"None of us are good enough alone."
A lot has happened since Ang Lee's The Wedding Banquet was released in 1993. At the time, the AIDS epidemic was still ravaging the community, marriage equality wasn't even a thought, and queer representation in media was, albeit improving, vastly limited. In short, it was a different time. Since then, progress has, well, progressed. Granted, the LGBTQIA+ community is currently fighting for its life as a newly appointed leader enters the White House, but Andrew Ahn's modern reimagining finds queer society in a much-improved place. And that, above all else, is reason to celebrate.
But beyond the obvious, Ahn's film works as his quartet of queer characters are forced to tackle modern issues that, in simplistic terms, operate much like a heterosexual's. For starters, the characters, introduced as two budding couples at different stages of their lives, can legally marry. Therefore, conflict must be born differently. And while social norms have improved, cultural expectations must still be dealt with, most notably those dealing with generational customs.
The film opens with Seattle-based lesbian Angela (Kelly Marie Tran) and her partner Lee (Lily Gladstone), who have just completed a second unsuccessful IVF treatment. Internally pained by the lost opportunity, the pair are unsure how to proceed with their dreams of starting a family. Outside of the financial burden the process has placed on their lives, the possibility of another disappointment is too much to bear. Not to mention that Lee is older, and as the one who would be carrying the pregnancy, with each passing treatment, the likelihood of success continues to dwindle.
Outside, nestled comfortably in their garage, their housemates, Chris (Bowen Yang) and Min (Han Gi-Chan), are complacent, struggling to advance their relationship to the next step after a five-year courtship. After being given an ultimatum by his grandmother, Min, the forthcoming heir to a Korean multinational, wants to get married. The move would secure a green card while solidifying his relationship with the man he loves. In an attempt to continue living a stagnant and comfortable life, Chris doesn't share those feelings.
So, what are two struggling queer couples to do? Enact marriage fraud, of course.
If Angela marries Min, the latter will agree to pay for a final IVF treatment. In return, Min would get to stay in the country, satisfy his grandmother, and hopefully thwart the relocation requirement she has placed on him. All without recusing himself of his inheritance.
If the film sounds messy, trust me, it is. And that, in all its glory, is part of what allows The Wedding Banquet to work to the level that it does. Authentic, impulsive banter keeps the dialogue running as the two couples frantically work to stay afloat in the constantly evolving world that surrounds them. While society appears to be accepting and excited about their opportunities, they suddenly find themselves in a state of panic when Min calls to inform the group that his grandmother (played flawlessly by Academy Award-winner Youn Yuh-jung) has just landed to give her approval of his bride.
Situational comedy and heartfelt sentiment take center stage as Ahn collaborates with James Schamus, who co-wrote the '90s original. The film thrives as it allows its actors to breathe, presenting its characters in a natural light as they twist and turn to uncover their life mission and satisfy themselves and those they now call family.
Though Tran stands out among the four principals, she's also dealt the roughest character arc to navigate. With the meatiest material, it isn't a shock that she delivers. But the ensemble is, through and through, incredible. A shared chemistry sells their relationships as they find themselves constantly at odds, forced to come together and move past their differences. But still, even with the film centered on their forthcoming nuptials, the veteran actors prove the constant scene stealers.
Symbolic of two very different (but also painfully similar) reactions to their gay family members, Joan Chen and Yuh-jung deliver near-perfect performances. And though their characters occasionally fall into harsh stereotypes, their performances are layered with such complexities that you can't help but sit back and appreciate the spectacle. Their warmth and life lessons provide context to the story, which, while required for a rom-com, still hits the heartstrings at just the right time as they prove that their lives aren't so different from those playing out in front of them.
Though the third act struggles to maintain its footing, and the simple, generic story plays out without a surprise, a unique spirit within our four main characters offers a sense of hope and confidence that the world is becoming a better place. And though the comedy isn't nearly as consistent or funny as one expected, and the pacing proves harshly inconsistent, The Wedding Banquet is still a charming film that reminds us all that no matter the family origins, it takes a fucking village.
