‘The Wedding Banquet’ Review: Bowen Yang, Lily Gladstone and Kelly Marie Tran Lead Sweet if Not Always Snappy Queer Rom-Com Update

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30 years on, the landscape of queer culture and visibility has drastically shifted, with milestones like marriage equality and expanded LGBTQ parenting rights. However, the ever-looming prospect of conservative backlash in the form of legislative challenges could potentially lead to regressive change. Redefining a film from over three decades ago that explores queer sexuality, relationships, and family for modern times is no easy feat. Yet, director Andrew Ahn and co-writer James Schamus, who previously worked on Ang Lee’s cherished original, have crafted a cleverly contemporary adaptation that pays homage to the source while introducing fresh perspectives and realities. I, as a fan, am eager to see how this reimagined piece will resonate in today’s world.

In the second version of “The Wedding Banquet“, it offers something particularly relevant for this delicate time period – not only does it revitalize the romance and humor, but also powerfully affirms the basic right to love whoever we choose and highlights the heartwarming bond of our chosen queer families. Balancing humor and emotion effectively, the play of manners can sometimes falter, evident in a noticeable drop in energy around the two-thirds point. However, the talented cast skillfully guides it back on course, ensuring a delightful finale that’s hard to resist.

In the tale’s alteration, we see the growth of the narrative from a single gay couple to two pairs. Additionally, the setting is changed from New York City to Seattle. The character Chris (Bowen Yang), having temporarily paused his graduate studies, now works as a tour guide for bird enthusiasts. His partner, Min (Han Gi-Chan), has been by his side for five years and is the heir of a significant Korean multinational corporation. He’s in the U.S. on a student visa that’s close to expiring, coinciding with the rising recognition of his textile art pieces. They rent the garage of a family home owned by community activist Lee (Lily Gladstone) and her partner Angela (Kelly Marie Tran), who is not only the owner of the property but also Chris’ college friend and, for a brief period in their freshman year, his girlfriend before they both came out.

At an LGBTQ event where May (Joan Chen), Angela’s boundaryless mother, was being honored with a Queer Ally Award, we encountered both Angela and Lee. During May’s speech expressing her love and support for her daughter from the start, Angela appeared visibly upset, suggesting a different version of their family history may exist. This anger intensified when May casually mentioned to another guest that Lee was pregnant and would soon be a grandmother, despite having been explicitly instructed not to disclose this information.

In this relationship, it’s Lee who yearns for a child, but their second attempt at IVF treatment fails to take hold, leaving the couple contemplating the possibility that a third try may be too costly. Even if they can manage the funds somehow, Lee is concerned about her age potentially becoming an issue. However, when she proposes that her younger partner could carry the child instead, Angela firmly states that motherhood was never something she aspired to achieve.

If Angela struggles with family dynamics, Chris grapples with trust and follow-through. Meanwhile, Min is finding himself under the intense pressure from his grandmother, who is known for her strict and authoritative demeanor (as portrayed by Oscar winner Youn Yuh-Jung in the film Minari), to relocate back to Korea and assume the role of creative director for a prominent fashion division that the company has recently acquired.

Before his video call with grandmother (since his parents passed away seven years ago), Min had the idea and even bought a Cartier ring in his mind. However, it undeniably accelerated his desire to propose to Chris. But when Chris declines, citing unreadiness and unwillingness to shoulder financial responsibilities related to Min’s family, Min is deeply affected. Yet, he regroups himself by proposing to Angela instead, offering to cover Lee’s IVF costs in order to remain in the country.

Min’s grandmother is immediately doubtful when he tells her about his upcoming wedding. Without giving any prior notice, she travels to Seattle to verify if Min’s fiancée is after his wealth. One of the most amusing scenes shows Chris, Lee, and Angela hurriedly clearing out the house in the brief 45 minutes it takes a very apprehensive Min to drive his grandmother from the airport. Items taken away include a book by Elliot Page, a Portrait of a Lady on Fire Blu-Ray, and a framed Lilith Fair poster.

Among the four main characters, Tran’s storyline stands out as particularly captivating, with its challenging ups and downs. However, this entire cast is engaging, ensuring that we become emotionally invested in each couple resolving their conflicts. Interestingly, the more experienced actors dominate every scene they grace with their presence.

It’s delightful to witness Chen, who was outstanding in last year’s Sundance hit, “Didi,” stepping into an uncommon comedic role. The subtle disapproval on May’s face when she learns about Angela’s surprise wedding plans is gold: “My own daughter, getting married!” And I couldn’t help but giggle at the moment when May manages to pique Min’s grandmother’s interest in attending a PFLAG gathering.

In the novel “Pachinko,” the character Young (previously seen) is remarkable, particularly when her astute persona swiftly exposes a deception within just five minutes. Addressing the group, she asks bluntly, “Are you all simple-minded?” after labeling Angela as a “lesbian viper.” Unabashedly elitist, Young’s first question about Angela during a previous conversation was, “Who are her relatives?” One of the most hilarious moments occurs later when she inquires about Chris’ parents and finds out they reside in Kansas. “Ah, The Wizard of Oz,” she muses. “Many Caucasians.” Young’s unwillingness to let her limited English proficiency hinder her power is awe-inspiring.

The evolving mindsets of older female characters infuse an additional sense of warmth into the film, which equally explores family relationships and love, be it romantic or sexual. Constructing families and preserving their heritage are key themes, notably highlighted in Lee’s hesitation to jeopardize the house, a valuable asset purchased by her father to maintain their connection to Duwamish land. The house and its expansive garden seem reminiscent of a Tales of the City community.

The shifting perspectives of older female characters contribute another layer of warmth to the movie, which delves into family dynamics as much as it does into romance or sexuality. Creating families and safeguarding their heritage are prominent topics, notably emphasized through Lee’s apprehension about endangering the house that her father had bought to secure their place on Duwamish land. The house and its vast garden bear resemblance to a community akin to Tales of the City.

It’s not too unexpected that following the vibrant and lively Pyebaek ceremony before their wedding, the excitement gradually wanes as both couples experience the obligatory romantic conflict in a manner reminiscent of a movie, leading them to be apart for a while. Min leaves, convinced that Chris doesn’t see a future with him (Yang portrays his character’s sadness and self-disappointment authentically), and Lee feels betrayed due to an unexpected turn of events, stemming from a night of drinking.

However, the kindness that Ahn and Schamus display in their roles keeps you engaged, even when the story momentarily slows due to melodrama. Despite its predictable yet amusing climax, this film is generally light-hearted and full of appeal. It might not be as consistently hilarious as Ahn’s previous work, “Fire Island,” but it remains an enjoyable experience.

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2025-01-28 11:25