "Godfather."

FromBookstoFilm What I really enjoyed about the Hawaiians was the story of how Hawaii came to be such a cultural melting pot. The Polynesians were the aboriginal peoples of the Hawaiian novels. Next came the American and European whites mostly missionaries or seamen. Then came the Chinese followed by the Mediterranean European Portugese and then the Japanese and Filipinos. Hawaiians movie does a great job of covering the Chinese immigrants at the beginning of the story Tina Chen and Mako did a fine job in the film as a Chinese Man and his second wife whom by Chinese law at that time was considered in reality a concubine. The scenes at the leper colony was very close to the original in the book and the rape of the beautiful Hawaiian leper girl Kinau who did not show except for one sign of the disease is also graphically depicted in the film. In the novel the concubine has all sons.In the movie version the concubine has one daughter.A character that has been created from Japanese and Chinese characters in the book.The Japanese former comfort girl mistress of Charlton Heston was actually a made from several different females in the book. Charlton Heston did a great job in his part but in actuality and no fault of his own but of the screenwriter his Whip character did not remain faithful to the book portrayal and Geraldine Chaplin her character should have been left out entirely since it was another streamline of other female characters. People who viewed this movie couldn't relate to Geraldine's Purity's character. She apparently was unhappy in her marriage gave Whip a son but didn't want to return to the marriage bed.Frigid and emotionally detached. She kept going back to her full blooded Hawaiian relatives and the church. She was comfortable with the old ways and not the new and certainly not her husband's sex drive. John Phillip Law plays the son of Whip and Purity who later married a Chinese girl the daughter of the Chinese couple was told to keep his quarter Polynesian blood a secret by his father. There was racism by the so-called Pure white stock against Caucasians who had a little of the Polynesian ancestry. Pure Polynesian Hawaiians weren't too happy at first with their children intermarrying with Caucasians or mainland Asian Chinese then Koreans or other island Asiatic groups like Japanese and Filipinos but it happened. Bottom line on this sequel-Good Movie but not what one could call faithful to a James Michener's novel. The Chinese storyline pretty much stayed close to the depiction in the book. The James Michener novel Centennial was better adapted to the small screen than this epic sequel.

ptb-8 This film today, is quite forgotten because it never turns up on TV and is not widely available on video, and certainly not yet on DVD. Tis is a great pity as THE HAWAIIANS is an excellent and interesting stand alone sequel to the whopper epic of 1966 HAWAII - which was a 70mm release with Julie Andrews and Max Von Sydow (and even Bette Milder in a crowd scene). James Mitchener and his tales of the south seas books presented film makers with many opportunities for grand and spectacular South Pacific extravaganza dramas and even one enchanted musical. THE HAWAIIANS is basically the story of how Charlton Heston started the pineapple industry in Hawaii, with the help of hard working clever Chinese peasants, some of whom were brought into the plantation household for love and 'marriage' and even unfortunately, a spot of leprosy. While that might sound trite, and I am not making fun of it, it allows for 'ordinary' people to feature center screen in an epic way. Because this film is not about "major Euro characters" like in the first film, THE HAWAIIANS unjustly has been derailed and forgotten. But it is actually more interesting because it is about someone else other than religious zealots smashing idols and their sexually repressed wives ripping the corset off to run barefoot down the beach with the native teenagers.. So if you wish to see a truly glorious epic film about the people who actually did something to and for Hawaii (whether it ultimately good or bad) THE HAWAIIANS lives up to its title showcasing the real hard working people who lived and loved in Hawaii a century ago. I had the unforgettable experience of seeing both HAWAII and THE HAWAIIANS back to back as a double feature (7pm-midnight) in a Sydney Suburban cinema one freezing winter night lashed by a monster cyclonic thunderstorm. Here we were rugged to the chin in woolly everything straining to hear the soundtrack over the crashing din of the rain on the theater's enormous tin roof whilst looking at a spectacular cinema-scope vista of tropical sunny island drama. About an hour into the first film, the plaster ceiling sprang several serious leaks and a very grimy waterfall left of screen that was washing 55 years of dirt from above the curtains. The tubby manager and the broom kid were heard scurrying into the ceiling with empty tin ice cream bins. With hissed directions from Mr Tubby, the kid was clomping about on the beams, creaking and thudding, placing empty tins under the drizzle from the roof above. That plugged the leaks but instead started a hilarious symphony of 'pling' and 'plong' and 'plish' and 'klading' and 'sklosh' as the huge raindrops fell into the empty bins and began to fill them. It sounded like when somebody plays "eidelweiss' using a dozen glasses of water of varying amounts. This began to cause the entire audience of a dozen of us to laugh and look about. Suddenly something crashed and splashed from behind the screen as the kid went straight through a part of the ceiling long unseen. A massive puddle gushed from under the masking, across the stage to the footlights and waterfall-ed straight into the front aisle. The kid made his way out from behind the screen cringing, wet and meekly looking about. The audience erupted into rapturous applause. The kid took a bow and slipped straight offstage onto the soggy carpet and out of sight. What a night! Value and extras like that never happen in multiplexes today. Anyway, after we survived HAWAII, we all got a free hot chocolate, congratulated the manager and wet kid, and went back in, storm raging still, buckets sploshing away , ceiling straining, and let THE HAWAIIANS transport us to another world in another (warmer) age. Such was the professional cinematic expertise of this very good sequel. I have never looked at a pineapple in the same way ever again.

viewer70 The impact "The Hawaiians" has made on this viewer stretches over many years. Not only because it finishes the story initiated by the earlier film release, "Hawaii," which is readily available on video. But also because within this film we enjoy an epic life's story of a Chinese m woman, played by Tina Chen, who only speaks the Hakah mountain dialect. She arrives in Hawaii with almost no English, but a strong desire to survive and succeed. She is the center figure of the story and as such, she gives birth to five sons and ultimately one daughter all by a man, also from China, played by Mako. She dedicates herself to him. This guy, by the way, is already married to a woman still living in China,his first wife, who he sends much of his earnings to. So our Heroine, must be her own children's "auntie."When her husband contracts Leprosy, Wu Chow's Auntie, as she is now called by everybody who knows her, nobly follows her husband to the outcast Island of Molokai where she takes care of him until he dies.(Mako is not Chinese but an excellent Japanese-American actor. We can see him in his latest film as the Admiral who attacks "Pearl Harbor."} Thanks to the friendship of the Hawaiian Island Master played by Charlton Heston, this great lady, who miraculously does not contract the dreaded Leprous disease, is allowed to return to her children, now grown to teenagers. All five boys,and the youngest, a girl, born at the Leper Colony and sent home just after her birth, have all managed to still be living together at the old homestead. Although missing for so many year, they are nevertheless, glad to see their mother, but when Wu Chow's Auntie begins to take charge and direct them, declaring which son will be a lawyer and which a doctor etc.; they are astonished and resistantly shout questions ... " How can we do this, we have no money. " Wu Chow's Auntie listens patiently to all the reasons for why her expectations are impossible. Then the noble mother pulls herself to her fullest height, surely no more then five feet, and declares, looking each child in his eyes until he is forced to lower them: "Impossible has come back from Molokai." Naturally to find out what happens to this woman you have to read James Michener's epic novel. This one scene alone, would make the film a MUST SEE in my opnion. I really am impatient with the controllers who are delaying the release of this wonderful story. Come on guys, get moving.. Give us "The Hawaiians," on VHS and DVD too.