The Wedding Banquet’s vibes and especially cast consistently charm

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A method to defend a remake is by emphasizing the unique style brought forth by a new director. For instance, while the 1997 version of “Psycho” may have initially received criticism, it’s now more appreciated than films like Tim Burton’s “Planet of the Apes” or live-action Disney remakes because director Gus Van Sant made it distinctively his own. Similarly, in remaking Ang Lee’s “The Wedding Banquet,” writer/director Andrew Ahn (in collaboration with James Schamus on the script) focuses on transforming this film into a more profound queer ensemble piece and utilizing his talent for creating touching and poignant moments.

In a straightforward and engaging manner, Ahn’s first film, “Driveways“, skillfully drew profound emotion from the unassuming nooks of everyday existence, such as garage sales or chats with neighbors on front porches. Even his more playful, festive adaptation of “Pride and Prejudice“, titled “Fire Island“, found room for poignant, sincere moments. Ahn has a knack for making silence speak volumes, a skill that sets his “Wedding Banquet” apart as a unique work.

Lee (Lily Gladstone) and Angela (Kelly Marie Tran), residing in Angela’s home, are embarking on the journey of starting a family through IVF. Meanwhile, Chris (Bowen Yang) and Min (Han Gi-chan), the leads from the movie Wedding Banquet, dwell in Lee and Angela’s garage. These two pairs grapple with various issues, including Chris’s reluctance to commit to anything. To make matters more complicated, Min receives an unexpected revelation from his grandmother Ja-Young (Youn Yuh-jung) that he must return to South Korea.

Min devises a plan to maintain his open lifestyle without returning to secrecy. He proposes that Angela, who’s struggling financially with Lee, pretends to be his wife by getting married at City Hall while Ja-Young is in America. In return, Min will cover the cost of their IVF treatment. Although it’s an unusual arrangement, everyone seems to support it. The difficulty of these alternative sexualities trying to appear straight is already complicated enough. Adding the potential issues this situation might bring up for each couple just makes things more challenging.

A Wedding Banquet isn’t too far from the familiar territory of romantic comedies. It’s like a yummy chocolate bar you’ve had before, only this time it’s been creatively remade. What sets it apart is that it brings in actors who are typically associated with serious dramas rather than rom-coms directed by Robert Luketic. Actresses such as Rachel McAdams, known for their dramatic roles, bring a refreshing authenticity to comedic parts. Similarly, casting offbeat choices like Lily Gladstone and Youn Yuh-jung adds an intriguing flavor to traditional romantic comedy storylines.

Gladstone truly excels when given the opportunity to showcase their boisterous comedic talents on-screen. From movies like “Killers of the Flower Moon,” “The Unknown Country,” and “Certain Women,” Gladstone has demonstrated an incredible ability to convey depth through subtle facial expressions or minimal body language. In this film, they continue to display these skills, but the script by Schamus and Ahn also offers ample opportunities for Gladstone to showcase their impeccable comedic timing with hilarious line deliveries. A particularly funny moment is when Lee quips “oh, rad” about a couple potentially having 15 non-binary children off-screen, which left me in stitches. Another standout scene involves Gladstone stretching their arms and legs to protect a painting while exclaiming “it ties the room together!”, offering a brilliant example of over-the-top verbal and physical comedy.

In a way that’s hardly surprising, Gladstone demonstrates an exceptional knack for crafting unforgettable one-liners, much like their skill in expressing silent longing in the film “Certain Women“. Sharing the screen with Gladstone is the equally impressive Kelly Marie Tran. The character Angela is a master of concealing emotions, and when they do surface, they’re raw and chaotic. Tran does an exceptional job of portraying this complex demeanor, particularly shining in Angela’s most exposed moments. To top it all off, the chemistry between Tran and Gladstone in their intimate scenes, be it snuggling or whispering “I love you”, is nothing short of captivating – these scenes left me with a warm, fuzzy feeling. While the narrative may seem somewhat predictable, it’s easily overlooked when it provides such extraordinary lead performances.

In Ahn’s films like “Driveways” and “Fire Island”, his subtle directing style allows the actors to shine. He is not afraid to take things slow, focusing on deep conversations between characters, which gives space for nuanced performances. This approach in “A Quiet Place Part II” highlights the talent of the cast by emphasizing small, often overlooked moments that other movies might discard. For example, a sweet scene where Lee sprays Chris with water from a garden hose adds warmth to their relationship. Furthermore, one of the most impactful scenes in the script written by Schamus and Ahn involves a very honest conversation between Angela and May (played by Joan Chen), which beautifully portrays their strained relationship.

Ahn and cinematographer Ki Jin Kim cleverly depict this significant moment using only a few expansive shots, keeping the number of cuts at a minimum. The audience experiences these characters navigating an emotionally tense situation almost live, allowing the raw emotions of the scene to fully develop. By maintaining a restrained visual approach, they create an environment where the emotions of the sequence can thrive. Moreover, this technique enhances the performances of Tran and Chen, particularly that of Joan Chen, whose work in this bathroom scene, as well as in any other scene from Wedding Banquet, left me consistently amazed. The transformation Chen undergoes, starting as a source of awkward comedy (May’s persistence to be the perfect ally is almost overwhelming) and then becoming such a profoundly moving performer, is truly captivating to watch.

In comparison to Chen’s outstanding portrayal, other aspects of the Wedding Banquet lack the same level of uniqueness. Chris and Min’s romance may not be as captivating as Lee and Angela’s, for instance. While Yang and Gi-chan deliver impressive performances, their characters seem less developed compared to the main leads (though I found it amusing how Chris was depicted as a gamer with a particular fondness for Kingdom Hearts). The third act often feels overly dramatic, hitting the same tragic note too many times. After observing Ahn’s distinct aspect ratio in Fire Island, I wished more visual elements of Wedding Banquet had a similar level of quirky character. Many of the images are functional, but they could have been enriched with more unique lighting or framing to make them stand out.

Nonetheless, “The Wedding Banquet” offers an enjoyable experience for anyone seeking humor and emotion in a romantic comedy/drama. The laughter is genuine, and the emotional moments resonate deeply. It’s challenging not to feel a lump in your throat during the last sequence before the epilogue. This film manages to create such warmth, and it gives talented actors like Trans, Gladstone, and Chen an opportunity to shine. Therefore, unlike Len Wiseman’s “Total Recall“, this remake is not a regrettable choice.

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2025-04-23 18:15