An academic perspective on Ang Lee's film "The Wedding Banquet" with a particular emphasis on Asian American male masculinity and sexuality as portrayed in American cinema.
Western perceptions of Asian American masculinity has often been the subject of discussion. The common stereotype of the slender and effeminate Asian American male has persisted in film and cinema for as long as Asian Americans have appeared. It's quite ironic that such a patriarchal society as Western culture more often than not focuses it's attention on the Asian American woman, portraying them as physically and sexually charged, while it's depiction of Asian American men remains sedated and overtly asexual (Remasculinizution of Chinese America, 133). It is in the spirit of such irony that Ang Lee draws upon while crafting his movie The Wedding Banquet.
In the opening scene, Wai-Tung (played by Winston Chao) is shown in the weight room establishing from the very beginning an obvious sense of strength and masculinity. The weight room scenes, as there are more than one, become veritable montages of sweat bands, cutoff shorts and five second shots of sweat, muscle, and moving weights - using one entrenched stereotype of masculinity to juxtapose the audiences supposed reaction to the Chinese man performing them.
It is this sort of irony used by the movie - the clinging of one widespread perception to dispel a second, that Ang Lee relies upon to combat the more commonplace precepts many Westerners base their ideas of Easterners upon. Once again, consider the opening sequence. While on the one hand the scene seems to be challenging preconceived notions of masculinity and Asian American sexuality, the director chooses to have Wai-Tung listening to his mother on audio cassette, who in classic stereotypical Chinese fashion is rebuking him for things such as not writing, and not marrying.
The fact that Wai-Tung is listening to this during his workout, infers (and is later supported) that he has a strong sense of filial loyalty and a strong sense of obligation to his parents: even while performing such a personal activity as working out, Wai-Tung reserves part of his focus ro4 his family.
This is a hallmark of the Chinese society, whose widespread practice of Ancestor Worship (considered vaguely pagan by Western eyes) and “odd” family bonds and duties has given many this somewhat naive notion of the Asian American as a sort of “Mama's boy”. Certainly had Wai-Tung been a white actor named Wayne, having the opening scene portray him working out and listening to a audio recording of his mother might have given the audience a very conflicted depiction of his character.
However, because the focus was an Asian American, the director was able to ground the audience with one hand, while attempting to shake their long held beliefs with the other. And so, the scene is able to successfully contradict the stereotypes and lack of Asian American masculinity not just despite the inclusion of this “Mama's Boy” effect, but in conjunction with it - attempting to show that the two are not mutually exclusive.
Wai-Tung's appearance throughout the movie continues to force viewers to reexamine their concept of masculinity in Asian American's as we watch the POV character continue with his day to day life. Wai-Tung is presented as a professional and productive member of society, dressed in the standard white collar fair later associated with Japanese businessmen, but doing so in a slightly different way.
To easier explain the distinction, it would be best to compare Wai-Tung with his “best friend from High School” who is also seen throughout the movie wearing a suit - however - he carries himself in a more disheveled and disorderly way, hinting at his somewhat awkwardness in Western attire. Wai-Tung, in relation to his foil, a more stereotypical Asian American in the film, allows the analytical viewer the opportunity to see, once again, how Ang Lee makes use of opposing stereotypical images to disassemble them.
Similarly, in the first scene we are introduced to Simon, we are given another taste of Ang Lee's sense of irony. Simon appears to be a typical Westerner, a light haired fair skinned physical therapist in decent physical shape. He surprises us when, unexpectedly, he begins quoting in Chinese philosophical prose. Once again, this challenges our preconceived notions of masculinity, as a seemingly poster child for Western manliness ( later revelations of homosexuality aside - another stereotype examined by Ang Lee in the film ) is directly associated with Chinese culture.
Lastly, the stereotype of the elderly Chinese gentleman as a masculine figure is both enforced and challenged by Wai-Tung's father, the “Commander”. The small and unassuming man takes many of the stereotypical attributes of an elderly Asain American, whose small frame and seemingly soft spoken voice seem to attest to the conceptions developed over the years. This, however, is coupled with the sense of strength and power he possesses, and is certainly alluded to by his moniker of Commander.
His ability to disregard his own health, and face the medical adversities without hesitation is a testament to the masculinity of his people. Throughout the movie, there is not a single scene where he is portrayed as worrying, or even considering, his health issues. Typical to the other dichotomies presented in Ang Lee's movie, viewers are once again faced with irony in the dish washing scene, where Wai-Tung's father who had just recently had a somewhat serious stroke (serious enough to go to the hospital) displays his masculinity by defying the worries of others by performing a historically effeminate task such as washing dishes.
In conclusion, the movie The Wedding Banquet makes use of contradictory stereotypes in such a way as to cause viewers to question their own perceptions. All of the characters in the movie rely on the clever use of contrasting stereotypes to add depth and realism to them, while at the same time making a poignant social commentary on the concepts we may hold concerning race and masculinity.
