Tina Chen in Almost Perfectwhat the critics say


Descendants of the Past, Ancestors of the Future
“The acting is pitch perfect and Chan and Chen turn in wonderful performances.”
- Philip Smolen, Rogue Cinema, 2014

“The Hawaiians” for which she was nominated for a Golden Globe Award

“Tina Chen steals all acting honors in The Hawaiians with a brilliant performance that is supposed to span 40 years, from 1870 to 1910” Joseph Gelmis, Newsday, 1970

“…there’s only one star performance. That is given by Chinese genius Tina Chen…She’s superb and dominates the film.” Robe, Variety, 1970

“Miss Chen successfully makes the transition from kidnapped waif to dignified matriarch…Her portrayal is outstanding.” Ann Guarino, The Daily News, 1970

Tina Chen in The HawaiiansThe Hawaiians has Tina Chen, who is the real star of the film…she establishes herself as a major actress. Her transition from an ignorant peasant girl to a woman of substance over 30 years is an impressive performance” Mary Knoblauch, Chicago Today, 1970

“An impressive young actress, Tina Chen, plays the indomitable matriarch…The role spans a wide stretch of time and Miss Chen moves across it very well.” Charles Champlin, Los Angeles Times, 1970

“Performances by Mako and Tina Chen, as a Chinese laborer and his proxy wife…bring a touching simplicity to their relationship and make one yearn for a re-make of The Good Earth. “ Judith Crist, New York Magazine, 1970

“…the film may just be remembered most as the one in which Tina Chen first showed what she could do…the spunky, determined woman she creates provides qualities an audience can recognize. She ages from a young woman into a powerful matriarch with astonishing ease.” The Hollywood Reporter, 1970

“The young Chinese actress Tina Chen is adding an oriental chapter to the classic Hollywood a-star-is-born story…her performance inevitably invites comparison to that of Luise Rainer in The Good Earth.” Milton Berliner, Washington Daily News, 1970

“Tina Chen who gives a remarkable performance in the film, plays not just a Chinese girl but those very entrepreneurial forces of assimilation which created in Hawaii something of a true multi-racial society.” Stuart Byron, The Village Voice, 1970

Tina Chen in The Hawaiians“…Tina Chen, whose performance as a heroic Chinese girl is the main argument for seeing the picture…she is the best thing to happen to the American motion picture industry in years.” R.H. Gardner, The Baltimore Sun, 1970

“Tina Chen is remarkable as the Chinese girl who goes from stowaway to elderly matriarch. It is very much her movie…” Tony Mastroianni, The Cleveland Press, 1970

“It is Miss Chen, though, who is the real star of The Hawaiians. She has the best part and knows just what to do with it…Miss Chen is in complete control. “ Gail Rock, Women’s Wear Daily, 1970

“A Chinese actress named Tina Chen is so fantastically good that she carries the picture through to an interesting finish. It is the closest thing to Luise Rainer’s luminous Oscar winning job in The Good Earth that we have come across.” Bob Freud, Fort Lauderdale News, 1970

“My hat is off to the producer of The Hawaiians for having the intelligence and courage to allow relative newcomer Tina Chen to dominate the epic over epic. Her performance is luminous. I suspect that neither Webster’s nor Funk and Wagnall’s contain enough complimentary adjectives to describe it justly, and I would have been sorry to have missed the privilege of caring what happened to Tina Chen in the role of ‘aunt of five continents.’” Norma McLain Stoop, After Dark, 1970

Tina Chen in “The Final War of Ollie Winter“The Final War of Ollie Winter” for which she was nominated for an Emmy

“…exquisite as the Vietnamese girl” Jack Gould, New York Times, 1967

“…outstanding portrayal by Tina Chen…credit goes not only to Dixon but to Tina Chen, the talented Chinese actress.” Ben Gross, NY Daily News, 1967

“…admirable and believable as the Vietnamese girl” Percy Shain, Boston Globe, 1967

“…was his Rima of Vietnam brush, an ethereal creature whose performance mutely conveyed the meaning behind her unintelligible dialogue.” The Hollywood Reporter, 1967

“Tina Chen is a real find, immensely appealing and communicative, although her dialog was all Vietnamese.” Les, Variety, 1967

“…hauntingly beautiful…her role was a difficult one. But she brought great tenderness and depth to it, giving an outstanding performance” Eleanor Roberts, Boston Traveler, 1967


Tina Chen in Comfort WomenComfort Women
“The witness-bearing script is given life by two powerful performances: by Tina Chen, as a woman who wants to forget everything…” Anita Yavich, The New Yorker, Nov. 15 2004

“In strong performances…Tina Chen is a stiff respectable Korean grandmother, anxious to protect herself from any disruption” Edward Rothstein, The New York Times, Nov. 8, 2004

Tina Chen in Empress of ChinaEmpress of China
“This graceful, intelligent production set at the turn of the 20th Century, is all about her, the Dowager Empress Tzu-his, played convincingly and with great flair by Tina Chen.” Anita Gates, The New York Times, April 9, 2003

“The actors move with agility through the verbiage - ornate but not overly bombastic - beginning with Tina Chen’s striking performance as the demonic Empress dowager.” Mel Gussow, The New York Times, April 28, 1984

The Joy Luck Club
“Tina Chen projects a haunting ferocity as the former aristocrat possessed by paranoia” Francine Russo, The Village Voice, May 4, 1999

“The four older actresses are stunning, with Chen a particular standout.” Susan Kim, In Theater, May 10th, 1999

The Chang Fragments
“The humor is provided mainly by the marvelous Tina Chen as the devastated Mrs. Chang…she gives the role an inner glow and purpose…” David Sheward, Backstage, May 17, 1996

Arthur and Leila
“Two seasoned actors, Tina Chen and Jon Lee, under Ron Nakahara’s direction, turn Ms. Lee’s witty dialogue into an emotionally taut contest of wills in which protagonist and antagonist constantly changing roles.” D.J.R. Bruckner, The New York Times, Oct. 18, 1994

“Tina Chen is simply amazing as she uses eye movements and swift, sharp gestures to suggest a persona that is a compromise between what society demands and what her hidden inner self wants.” Dan Isaac, Backstage, October 21, 1994

Santa Anita ’42 (Penguin Repertory Theatre)
“Most impressive as Tamako is Tina Chen. She endures the slings and arrows of disappointment, frustration, anger, devotion and love. Ms. Chen seems to flow from scene to scene with conviction and believability.” Norman Garfield, The Rockland County Times, Nov. 6, 1986

Family Devotions
“Tina Chen and June Kim are funny and exactly right as the devout sisters” Edith Oliver, The New Yorker, 1981

“The performances of Tina Chen and June Kim as the witchlike aunts…definitely take full advantage of the material.” Mel Gussow, The New York Times, 1981

The cast of The Year of the DragonThe Year of the Dragon
“Conrad Yama is perfect…and so, for that matter, are beautiful Tina Chen, as the tender, loyal, but somewhat alienated daughter” Edith Oliver, The New Yorker, 1975

“Tina Chen is excellent as the sister who left Chinatown” Ron Pennington, The Hollywood Reporter, Jan. 15, 1975

“Tina Chen is a delight to eye and ear” John Simon, New York Magazine, 1975