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Xi yan (1993) HD online

Xi yan (1993) HD online
Language: English
Category: Movie / Comedy / Drama / Romance
Original Title: Xi yan
Director: Ang Lee
Writers: Ang Lee,Neil Peng
Released: 1993
Budget: $1,000,000
Duration: 1h 46min
Video type: Movie
Simon and Wei-Tung are a gay couple living together in Manhattan. To defer the suspicions of Wei-Tung's parents, Simon suggests a marriage of convenience between Wei-Tung and Wei-Wei, an immigrant in need of a green card. When Wei-Tung's parents come to America for the wedding, they insist upon an elaborate banquet, resulting in several complications.

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Cast overview, first billed only:
Ah-Lei Gua Ah-Lei Gua - Mrs. Gao (as Ah-Leh Gua)
Sihung Lung Sihung Lung - Mr. Gao
May Chin May Chin - Wei-Wei
Winston Chao Winston Chao - Wai-Tung Gao
Mitchell Lichtenstein Mitchell Lichtenstein - Simon
Dion Birney Dion Birney - Andrew
Jeanne Kuo Chang Jeanne Kuo Chang - Wai-Tung's Secretary
Paul Chen Paul Chen - Guest
Chung-Wei Chou Chung-Wei Chou - Chef
Yun Chung Yun Chung - Guest
Ho-Mean Fu Ho-Mean Fu - Guest
Michael Gaston Michael Gaston - Justice of the Peace
Jeffrey Howard Jeffrey Howard - Street Musician
Theresa Hou Theresa Hou - Female Cashier
Yung-Teh Hsu Yung-Teh Hsu - Bob Law, Wai-Tung's Old Friend

This was the most financially profitable film of 1993, earning $23.6 million from a budget of $1 million. This gave it a cost-to-return ratio of 23.6, considerably higher than 1993's biggest money-maker "Jurassic Park" whose ratio was 13.8.

Winston Chao had been an airline steward for seven years and had never acted in a film before when Ang Lee cast him as Wai-Tung. Three to four hours every day were spent to teach him how to act.

Ang based the first half of the movie on the true story of a friend, Neil Peng

Ang Lee wrote the film six years before it was made, and five years before his first film, Pushing Hands

Included among the "1001 Movies You Must See Before You Die", edited by Steven Schneider.

Filmed debut of Winston Chao, who was discovered Chow on an airplane flight, where Chow was part of the crew. In order to overcome Chow's fear of being in his first acting role ever, writer/director [link=nm0000487} had to promise that Chow would receive on set acting lessons from his own designated acting coach/teacher.

As of 2018, in the 25 years since being discovered for The Wedding Banquet, Winston Chao has gone on to a distinguished acting career, including portraying Chinese statesman Sun-Yet Sen in five different film or television productions, and has also portrayed at least five different Chinese kings or emperors in five different productions.

Ang Lee: a guest at the wedding banquet.



Reviews: [25]

  • avatar

    Winail

    This film is about a gay Chinese man having to bow down to parental pressure and marry a woman.

    IMDb lists this film as comedy. There are comedic scenes such as the post wedding party. Yes, the party is hardly an exaggeration, it is actually done according to the Chinese culture! However, I think The Wedding banquet is better be viewed as a drama. The plot of this film is probably the life story of many gay men of Chinese descent. It is simple, and yet truthful, realistic, touching and affecting.

    The main character, Wai-Tung, faces enormous pressure to get married. However, he is actually in love with a Westerner called Andrew. The film fully portrays the pressure Wai-Tung faces because of parental and societal pressure. It also displays how preaches acceptance and tolerance. The ending is so touching, and even months after watching the film, I can still remember the ending.

    This is an excellent film. For men who are in situations similar to Wai-Tung, The Wedding Banquet will resonate with them forever. Even if you are not in a similar situation, this film is so touching that it is a must watch!
  • avatar

    Skyway

    I really loved this film, I knew nothing about it before I saw it and so was really surprised.

    It's a great example of modern day life and combines so many issues of today - sexuality, cross-cultural life, tradition/modernity etc. But it's not a "gay" film and it's not a "foreign" film, it mixes these elements really well into a very typically Hollywood story. But it is also able to use them to comment on social stereotypes and grouping, but without blatantly doing so.

    The characters are all very likeable and I really felt sympathy for the positions they were all in - a young man (Wai-tung) trying to please both his parents and his partner Simon, an illegal immigrant (Wei-wei) who wants to stay in America, and Wai-tung's boyfriend Simon trying his best to be accommodating and patient though feeling pushed out of the family.

    The messages of this film about tolerance and honesty are not pushed in your face. It's a very easygoing film that is very funny in some places and sad in others. There are some subtitles and some is in English because we, the audience, must learn to integrate our own way of life with others, just like the people in the film.
  • avatar

    happy light

    The central character of "The Wedding Banquet" looks sullen through almost the entire movie. He knits his brow and ponders as if there were something troubling him to no end. At the very outset, it's quite clear what that is. Wai-Tung is gay, and he hasn't told his Taiwanese parents. He's annoyed with his mother's unwelcome attempts to match him with someone, so she can have what she wants: a grandchild. But he's afraid to tell her or his father why he is not interested. His mixed emotions have no place to go; so they sit on his face, incomplete and unexpressed, except as unresolved anger, much of it at himself. And it's fun to watch as he goes through the motions of pleasing family and lover and acquaintances to take his mind off his troubles.

    The script by director Ang Lee, and associates Neil Peng and James Schamus have written a crackerjack story full of things that never have hit the screen before. The wedding banquet itself is full of such insightful details about contemporary Chinese-American life and sentiment that there seems something accomplished that's new to the movies. When the wedding party invades the honeymoon suite, you feel like the writers have a firm grasp on the people they are presenting us, as if they know them, inside and out. I have seen five movies directed by Ang Lee, and this (and maybe his earlier "Pushing Hands") is the only one in which I felt he had a deep understanding of the characters, and for that matter, of human nature and human love.

    Filial piety may not be a new thing for the Chinese, and maybe that is why this movie feels rooted, grounded. Wai-Tung who is a successful businessman and landlord commands respect among his colleagues, but when he's with his parents, he's still their little boy. You laugh as this grown man walks with his father, head bowed, keeping exact pace, two steps back, and you realize the secret of the older man's hold on his imitator. Wai-Tung loves his parents, and he knows what they expect. He's ashamed that he doesn't want to fulfill their dreams, that he wants a life of his own, that he didn't turn out as they hoped. But he also cares about his lover Simon, and you know what has drawn them together is that they care about other people. (Simon is a physical therapist who likes lecturing his clients; Wai-Tung tries to appear in charge, but he always seems to be taken advantage of by the people around him.) This concern for others is what draws us to Wai-Tung, and when his parents appear, you know exactly why he's going along with deceiving them.

    Winston Chao is handsome and lithe, and he's good at playing a frazzled, bewildered, well-meaning lump. Yet he wouldn't be so likable, if it were not for the propinquity of Mitchell Lichtenstein who clearly has the expressiveness the movie needs. Although the movie comes dangerously close to being one about gay men in love who, in their most private moments, look like the most they do is shake hands, Lichtenstein ("Streamers") manages with the subtlest means to convey a sexual connection. The scene in which Simon presents a cell phone as a gift and carries on a conversation to test it affords Lichtenstein the chance to show what heat he can generate on the screen when he's called to do so. It makes evident how lucky a man Wai-Tung is, and why he'd allow himself to be emotionally torn for so long.

    But the most compelling performances here come from Sihung Lung (who played the unwanted father-in-law in "Pushing Hands") and Ah Lei Gua as Mr. and Mrs. Gao. Lung conveys Old-World benevolence that pretty much dictates where this movie goes. He more than fills the shoes of the aging warrior, taking the last few steps that will make his life complete. He grants Mr. Gao a share of dignity his work here rightly deserves. Yet it is Ah Lei Gua who convinces me that she is fully in character. Whether she is bursting into tears over the shabbiness of the civil wedding, or trying to overlook her daughter-in-law's clumsiness in the kitchen, or keeping Simon at a distance when she learns his real position in her son's life, you sense an actress of the highest rank who knows intuitively the character she has been given to play.

    With May Chin who, I hear, is very popular in Taiwan, and here carries herself with porcelain elegance. Her Wei-Wei is an enigma, a woman with a penchant for handsome gay men, and the movie is content with leaving her that way. You come away as uneasy about the arrangement she struck with Simon and Wai-Tung as Mrs. Gao is, who exits weeping. When Ang Lee slows down the camera at the end, as Mr. Gao raises his arms to be inspected at the airport gate, the director in spite of himself belies the thought that the old soldier has surrendered to a new enemy--the craziness and the self-indulgence of the next generation. The plangency of that last shot remains with you for a long time.
  • avatar

    Auridora

    Ang Lee already was a masterful director before his three triumphs Sense and Sensibility, The Ice Storm, and Crouching Tiger, Hidden Dragon (for which he was ROBBED of Oscars by the likes of Mel Gibson and Steven Soderburg). Maybe children might be a little young for this, but it is indeed a "family film" like no other. And the new "daughter-in-law" is hilarious (although you might think she goes too far in one important-to-the-plot scene). The funniest scene is the courthouse nuptials, and the banquet itself makes you wish you were there.

    After ten years, this film still does not seem dated at all, which I thought it would. The only thing missing is a HOT love scene with Winston Chao and Mitchell Lichtenstein, who looks far younger than his age. I know if I was in that situation, I'd want to blow off some steam! The best part is the just before finale, the father has a great quiet scene with one of the other cast members. Have some tissues on hand for the ending.

    It's best to own a copy of this film, that way you won't be tempted to watch it every time it comes on "Bravo". It's an absolute delight, one of the best of the decade, definitely in the Top 50 of best comedies of all time, at least.
  • avatar

    Hanad

    The Wedding Banquet is marketed as a comedy, but it is more than that. Closer in plot and style to Green Card than The Birdcage it examines the personal consequences of deceit. The comedy is there of course, but so is much tenderness and pain as a marriage of convenience between a gay man and a woman deportee unravels. Like Green Card which had similar plotlines, the "obvious" resolutions do not appear so likely as the film progresses which adds to its attractiveness.

    I recommend it highly.
  • avatar

    Lost Python

    The Wedding Banquet is a truly inspiring and cross-culturally challenging film. It touches on many issues/themes which have never been combined before in one movie: Taiwanese Americans vs. Chinese Americans, Asian American families, old school parents vs. younger generation(s), multi-racial couples, gay couples, gay Asian Americans, immigrants, pride, family values and love.

    And… while I found the ending of this movie somewhat unrealistic (I'll let other viewers decide) I also found the film challenging and optimistic (which is where my realism takes over).

    You should watch this movie if you are… Asian… gay… Asian AND gay… or simply want to learn something about another culture. You might be surprised!

    Props to Ang Lee for creating a unique opportunity to look into two very distinct and different cultures at the same time: Asian American and gays in the early 90s.
  • avatar

    Jorad

    Ang Lee with infinite wisdom seems to be saving the best part of this film for last. Acceptance is the underlying theme of this movie, which I recently watched for the second time. I saw the film when it was originally released in 1993. At that time, it seemed to have been breaking ground for tolerance from the straight world toward gays, in general.

    Ang Lee is one of the best film directors working these days. This is a small film in comparison to what came afterward. The story of how parents in a conservative society view their children that are "different" is always an interesting idea. Those same parents produced that child; the mere idea they will turn their backs to a son who is living openly as a gay man is a complex problem, at best.

    Different cultures react differently, as is the case in this film. While the parents are not completely taken over by the way they discover their son has turned out to be, they go along with the flow, never condemning the son, his partner, or the young woman who is pretending to be, what she is not.

    The acting is good in general, but it has to be the actor who plays the father, who ultimately wins one's heart. His culture goes back for centuries and he is won by his son's lover because he sees how kind, decent and honest he really is.

    It's better never to judge, or so it seems that Ang Lee is telling us.
  • avatar

    Beabandis

    I suppose The Wedding Banquet could be considered a romantic comedy. It is so in the best senses of both words: romantic without being sappy, and comedic without being ridiculous. The characters are vibrant and interesting without being cliches. Ang Lee has not created a great movie, simply a perfect one.
  • avatar

    Direbringer

    The Wedding Banquet was the first Ang Lee film that I watched. I remember I was about 10 or 11 years old when I watched it. At that time, I did not understand the movie at all. However, as I grow older, I watched it again and I realized what a masterpiece that Ang Lee had accomplished. Coming from the same background, as Taiwanese immigrant to the United States, I can certainly relate many of issues with the protagonist Wai-Tung. My parents are exactly like Wai-Tung's parents. They have high expectation of the son and carry on the family name is the most important thing. Ang Lee did a very good job on depicting the traditional father figure in Taiwanese society. My father, very much like Wai-Tung's, is a very serious person. To him everything has to be done straight and upright. My mother on the other hand is very sentimental. She would just cry like Wai-Tung's mother in the movie. Taiwanese mothers always care for their son so much that they literally do everything for their son, just like how Wai-Tung's mother sets up a blind date for him. My parents are so serious that sometimes if I joke about me liking a man they would get upset. Therefore, I really can understand how Wai-Tung has to hide his secret for such a long time in the movie.

    I like how Ang Lee uses Wai-Tung to represent Taiwan; Wei-Wei to represent China, and Simon to represent the US. In the movie, there is one scene where Wei-Wei wears a red dress in the air port picking up Wai-Tung's parents, I just could not help myself but laugh at the expression that Wai-Tung's dad gives when he sees Wei-Wei. He must think her as another communist he fought in the Chinese civil war. Another fascinating thing about this movie is that I watched it again in my film study class and even the movie is in mandarin, my classmates seem to understand the messages and laugh about them. I guess it is the magic of the movie. It really can transcend time and languages. Overall, Wedding Banquet has became my all time favorite of all the Ang Lee films.
  • avatar

    Meri

    Hsi yen (The Wedding Banquet) is an enjoyable movie to watch. It does not matter if you are acquainted with Ang Lee's work. The film is about a woman wants to stay in the country gets married to a gay man. The man tries to hide being gay when his parents visit from out of the country. All of the performances are excellent in this picture.
  • avatar

    Cel

    This wonderful work talks more about family than gay-life. it can be separated into 2 parts .the preceding one is full of humor and unrolls the story calmly but not laggardly ,and the latter one would make you heart heavy but without losing hope. Western people maybe can not experience the impotent rejection of young Chinese toward the tumultuous Chinese wedding customs, or understand how devout the filial piety stands in the spirits of every Chinese people. maybe only Chinese can know why Mrs. GAO burst into tears when she heard the engine roaring of the car carrying her son and pregnant daughter-in-law, and why Mr. GAO gave a red-paper-pack of money as a birthday gift to "his another son" Simon after attacked by apoplexy which cause by knowing his son a gay man, and still asked Simon to assist himself in pretending unaware of anything.

    It's a fabulous movie that makes me watch it again and again and again. when I was still a childlike teenager, I thought Ang Lee's movies were all so boring that i fell in asleep every time. And when I grown a little up and more sensitive but still childish, I found all his films so amazing that I can't help holding tears in my eyes at that moment.
  • avatar

    Zepavitta

    This movie is a humorous clash between cultures that exposes truths and untruths in stereotypes, sexuality, and tradition. Culture plays into unsaid motivation for each character's actions and decisions throughout the movie. Fortunately, the humor never stops and the movie does not turn dismal or depressing. The protagonist, Wai Tung, acts as the essence of the struggle between the expectations of conservative tradition and the self-honesty that his homosexuality and bi-cultural thinking demand. For example, Wai-Tung's workout scenes represent his release of frustration, while his initial "tough love" for Wei Wei seems to source from their similar cultural background. Overall, Wai Tung struggles with his desire to fulfill his parent's wishes (i.e. the expectations of his culture) of a heterosexual marriage and 'normal' life. Through lying to others, and lying to himself, he becomes spiteful and distanced from loved ones like his parents and lover Simon. He is the last to come to terms with himself, although he is a tragic character, he is a genuinely exasperated character due to the extent of his conflicts in love and life-decision. As for Wei Wei, she finds herself stuck preparing for a hollow marriage. When she is accepted like a daughter from Wai Tung's mother, she becomes motivated by cultural expectation to maintain the ruse, especially through the wedding banquet scene, to do refrain from disappointing Wai Tung's mother. The most cultural motivation resides in Wai Tung's parents. Their culture has been slowly instilled in them and often seemed to fill the stereotype of blindly traditional Asian parents. The mother is the first to disprove this stereotype, with the father following at the end of the movie. The wedding banquet took place because of their motivation from their culture and the love they share for Wai Tung and his new 'bride'. The movie ends with an understanding, where Wai Tung's father undoes the assumption of his ignorance to Wai Tung's homosexuality, and Wei Wei keeps the baby with Simon and Wai Tung as fathers. By the end, the characters had churned through this story, touched and felt the angles of each other's feelings, true and unnecessary expectations, and found each other as humans rather than a collection of fears and misunderstanding. The ending is that of weathered unity, one which is not Utopian, but honest, adaptive, and hopeful.
  • avatar

    Frdi

    I saw the movie I Berlin, Germany, and I cherished it, the acting perfomance of each actor was superb, the father that deep in his soul knew all, and for him was more important the family line was not broken. The only difficult moment, maybe a doubt from the director or the writer of the play, was when she decided to have the baby, it seemed that they didn't really know what to do, myself I'll adopt him/her as my own child. It reminded me the argentinian way, first is the family, then you.
  • avatar

    MOQ

    The acting is great...there even appears to be a chemistry between these guys and the female tenant adds to the fun. It's a little similar to the movie "Threesome" without the sex.

    It's also fun and interesting to see the difference in cultures (perceived and real) and especially the open-mindedness of many of the characters.

    Watch it more than once and watch it with a loved one!
  • avatar

    Sharpbringer

    All the way through the story, I had the notion that somehow it couldn't be right that they were playing such a cruel game. But then, in the end, I realized who the cruel character was… Watch it, and you'll see what I mean.

    This is a very sensitive and sensible movie about a gay Taiwanese in New York who marries a woman only in order to make his parents happy. Of course, as in all comedies of this kind, events get out of control. But still, as this is also something of a culture clash movie, there is more than just romance routine. The story is told in a particularly attractive way, always convincing and never boring. The permanent switching between English and Cantonese, listening and reading (the subtitles), kept me concentrating. Although the actors, especially Winston Chao, seemed to me somewhat unmotivated, Ang Lee has again proven his incredible talent and great variety.
  • avatar

    Walan

    This is a good movie. It will cause you both sadness and laughter as it keeps you wondering about being gay and being friends with them. Sometimes parents ask their children when they want to get married without knowing they are gay at all, which is a very usual problem gay people face. Meanhwile, you might not notice this problem if you are not gay or a friend of gay people. This movie, just like a mirror, gives the audience a chance to look back at their biased attitide to gay people and culture.
  • avatar

    LeXXXuS

    This is the earliest film from the respected and great Taiwanese director Ang Lee that seems to be available in the U.K - even then it seems only on VHS or as a Korean import (which is how I got mine.)

    Why that is so is beyond belief and credibility - The Wedding Banquet is a warm, universal and fine film about what Lee does best - people and relationships. Cross cultures and cross sexualities add dynamism and colour and more than hint of later films such as The Ice Harvest and (of course) Brokeback Mountain.

    You don't have to be gay, or otherwise, or anything in particular, other than being human to appreciate the story and its characters - a 20 something gay Taiwanese man living with his boyfriend in New York and whose far-away mother is spending all her time setting him up with a possible wife. The obvious and gleeful scenario set-up when for the sake of convenience a Chinese girl that he knows is after a Green card Mother (and ex Commander with high-blood pressure Father) decide to visit for 'the $30,000 wedding banquet', that friends and relatives back home have donated for this gift of a lifetime, that the film's title is dedicated to.

    This, we juicily anticipate and we are definitely not disappointed, except with a master story teller that we obviously have here, the twists are unexpected and superbly done; so naturally that even the predictable parts are done with flair and of course, aren't so straightforward.

    So many lesser films on this subject are flaunted at us seemingly daily - here is a finely crafted movie, but one that, perhaps thankfully, is lighter and more humorous than some of Lee's later works. I won't carp on (again) about its relative unavailability but would say that if you want to see more of Lee's work, specially his 'pre-fame' era and want a humane, touching and often funny film, grab it with both hands if you ever get the chance.
  • avatar

    Ffel

    Now it is nearly thirteen years since my first viewing of Wedding Banquet. Its emotion impact, its humanistic beauty never diminish. As I am growing adult, I am able to understand it more.

    The Wedding Banquet is a film of significance in several contexts.

    First it belongs to Ang Lee's so called Father Trilogy, a series of films examining the situation traditional Chinese Father figure faces in today's society. It is also the most striking one within the three, as the portrayal of gays is still somehow then and today a taboo both in American and Taiwanese societies. The gay kiss in this film is the first ever kiss between two men in Taiwanese cinema.

    Second, Ang Lee's miraculous artistic language is already there, although not quite polished. The way he deals with sense and sensibility contrast, the use of departing scene to express the core message, the use of tiny details to portray the dynamic relationships between characters and many more, are all fascinating to explored. Viewers who are familiar with Ang Lee's latter success will find out many secrets in this film.

    Third, Wedding Banquet has a huge impact in the Chinese gay communities. It tells something so many people would never find chance to tell their parents.

    Why does Father finally make acceptance? The film has suggested several answers, one of them not everyone could capture, is his love to his son. Because of his love, the Father survives today. An impossible question is finally answered.
  • avatar

    Llathidan

    I loved this film - have seen it twice. I totally disagree with one of the messages that it was unsympathetic to the gay community. I think it portrays the gay person as a complete person, with the difficult challenges but also the comical madness a person who lives a 'minority' lifestyle (gay and in an cross cultural and racial relationship). I didn't think the comedic qualities of the film trivialise the magnitude of the issues.

    I thought Mitchell Lichtenstein was very likable and I thought the challenges of the role in a Taiwanese set-up must have been very significant. The second time I watched the film, I tried seeing things from Simon's (Mitchell's character) perspective and found it a most profound experience.

    Ang Lee at his best.
  • avatar

    Asher

    An early Ang Lee film, he made this one year after his debut film, Pushing Hands, but had actually written it some six years before. Based on the true story of one of his friends in the first half of the film, Lee and co-writer/producer James Schamus take the story through a few smiles onto the screen.

    Wai-tung (Winston Chao) is a gay Taiwanese landlord in New York with his boyfriend Simon (Mitchell Liechtenstein). Having not admitted his sexual orientation to his parents, he is pressured by them (and tradition) to get married and to have son to carry the Gao name. Meanwhile, Wei-wei (May Chin) is on the edge of poverty. An Chinese artist living in one of Wai-tung's derelict buildings, she is looking for a green card to avoid deportation. Noticing both situations, Simon suggests they marry out of convenience, but things go wrong when Wai-tung's parents come over to New York and a wedding banquet is held.

    Although such a story today would have been regarded as a ordinary for a film plot, Lee's vision at the time it was made was fairly radical for certain sections of society at the time, particularly in conservative Taiwan. Lee pushed the boundaries, even including the first gay kiss scene to appear on Taiwan's screens.

    Despite the ground-breaking story and the fact that I am watching it almost 12 years after it was made, I didn't feel that there was a sense of believability in the first half of the film. Characters were very 2D and lacked depth. There was a lot of missing chemistry on-screen, and for most of the first half, I did admit I was a little bored. The second half after the banquet takes place, though, was much better. As the characters are exposed and plots unfold, the story becomes more interesting and was much easier to watch.

    However, one other gripe is the fact that the humour doesn't quite make its mark in the movie. There are plenty of opportunities to add the little smiles on peoples' faces, but the attempts to do so were fairly weak. The only time I let out a chuckle was in the City Hall wedding ceremony. Simply put, it doesn't match Ang's third film, Eat Drink Man Woman, in this respect.

    Overall though, this is a watchable film, and you can easily see that Lee has developed his techniques quite a long way since his early films. The Wedding Banquet certainly demonstrates why people had faith in him and recognised his talent in the early days. One for a look back.
  • avatar

    lifestyle

    *MAY CONTAIN SPOILERS* Part exploratory of human relations, part outlandish comedy. The premise is about an interracial, gay couple living in New York City. All is happy and harmonious in their abode, until mom's incessant match making just about drives her Taiwan-born son off the box. He reluctantly goes along with a scheme to marry an aspiring female artist from the People's Republic, who needs a green card, like now, Mao. Mom and Dad catch the first 747 out of Taipei, and the caper goes from there.

    Brimming with tongue-in-cheek, spontaneous hilarity and well balanced with subdued moments of sentiment, this WEDDING BANQUET (HSI YEN) is not to be jilted.
  • avatar

    IGOT

    This is an interesting story.It gave me a new understanding of homosexuality
  • avatar

    I'm a Russian Occupant

    Sometimes we obtain what we desire, but not the happiness and contentment we crave. This is the case for Wai-Tung and Wei-Wei. The odd couple, a woman seeking a green card and a gay man in an open relationship seeking a tax credit and his pushy traditional Chinese parents off his back, plan a marriage of convenience. At their wacky New York wedding banquet, a happy-go-lucky and openly erotic mish mash of Chinese and American traditions, Wei-Wei and Wai-Tung discover their souls crave something less tangible than what they first desired.

    One thing I love about Ang Lee films are the withering looks. Piercing eyes that could bust a bag of bricks at a glance. You'll see a few such glances here. They send shivers down your spine. The looks are Lee's unique and enthralling brand. They are peppered throughout his films, but sparingly. Another characteristic of Lee, one of my favorite directors, is depth. Do not make the mistake of judging this film by its cheesy cover. Lee has plenty of surprises and emotional shocks up his sleeves. The characters and themes come at you from a variety of perspectives and opposites; young and old, men and women, straight and otherwise, Chinese and American, and more. Another thing Lee is a master at is passion. His characters manage to melt your heart no matter who they are, kind or cruel. Enjoy each scene as it comes, for even at the start of his career, Lee is mesmerizing and magical. Despite the passage of 25 years since this film first emerged and my unabashed awe of Lee, it was my first time seeing this film.
  • avatar

    Ucantia

    This movie shows you the different between Chinese cultures and western culture in a vivid way.However , I don't like the movie ending
  • avatar

    White gold

    The story of The Wedding Banquet (1993) is an engaging cross-cultural movie about Wai-Tung, his five year secret lover Simon, and the demands of marriage placed on Wai-Tung by his parents. In the typical "living a lie" plot device fashion, Wai-Tung stages some larger than life lies by marrying one of his tenants, Wei-Wei, who just happens to be in need a of a green card. By arranging this whirlwind marriage, Wai-Tung hopes to avoid being set up by his parents, but ends up making matters worse through his web of lies. His father's ailing health factor's into the difficulty of the situation as he fears that news of his true identity would be his father's end. The lie perpetuates, things get sticky through this dramedy romance. I enjoyed this film as it exemplified the Asian American cross cultural lifestyle. The writers were Ang Lee, Neil Pang, and James Shamus. The strengths in the writing are that the film was tasteful and respectful and still managed to be comedic. The film was directed by Ang Lee and one of its greatest strengths is that it was a $750,000 film that looked like it had a larger budget. There was nothing terribly fancy about the editing, it had a very natural feel to it. The cinematography was the only thing that I felt could have been improved in this film. There were many parts of the film where the lighting was scant or not really well adjusted in post. All in all, I enjoyed the film and would recommend it to a friend.