Queer history, identity interweave in theatrical ‘Lavender Men’

Creating a worthwhile remake can be a tricky suggestion, especially if the film is a beloved classic, but that doesn’t mean it’s impossible.

Consider that Andrew Ahn’s new version of 1993’s The Wedding Banquet is a film that puts future Brokeback Mountain director Ang Lee on the American Proverbial Map, which will be opening in theaters this weekend after debuting in Sundance this weekend. The original, American/Taiwan production, which became a surprising hit in the US, broke the ground with its story – the culture crash comedy of manners about strange romantic triangles trying to stage a fake wedding was quickly accepted by the excitement of LGBTQ audiences seeing the representation on the big screen. Taking on a remake of such a film is a bold move to say the least.

However, gay Korean writer/director Anne (“Spanight”, “Fire Island”) has built his blossoming career in films about strange relationships between Asian American characters, focusing on biologically selected families as well as romantic partnerships. Perhaps it seems natural for him to reinterpret this influential classic through his own lens. He has already proven himself as a filmmaker whose strengths are perfectly aligned with the material.

Still, Ahn hedges his bet by collaborating with a new script with James Schamus, who co-authored, perhaps with Lee and Neil Peng.

In this iteration, the New York setting is transposed to Seattle, and the plot becomes not only one strange romance, but also two queers and Min (Boen Yang and Han Gang), a stalled alumni and his Korean boyfriend, lesbian friends and land lead and Angela (Lily Gladstone and Angela). The artist whose temporary visa has expired, wants to stay with Chris and build a life in America, but his grandmother (Youn) Yuh-Jung) currently runs a vast family-run empire where he is the heir. The wedding with Chris will secure the green cards he needs to violate his grandmother’s demands, but that also means he will go outside as a gay person and potentially be separated from his inheritance. As a solution, he offers to pay for Lee and Angela’s fertilization procedures in exchange for a “green card wedding” with the latter, allowing him to stay in the US while he stays in the family’s closet.

Of course, that’s a bad idea that sounds so bad, but despite some pointlessness, the couple agrees to the plan. However, when her grandmother decides to come to America and meet the bride in person, the four of them must try to separate the masquerade ball, which escalates far beyond their expectations after she insists on a Korean wedding worthy of a traditional and elaborate Korean wedding.

Those who saw the original already know that things aren’t unfolding as planned. We’ve already told you that it was a bad idea.

Of course, that’s the appeal of rom-com, a genre in which misfortunes, crossed wires, and competition are all part of the fun, and in any case, as Lee does with the original, gives Ahn’s film a more serious and relevant challenge than adjusting our eccentricity with the deeply rooted traditions of our cultural background. He does so on a measure of gentle wit and equal respect, but he sometimes can’t get a laugh by pointing out the pure absurdity that follows the process. He also doesn’t hesitate to delve into the messiness of queer relationships, digging into the deep anxiety and self-criticism that gets in the way of organizing them (and perhaps especially) with lifelong friends.

For these purposes, “wedding banquets” rely heavily on the cast. Yang brings his inevitable “SNL” star power to the table, but downplays the eccentricity in favor of a more subtle tone, and Ji-chan shines as his practically ideal partner. Gladstone’s intelligence and authenticity are grounding power, Tran counters her with a very positive turn as the brave but unsettling misfit of her girlfriend, and the resonance that each brings to the motherly outlook emphasizes the longing of many strange couples for family and heritage when they live together.

However, it’s not just the couple. Veteran Chinese actress Joan Chen (“Tai Pan”, “Twin Peaks”) is the steal of the scene as Angela’s hyper-support mother, and her daughter’s participation in the “Lavender Wedding” needs to oppose her deepest instinct as a proud ally, and Bobol offers a connection with the theme of her charming performance as Yang Boy’s little sister. However, the anchor performance comes from acclaimed Korean star Yoo Jung, and the solid portrayal of that wise and savvy, Ji-chan’s power player grandma adds a much-needed level of wisdom into the whirlwind.

Ultimately, Ahn’s classic comedy update earns a major point in honoring the original’s acceptance message and embracing the notion that it rethinks traditional ideas about family structures to meet the ever-changing needs of the world. They also succeed in maintaining a genuine sense of sympathy for each character. None of them are perfect, but they are all completely human, and it goes a long way to make Ahn’s remake feel more than a smooth, made emotion-filled rom-com that it resembles.

Still, considering the possibilities of screwball and the infinite possibilities of biased developments in the complex deception attempted by the set of lovers, Anne’s “wedding banquet” might have been interesting. It’s incredibly “Hollywood” as it leans into an ideal and sentimental perspective to gracefully introduce the life of the characters.

Again, this is part of the appeal of ROM.com. If we had the opportunity to buy the ideal big screen fantasies about life and love, why shouldn’t we enjoy the same privilege?

With that in mind, “The Wedding Banquet” is a great opportunity to entertain and examine yourself. And even if it doesn’t tickle your funny bones, it’s a generous feast for your strange soul that you deserve to see.

Bring someone special to share your popcorn.