The Wedding Banquet Gives a Familiar Story a Radical New Ending

by

Spoilers ahead for the plot and ending of The Wedding Banquet.

Despite the challenges they faced, Lee and Angela were urged to hold onto hope, a theme that ran deep in “The Wedding Banquet.” This movie, released during a period of intensifying government repression, showcased an exceptionally progressive portrayal of queer family life back then. The modern version invites us to envision even more aspirational scenarios.

In both movies, the stories share some common narrative elements but with distinct variations. For instance, in the movie directed by Ang Lee, a character named Wai-Tong (played by Winston Chao) conceals his long-term relationship with Simon (Mitchell Lichtenstein) from his traditional Taiwanese parents. Instead of openly accepting Simon, Wai-Tong decides to marry Wei-Wei (May Chin) for a green card and to get rid of parental pressure. In an unexpected move, Mr. and Mrs. Gao (Lung Sihung and Gua Ah-leh) visit New York to meet their future daughter-in-law, leading to a wedding banquet that necessitates Wai-Tong to keep up the pretense by bringing Wei-Wei in and disguising Simon as his roommate.

In a modern reinterpretation by Andrew Ahn, the story strays from the traditional path of the title’s original celebration. The long-term partners, Chris (Bowen Yang) and Min (Han Gi-chan), face an unexpected challenge when Min’s visa is about to expire. His grandmother, Ja-Young (Youn Yuh-jung), insists that Min returns to Korea to manage the family business. After Chris declines a rushed marriage proposal from Min, they decide to get married instead. This will allow Min to stay in the U.S., and he plans to use his savings to fund another round of IVF for Angela and Lee, whose second attempt at conception has recently failed. Upon learning about the wedding, Min’s traditional grandmother, Ja-Young, promptly travels to Seattle to meet Angela personally.

In this movie, The Wedding Banquet, the screenwriter takes a significant deviation from the original story at its onset. One of Ahn’s most brilliant decisions in the remake is skipping the charade of the marriage right away. While Angela doesn’t need to deceive her mother, May must conceal the truth. However, Min goes all out to mislead Ja-Young, even moving into Angela and Lee’s residence, clearing it of any signs of lesbianism. It’s somewhat shocking when his grandmother appears and sees through the act. “I am not a fool,” Ja-Young tells Min. “Do you expect me to believe you’re with that woman?” The twist in the plot makes the movie more relatable to contemporary audiences: While it would have been challenging to hide a same-sex union in 1993, doing so in 2025 seems nearly impossible.

In my experience, there’s still a wedding ceremony ahead, but it’s not intended to deceive anyone other than Min’s conservative grandfather, who Ja-Young claims will only accept it as genuine if it’s reported in the newspaper. For those approaching The Wedding Banquet with expectations of a comedy, this might lead to some disappointment due to Min’s grandmother’s immediate understanding, which steers the narrative towards fresh territories. However, it’s important to mention that Ang Lee’s film is less comical than one might expect, and instead, deeply rooted in intricate relationships and authentic human emotions. In this movie, despite the successful wedding banquet, Wai-Tung eventually discloses his true identity to his mother, who reacts just as we’d anticipate. Interestingly, Wai-Tung’s father, however, privately informs Simon that he is aware of the sham marriage and views him as another son. This moment is quite touching, although it’s tinged with complexity due to Mr. Gao asking Simon to keep the secret – and admitting that he went along with the deception solely for the sake of having a grandchild.

In a revised version of the 1993 film “Wedding Banquet,” the controversial scene where Wei-Wei gets pregnant by Wai-Tung on their wedding night is absent. Instead, Chris and Angela, who are both intoxicated, end up in bed together, leading to Angela’s pregnancy. This plot twist may seem unrealistic, but it’s less problematic because both characters appear equally troubled. The pregnancy is crucial in both versions of “The Wedding Banquet,” as they explore the formation of a unique family structure. In the original movie, Wei-Wei chooses not to have an abortion and invites Wai-Tung and Simon to become fathers to her child, creating a family unit that was considered somewhat revolutionary when the film was released. Despite similar family arrangements existing before, the portrayal of this new type of family feels groundbreaking in the context of its release.

Now in 2025, we’re less likely to be astonished. The past few decades have brought a more comprehensive perspective on sexuality, gender roles, family structures, and relationship dynamics. Consequently, Ahn’s Wedding Banquet ends with a broader vision than its earlier counterpart. Given the transformation of marriage over time, it’s no surprise that the film now allows for an ending unimaginable 32 years ago: Angela and Min are legally marrying at the courthouse when Chris interrupts, proposing to his boyfriend. Ja-Young, who has gradually accepted Min’s sexuality and welcomed Chris into the family, witnesses her grandson receiving the wedding he desired. The final scene of Wedding Banquet shows Angela, Lee, Min, and Chris co-parenting two children – one conceived after a drunken encounter between Angela and Chris, and another born through IVF that Min financed for Lee. Despite the apparent chaos in their household, it offers a harmonious conclusion.

In contrast to the seemingly ideal conclusion of “The Wedding Banquet,” it’s hard not to suspect it as overly perfect. The crying babies serve as a reminder that reality isn’t all fairy tales. Compared to the 1993 film, this remake takes a significant leap forward by featuring two gay couples instead of one. The storyline in both films culminates with the addition of children, but here we have not one, but two babies and four parents. While simplifying the plot to mere numbers might seem trivial, it accurately reflects how Ahn’s film is expanding upon its predecessor. Although progressive, the ending of the 1993 movie required deceit and compromise. In this new version, there’s no need for a marriage of convenience; instead, every character achieves their desires (with whatever complexities that may bring), resulting in a more diverse and equitable queer family than what was previously imagined. Interestingly, James Schamus, who co-wrote the screenplay for the original film, returned to collaborate on this remake’s script.

In a different perspective, it’s not the six-member family structure that makes “The Wedding Banquet” groundbreaking; it’s the underlying message of hope that sets it apart. The optimistic conclusion seems almost utopian during a time when queer families face adversity and threats. The Trump administration has been persistent in rolling back civil rights, particularly focusing on transgender individuals initially. Marriage equality for same-sex couples and the ability for queer people to adopt are still precarious. Additionally, the harsh immigration policies are a significant aspect of “The Wedding Banquet” narrative. These realities are no secret, even during the film’s production. However, the creators have chosen to present an aspirational vision. If the ending appears overly idealistic for today’s world, that’s intentional: The phrase “Hope is a radical act” might be a cliché, but its truth remains undiminished.

Read More

2025-04-23 16:54