In a world of seemingly endless remakes that play more as rote retreads than genuinely new explorations that can stand on their own, there is something special about a rare film like writer/director Andrew Ahn’s “The Wedding Banquet” that emerges from the shadow of what came before. In a script he co-wrote with James Schamus, the filmmaker behind “Driveways” and “Fire Island” makes what is his most charming, compassionate and crowd-pleasing film yet. Throw in another stellar performance by the great Lily Gladstone (“Killers of the Flower Moon”), who has yet to miss in any role that she takes on, as well as an excellent ensemble that surrounds her and you’ve got a winning mix.
The story of the updated “Wedding Banquet” shifts the setting to Seattle where it introduces us to Lee (Gladstone) and her girlfriend Angela (Kelly Marie Tran) as they try to have a child through IVF. They’re hopeful, but each failure brings with it a pain that weighs heavily on the duo. This is especially felt in Gladstone’s performance as she is able to once again speak volumes even when not saying a word, going from a jubilant and playful partner to more somber without missing a step. While this is taking place, there is the duo of Charles (Bowen Yang) and his boyfriend Min (Han Gi-Chan) who live in Lee’s guest house. In early scenes, there is an earnest yet still playful tone to the film. They are happy living in close proximity together and are working towards the future they are hoping to build for themselves.
However, much like the original film, the conflict comes in the form of a fake marriage for a green card, something Min proposes as Chris says he isn’t ready yet to tie the knot. With that being said, this familiar setup is only the beginning of what this take has in store. More complications ensure that unravel a host of clever subversions of our expectations, and an emotional depth this film can call its own.
The questions that Ahn is interested in exploring are all distinctly modern ones about commitment that provide a refreshingly unique thematic core. It’s not just about the characters, all of whom feel so completely authentic, but the how the story develops. While the original managed to tap into something new for its time, it is also not untouchable and, as Ahn proves so decisively here, was worth revisiting just so we could experience his thoughtful approach.
Just when you think you’ve got it all figured out in terms of where things are going, a new wrinkle will be introduced that delightfully sidesteps all of your expectations. The best of these comes right around the middle where the visit of a grandparent, something that was a key part of the original film, hits a new note. Not only is it an uproarious sequence, but it will play best to those who know this story. There is a clear affection Ahn has for the original film, but that doesn’t stop him from moving beyond reverence to offer playful ribbing about the absurdity of the initial premise. It’s a self-aware, sincere and sensational gambit that pays off wonderfully.
But in the end, all of the well-written jokes in the world are nothing without an emotional core to build around when it shifts into a more reflective final act. This is where Gladstone commands the screen and makes the film into something greater in every moment she gets, capturing the complex layers of her character. If her career up until now hadn’t already done so, a moment in the film’s final act cements her as one of the best, most expressive, performers to ever grace the screen. It caps off “The Wedding Banquet” perfectly, landing a greater punch just when the film needed it most, ensuring after all the many humorous blows it landed to your gut, it lands one more to the heart.
“The Wedding Banquet” will release in theaters in the U.S. on April 18.
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