‘The Wedding Banquet’ Review: Modern Reimagining of Queer Classic Mostly Finds Its Own Way With Funny New Guests

by

Back in 1993, Ang Lee’s “The Wedding Banquet” premiered during a time when the AIDS crisis was ongoing, marriage equality in the U.S. was yet to be achieved and portrayals of LGBT individuals were scarce, despite some advancements. Clearly, it was a different era. Fast forward to today, we’ve made significant strides, though we mustn’t forget our ongoing battles for LGBT rights. In this context, Andrew Ahn’s modernized and humorous yet heartfelt take on the original film, designed for a 2025 audience, shows the queer community in a much better state than before.

Initially, the characters in this updated version are allowed to marry and have children if they choose, leading to a shift in the nature of conflicts. While societal expectations still play a role, personal disputes among the group (which is now a quartet instead of a trio as depicted in Lee’s movie) become more significant.

Or,

In this new version, characters can marry and have children if they desire, changing how conflicts arise. Although societal norms are still present, the personal disagreements within the group (now a quartet instead of a trio from Lee’s film) become more prominent.

Following two failed rounds of IVF, Seattle’s lesbian pair Angela (Kelly Marie Tran) and Lee (Lily Gladstone), who were planning to have Lee carry the pregnancy, found themselves at a loss about their next steps in their relationship. Financially, they are unable to continue trying, and the thought of another heartache is too painful to bear.

In a similar predicament are Chris (Bowen Yang) and Min’s closest companions, who happen to be their housemates. Min is the heir to a significant international Korean corporation, and he desires to marry Chris, who appears reluctant to commit. This union would not only satisfy Chris’ lack of commitment but also help Min secure a green card. However, if his Korean family discovers his sexual orientation, he stands to lose his inheritance. It seems that a marriage based on deceit, or “marriage fraud,” could be the ideal course of action. If Angela marries Min, he can afford additional IVF treatments, allowing him to remain in the country and simultaneously please his grandmother, played by the touching and award-winning actress Youn Yuh-jung.

In their collaboration, Ahn and James Schamus, who previously worked with Lee and Neil Peng on the ’90s original, maintain the core spirit of the original but center it around women’s experiences. At times, the narrative can be quite explanatory, but the actors deliver engaging dialogues through their believable, casual conversations. The atmosphere and production quality in certain scenes (like those set in a bar or drag show) exhibit a style more typical of studio productions compared to the raw naturalism often seen in Ahn’s smaller projects.

It’s nice to see Gladstone in lighter roles where her seriousness adds impact, but it’s Tran who takes on the heaviest emotional burden as Angela questions her ability to be a good mother. Meanwhile, Yang, who’s been quite busy lately, continues to display his more serious side. Alongside an amusingly frustrated Han, Yang’s arguments provide some of the most hilarious moments.

In one particular scene, production designer Charlotte Royer’s work on Angela and Lee’s home takes center stage as the group of young queer individuals scramble to conceal anything that could reveal their lesbian relationship to Min’s grandmother, who is due for a visit. This includes photos, DVDs, books, paintings, and even clothing, which are hastily stored in the shed shared by Chris and Min – items that serve as representations and confirmations of their identity being secreted away. Upon her arrival, the grandmother insists on a traditional Korean wedding to validate their union in the eyes of family members back home. The character played by Youn in “The Wedding Banquet” contrasts with the grandmother in “Minari,” as this role demands complexity, including elements of mistrust and remorse. Nevertheless, she continues to captivate the scene.

Ahn’s adaptation also borrows humor from cultural differences, as evidenced by Min’s grandmother finding it astonishing that some Americans accept LGBT individuals. This serves as a poignant reminder that the rights we fight for in this country are yet to become a universal reality, whether legally or socially accepted worldwide.

In “The Wedding Banquet,” the heartfelt chemistry among the four main characters captivates, but the film truly shines when it delves into the transformative journeys of the older characters as they confront and discard their biases. Joan Chen brilliantly portrays Angela’s mother, who initially rejects her daughter’s sexual orientation but later becomes a strong advocate, making amends for her initial rejection. Youn, on the other hand, is a character torn between her genuine affection for her grandson and her husband’s disapproval, a man whose marriage was arranged by her parents.

If there’s any criticism to be made, it’s that a 2025 remake of “The Wedding Banquet” could have taken bolder steps in its humor or the resolution of the characters’ complex situations. As currently presented, without explicit content and emphasizing empathy and forgiveness instead, it seems more likely to appeal to a broader range of viewers.

Ahn, a gifted and adaptable narrator, has carved out a successful path in the industry by creating both independent projects (“Spa Night” and “Driveways”) as well as larger-scale productions (“Fire Island”). While “The Wedding Banquet” falls under the broader category, it retains some of the thoughtful intimacy from his earlier works. Regardless of the scale, Ahn’s continued ability to create engaging entertainment with a relevant edge is undoubtedly appreciated.

Read More

2025-01-28 12:47