There is absolutely nothing wrong with the production values, much less the acting in the film. And, to a degree, the inter-cultural difficulties that move the plot are sometimes - though, in my opinion, not very often - rather droll. What it lacks utterly is a believable script.
First of all, by way of explanation - perhaps - I haven't liked a single film by Ang Lee that I've seen so far (4 now), with the single exception of SENSE AND SENSIBILITY, and that had a great deal more to do with Emma Thompson's Oscar-winning screenplay than Lee's direction.
I don't know what the "issues" Lee has with homosexuality, as such, might be, but there is simply no question in my mind and experience that the psychology of THE WEDDING BANQUET is flawed right down to the ground. THE central incident that drives the plot forward -- (SPOILER: **i.e., Winston Chao's acquiescing to May Chin's extremely importunate eliciting of a physical relationship** -- ES) -- could only have been written and directed by someone who doesn't have clue one about how virtually any gay man caught up in that kind of situation is going to react. Therefore, I do not think it unfair to opine that the ENTIRE plot is based -- apart from a few cultural quiddities about gay men in a traditional and/or homophobic society coming out -- on a false presumption; accordingly, the whole film becomes an exercise in mere twaddle: If your main plot reversal/complication is based on a psychologically invalid director's "I want it this way," then you have a tremendous flaw right at the heart of the script and -- old but true words -- you don't have a script, no matter how good everything else is, you just don't have a good film! And how can anyone think some gay person, male or female, knuckling under to cultural and tribal traditions and shibboleths is the stuff of comedy??? Literally millions of gay people have been and continue to be forced to compromise their lives and hearts and desires to fit into their cultures; this is scarcely funny; it, far more often, eventuates in emotional exile, mental illness, violence and, not infrequently, great tragedy.
EDITORIAL COMMENT/POSSIBLE SPOILER: *This film is THE film that has made me dread Lee's directing BROKEBACK MOUNTAIN (not yet released), the short story by Pulitzer winner Annie Proulx. With his clearly demonstrated lack of understanding and/or issues with "gay" sensibilities, I dread it.*
First of all, by way of explanation - perhaps - I haven't liked a single film by Ang Lee that I've seen so far (4 now), with the single exception of SENSE AND SENSIBILITY, and that had a great deal more to do with Emma Thompson's Oscar-winning screenplay than Lee's direction.
I don't know what the "issues" Lee has with homosexuality, as such, might be, but there is simply no question in my mind and experience that the psychology of THE WEDDING BANQUET is flawed right down to the ground. THE central incident that drives the plot forward -- (SPOILER: **i.e., Winston Chao's acquiescing to May Chin's extremely importunate eliciting of a physical relationship** -- ES) -- could only have been written and directed by someone who doesn't have clue one about how virtually any gay man caught up in that kind of situation is going to react. Therefore, I do not think it unfair to opine that the ENTIRE plot is based -- apart from a few cultural quiddities about gay men in a traditional and/or homophobic society coming out -- on a false presumption; accordingly, the whole film becomes an exercise in mere twaddle: If your main plot reversal/complication is based on a psychologically invalid director's "I want it this way," then you have a tremendous flaw right at the heart of the script and -- old but true words -- you don't have a script, no matter how good everything else is, you just don't have a good film! And how can anyone think some gay person, male or female, knuckling under to cultural and tribal traditions and shibboleths is the stuff of comedy??? Literally millions of gay people have been and continue to be forced to compromise their lives and hearts and desires to fit into their cultures; this is scarcely funny; it, far more often, eventuates in emotional exile, mental illness, violence and, not infrequently, great tragedy.
EDITORIAL COMMENT/POSSIBLE SPOILER: *This film is THE film that has made me dread Lee's directing BROKEBACK MOUNTAIN (not yet released), the short story by Pulitzer winner Annie Proulx. With his clearly demonstrated lack of understanding and/or issues with "gay" sensibilities, I dread it.*