“The Wedding Banquet”: Comedic Explorations in Gay Culture Summary The film “The Wedding Banquet,” released in 1993, centers on the sham marriage between a gay Taiwanese immigrant, Winston Chao, with his female, Chinese tenant for mutual benefit. Winston, who maintains a gay relationship with an American man, attempts to cover up his sexuality and deceive his parents by agreeing to marry a Chinese woman…
The wedding banquet represents the first attempt by Ang Lee to discuss gay relationships through the cinematic medium. Interestingly, Lee also makes a cameo appearance in the movies as a guest attending the wedding. The movie works as an intense comedy in the first half, and then it reveals the complexities of the how the secreted relationships burden all those involved. The characters Winston Chao and his lover Simon enjoy a convenient life style, until his parents demand a marriage and, more importantly, a quickly arriving offspring. This movie displays very intense emotional sequences as well as riotously funny movements that every audience expects in an intelligent comedy of this caliber. “The Wedding Banquet never becomes bogged down by its own seriousness. Lee manages to keep the production buoyant by including scenes that are often riotously funny” (Berardinell.1993). Although the movie offers Winston Chao’s acting debut, he exhibits no flaws or chinks in his acting skill. ...
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His plans collapse when his parents end up in America to plan his wedding banquet. The director of this movie is Ang Lee and actors portrayed in the movies as lead characters are Winston Chao, May Chin, Ah Lei Gua, Sihung Lung and Mitchell Lichtenstein. The wedding banquet is the first attempt by Ang lee to discuss gay relationship through a movie .Interestingly, Lee also makes an appearance in the movies as a guest attending the wedding.
But further studying of people’s behavior gives opportunity to see peculiar characteristics and habits, observe differences in appearance, understand traditions and compare discrepancies of foreigners’ attitude. It has happened that some nations have unbreakable images that stereotypically are represented in the movies, songs, art et cetera.
The preliminary section of the movie is a crazy joke. At some point, Wei-Tung parents get a rendezvous service, Simon and Tung make respond by making up unfeasible requirements. In the culture of the Chinese, the musicians of opera are at all times men. The gay couple demanded for a female musician, who should have been extra ordinarily tall, possessing more than one professional doctorate and fluent in talking at least five different languages.
The movie was well received, getting positive reviews from critics in both the US and in China. The movie has generated a lot of interest among people due to its depiction of themes of family and sexuality (Dilley, 2007). Unlike in America, where issues of sexuality, including homosexuality are openly discussed, in China and most Asian countries such issues are not meant for public discussion.
From this paper we can conclude many different things, namely the fact of just how much American cinema has affected and influenced Chinese cinema overall, and, being an imported form, cinema in China has been influenced by foreign films, particularly by that of Hollywood films in the 1920s-1940s and Russian films in the 1950s-1960s.
Through film, they explore different themes that impact differently on the wellbeing of the society. Fundamentally, almost all spheres of the society including the social, economic and cultural aspects are usually explored.
His whole life up till now is a long journey of success, hurdles, fame and a continuous process of converting his artistic dream into reality.
Allen Stewart Konigsberg was born in 1935 in the dazzling city of New York, the city that made his dreams come true.
Thesis statement: In the movie named as The Wedding Banquet, The director (Ang Lee) makes use of the theme of homosexuality and cultural difference to prove that how different cultures (say, Eastern and
his arguments, he notes that the self-defining identity of Asian men is primarily and culturally established on the firm foundation of self-realization, power, and anti-orientalism forces. Chin establishes that Asian American identity is distinct because of moral universal
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