The Joy Luck Club (film)
|The Joy Luck Club|
Theatrical release poster
|Directed by||Wayne Wang|
|Screenplay by||Amy Tan
& Ronald Bass
|Based on||The Joy Luck Club by
|Music by||Rachel Portman|
|Editing by||Maysie Hoy|
|Distributed by||Buena Vista Pictures|
|Running time||139 minutes|
|Budget||$10.5 or $10.6 million|
The Joy Luck Club (simplified Chinese: 喜福会; traditional Chinese: 喜福會; pinyin: Xǐ Fú Huì) is a 1993 American film about the relationships between Chinese-American women and their Chinese mothers. Directed by Wayne Wang, the film is based on the eponymous 1989 novel by Amy Tan, who co-wrote the screenplay with Ronald Bass. The film was produced by Bass, Tan, Wang and Patrick Markey, while Oliver Stone served as an executive producer.
Four older women, all Chinese immigrants living in San Francisco, meet regularly to play mahjong, eat, and tell stories. Each of these women has an adult Chinese-American daughter. The film reveals the hidden pasts of the older women and their daughters and how their lives are shaped by the clash of Chinese and American cultures as they strive to understand their family bonds and one another.
The film was privately screened in sneak previews and film festivals before its wide theatrical release. With the film's $10.5–10.6 million budget, it was moderately successful in the box office. It also received mixed critical reactions, including criticisms about male characters in the film.
The Joy Luck Club was formed by four women; Lindo Jong (Tsai Chin), Ying-Ying St. Clair (France Nuyen), An-Mei Hsu (Lisa Lu), and Suyuan Woo (Kieu Chinh), in San Francisco. The members have mainly played mahjong and told each other's stories over the years. They immigrated from China, remarried, and gave birth to children in America. Suyuan's daughter June (Ming-Na Wen) replaced her when Suyuan died four months before the time the film is set. The mothers have high hopes for their daughters' success, but the daughters struggled through "anxiet[ies,] feelings of inadequacy[,] and failure[s]." Throughout the film, the mothers and daughters bond by learning to understand each other and overcoming their conflicts.
The film begins with June's short narrative prologue about the swan feather in the opening credits and then her farewell surprise party in San Francisco for June's upcoming reunion with her long-lost twin sisters in China. Among the guests are members of The Joy Luck Club, their daughters, other relatives, and friends. The following characters below narrate their journeys to the audience while they reflect upon their pasts.
Lindo and Waverly
In China, four-year-old Lindo (Ying Wu) is arranged, by her mother (Xi Meijuan; 奚美娟) and the matchmaker, to be married to Huang Tai Tai's son when she grows up. When Lindo turns fifteen (Irene Ng), her mother sends her to Huang Tai Tai, so Lindo marries Tai Tai's son, Tyan Hu (William Gong), a pre-pubescent boy who has no interest in her. During four years of childless and loveless marriage, she is frequently abused by her frustrated mother-in-law, who believes Lindo's childlessness is her own fault. Lindo eavesdrops on the servant girl telling her lover that she is pregnant, so Lindo realizes her chance to leave the marriage without dishonor. Later, Lindo purportedly ruins her clothes and then claims that she had a nightmare in which Tyan Hu's ancestors threatened to punish her, Tyan Hu and the matchmaker. Then Lindo claims that the ancestors impregnated the servant girl with Tyan Hu's child. Tai Tai does not believe Lindo until Tai Tai quickly discovers the servant's pregnancy through inspection. Finally, Lindo claims that the matchmaker intentionally wrongly paired Lindo and Tyan Hu for more money. Tai Tai orders the matchmaker out of her family's life, allowing the servant girl to have her marriage. Lindo is able to escape the house and moves to Shanghai.
Years later in America, Lindo has a new husband, a son, and a daughter named Waverly (Tamlyn Tomita). Aged between six and nine Waverly (Mai Vu), has become a chess champion. Annoyed by Lindo using Waverly to "show off" at the streets, Waverly shouts at her mother and decides to quit chess. When she tries to play it again, Waverly loses one chess round, prompting her to retire from chess. Years later, she has a daughter Shoshana from her Chinese ex-husband and is going to marry a Caucasian fiancé, Rich (Christopher Rich), much to Lindo's chagrin. In order to make Lindo like Rich, Waverly brings him to a family dinner, but he fails to impress them especially by improperly using chopsticks and marinating the dish with a sauce, humiliating Waverly. A while later, at the hair salon, Lindo retells her moments with her own mother, and declares that she likes Rich very much, she then gives marital blessings to Waverly and Rich, prompting her and Waverly to reconcile with each other. At June's farewell party, Rich almost successfully uses a chopstick but accidentally drops a piece, impressing Lindo.
Ying-Ying and Lena
In China, Ying-Ying St. Clair was happily married to Lin-Xiao (Russell Wong) with a baby boy in China until Lin-Xiao abused her and abandoned her for an opera singer. Overcome by her depression, Ying-Ying drowns her baby son in the bathtub. Years after she immigrated to America, she suffered from trauma and was haunted by her past, frightening her new family, including her daughter Lena (Lauren Tom). After Ying-Ying finally resolved her years of trauma, Lena shows Ying-Ying around her new apartment with her husband Harold (Michael Paul Chan), who is also Lena's boss. Lena is uncomfortable with her financial arrangements with Harold. They split the costs of their life evenly with a list of things that they share, making their home life contentious. Lena feels her husband has no respect for her. Seeing that Lena is unhappy with her marriage, Ying-Ying knocks over a table in the bedroom and causes the vase on it to fall and break. Lena goes to her mother, and admits her unhappiness. Ying-Ying replies that Lena should leave and not come back until he gives her what she wants. At June's farewell party, Lena is shown to have another fiancé and announces her plans to go to Lake Tahoe with him.
An-Mei and Rose
Nine-year-old An-Mei Hsu (Yi Ding) is reunited with her long-lost mother (Vivian Wu), who was disowned by her family for her "dalliance" with a wealthy middle-aged man Wu-Tsing shortly after her husband's death, and who arrives to see her dying mother (Lucille Soong). In order to not lose her again, An-Mei moves out with her mother to Wu-Tsing's house against her relatives' wishes for her to remain with them. She finds that Wu-Tsing has another three wives, making An-Mei's mother the Fourth Wife. Later, she learns that the Second Wife (Elizabeth Sung) tricked An-Mei's mother into being raped and impregnated by Wu-Tsing. When the relatives did not believe An-Mei's mother and kicked her out, she reluctantly became Wu-Tsing's Fourth Wife as she had nowhere else to turn. After she gave birth to a boy, the Second Wife took him away from her and claimed him as her own. After An-Mei discovers the past, her mother ultimately commits suicide by eating "sticky rice balls" laced with opium, choosing the day of her death carefully to threaten Wu-Tsing with the vengeance of her angry ghost. Afraid of this curse, Wu-Tsing vows to raise An-Mei and her half-brother with great care. When the Second Wife tries to stop Wu-Tsing from letting this happen, An-Mei suddenly destroys the remains of the faux pearl necklace, indicating that An-Mei is aware of the Second Wife's cruelty and manipulation. Second Wife backs down, realizing the trouble she caused for An-Mei's mother and that she lost control of the house.
Years later in America, An-Mei's daughter Rose (Rosalind Chao) has been dating her boyfriend Ted Jordan (Andrew McCarthy) since college. When he confronts his aristocratic mother (Diane Baker) for insulting Rose mainly due to her race, Rose is impressed and agreed to marry him. During the marriage however, Rose and Ted become distant from each other, and despite their problems Rose remains submissive to Ted. They have a daughter but this does not resolve their marital problems. To make matters worse, Ted cheats on her with another woman. An-Mei compares Rose to her own late mother. To avoid having the same fate, Rose stands up to Ted, reclaiming her strength, by telling him to leave the house and not take a daughter away from her. This compels Ted to take her seriously and not continue taking her for granted. At June's farewell party, Rose shares with Ted a slice of cake and feeds him frosting as they share a loving moment.
Suyuan and June
In World War II, when the Japanese invaded China, Suyuan Woo escaped the invasion with her twin baby daughters. When Suyuan became ill with dysentery during her quest for refuge, her cart breaks down, causing the babies to fall. Near death, Suyuan was unable to carry the babies herself and abandoned them along with all of her other possessions, including a photo of herself. Suyuan survived, but was haunted by the loss of her daughters and never knew what happened to them.
After she remarried in America, Suyuan has high hopes for her new daughter June, but June constantly fails to meet her expectations out of a lack of interest. She performs badly during a piano recital at age nine (Melanie Chang), and when Suyuan pushes her to continue training to be a concert pianist, June refuses, saying that she wishes herself dead like Suyuan's other daughters. At a dinner party a year before Suyuan's passing, Waverly Jong, June's long-time rival whom she is freelancing for, turns down her business ideas, and Suyuan implies Waverly has more style than June. The following day, June berates Suyuan for her remarks and admits she could never live up to her high expectations. June says that Suyuan is disappointed in her because June dropped out of college, is never married, and does not have a successful career. However, Suyuan gives her a jade necklace and explains that she meant June has a far kinder heart than Waverly and has style that she was born with and that cannot be taught.
Last Easter before the farewell party, June received the news from the Club that the long-lost twins were alive. When June could not understand the twins' letter written in Chinese, Lindo purportedly mistranslated the letter to make June believe that the twins knew about Suyuan's death and their long-lost half-sister June. When the farewell party ends, Lindo confesses that she wrote letters to the twins and then signed Suyuan's name. June begs Lindo to tell them the truth, but Lindo will not interfere further because the twin sisters still believe Suyuan is alive and that June must tell them herself. When she arrives in China to meet her sisters, June tells them the truth about Suyuan, and embraces them. In finally accepting her Chinese culture, June is able to make peace with her deceased mother.
- Kieu Chinh as Suyuan Woo
- Tsai Chin as Lindo Jong
- Age 4: Ying Wu
- Age 15: Irene Ng
- France Nuyen as Ying-Ying St. Clair
- Age 16–25: Yu Feihong
- Lisa Lu as An-Mei Hsu
- Age 4: Emmy Yu
- Age 9: Yi Ding
- Ming-Na Wen as June Woo
- Age 9: Melanie Chang
- Tamlyn Tomita as Waverly Jong
- Age 6–9: Mai Vu
- Lauren Tom as Lena St. Clair
- Rosalind Chao as Rose Hsu Jordan
- Other characters
- Michael Paul Chan as Harold, Lena's Husband
- Andrew McCarthy as Ted Jordan
- Christopher Rich as Rich
- Russell Wong as Lin Xiao
- Xi Meijuan (奚美娟) as Lindo's Mother
- Vivian Wu as An-Mei's Mother
- Chao-Li Chi as June's Father (in the novel, Canning Woo)
- Victor Wong as Old Chong the Piano Teacher
Amy Tan and Academy Award winner Ronald Bass wrote the film adaptation. Wayne Wang, who made prior films about Chinese Americans, such as his first film Chan Is Missing, was the director. Wang, Tan, Bass, and Patrick Markey were the producers. Oliver Stone and Janet Yang were the executive producers. The production designer was Don Burt. Maysie Hoy was the film editor.
When the novel The Joy Luck Club was released in 1989, Wayne Wang approached Amy Tan, the novel's author, with the idea of adapting the novel that he admired into a film. Wang and Tan grew concerned about transforming it into a film, and Wang was almost reluctant to make another film about Chinese Americans since Eat a Bowl of Tea. There were no known Hollywood movies with an all-Asian cast at the time, and making a film with Chinese protagonists was risky especially because Asian actors were not well known to mainstream audiences. Ronald Bass, with whom Wang and Tan teamed up since their meeting at the Hotel Bel-Air in January 1990, analyzed the novel and outlined how to bring it to the screen, with "no single lead character." Because many studios found the novel's "characters and plot [...] too internal and complex" to adapt into a film, Bass added two additional changes without changing the main plot: June Woo's farewell party as the film's timeline setting and the first-person narration in addition to voiceovers to compress the film's storytelling.
A lot of executives and producers are afraid of voiceovers because they say it distances the audience from the action. I felt differently. It allowed you into the inner heart of the narrator [and] to understand their feelings in a way you could never do in dialogue.—Ronald Bass
Wayne Wang, Amy Tan, and Ronald Bass teamed up with the Ixtlan Corporation, including its staff members, Oliver Stone and Janet Yang, who was the company's vice president and had a profound interest in the project. Before the project, Stone and Wang disagreed with each other about their own portrayals of Chinese people. Wang gave Stone's thriller Year of the Dragon a negative review for portraying Chinese characters as "[mobsters], gangsters, and prostitutes." Stone responded by calling Wang's Dim Sum: A Little Bit of Heart "boring" for its lack of action. Stone and Wang reconciled their differences enabling them to work together and finally agreed to produce the film together along with other producers.
Carolco Pictures initially agreed to support the project in spring 1990, but the company had fiscal problems, and the filmmakers turned down the contract six months later in fall 1990 due to not receiving the level of creative control that they demanded. Therefore, Tan, Wang, and Bass outlined the screenplay themselves "in a narrative format" over three days in January 1991. Tan and Bass completed the first draft between August and November 1991. When they returned to Ixtlan on March 1992, Jeffrey Katzenberg, chairman of Walt Disney Studios, approved the project as proposed by Stone and Yang, and gave them full creative control. In spring 1992, the Hollywood Pictures agreed to assist production and distribute the film.
Despite that she lacked filmmaking experience, "[Amy] Tan found the process not nearly as bad as she had feared. She was happy that collaborating meant discussions and that they were followed by time to write on her own." Janet Yang said that although several studios were interested, Disney "was the only one to step up to the line". The producers were surprised, but Yang felt in retrospect that Joy Luck "fits in with Disney's agenda—taking a chance on low-budget projects not dependent on star power". She described Disney as being "less hands-on than usual" through not being familiar with the subject matter.
Filming began in San Francisco in October 1992 and then in China in February 1993. Amy Tan did not participate in the casting, even though Tan's mother, aunts, and four-year-old niece were extras in the movie, as well as Janet Yang's parents and Tan herself briefly. The filming was completed in March 1993. The film's budget totaled to $10.5–10.6 million.
Reviews of The Joy Luck Club were mixed. Critic Gene Siskel, singled out the script and performances, praising the film for presenting images of Asian-Americans outside the narrow range of childhood violinists and spelling bee winners, opining that its main accomplishments were its depiction of how the brutality of the lives of women in China could continue to influence the lives of their American daughters, and its ability to allow audiences to relate to a large group of Chinese-Americans as individuals. Siskel picked it as the seventh of the top ten movies of 1993, while Roger Ebert picked it as the fifth of his own top ten movies of 1993.
It was voted one of the favorite films of 1993 among 1,297 readers of The Arizona Daily Star, ranked number 14 out of 253. However, when the film premiered in the United Kingdom, "some British critics found it more schmaltzy than sour-sweet." It was one of 400 nominated movies as of 1998 to be listed as part AFI's 100 Years...100 Movies, but it failed to be listed in both the 1998 list and the 2007 list.
Ty Burr from Entertainment Weekly graded it a C+ and wrote that the film "covers primal issues of abandonment, infanticide, motherly love, and self-respect, pounds you with pathos [and] is extremely faithful to the novel". Burr found the story "exhausting" and preachy, he criticized the "cringingly bald, full of self-help blather" dialogue, and deemed male characters as "perfidies". However, he found the acting "generous [and] intelligent", and picked the segment of Rosalind Chao and Lisa Lu as "the only one that feels genuinely cinematic [yet] too late to save the movie".
David Denby from The New Yorker called the film "a superb achievement" and praised the director's "impressive visual skills". However, Denby criticized the film writing, "[I]ts tone is relentlessly earnest, its meanings limited or wanly inspirational, and my emotions, rather than well[ed] up, remained small." Moreover, he deemed men in the film as "caricatures" and the mothers' attempts to "teach [their daughters] the lesson of self-worth" as inadequate and pretentious.
Film critic Emanuel Levy graded the film a B+, calling it an "emotionally heart-rending study of generational gap–but also continuity–between Chinese mothers and their Chinese-American daughters" and a visually well-done propaganda for "cultural diversity". However, he also found it too long with "too many stories and [..] flashbacks" and too mainstream and broad to be an art film, especially when it was screened in "prestigious film festivals." Matt Hinrichs from DVD Talk rated the film four and a half stars out of five, commenting, "Despite the cultural and gender-specific nature of the story, [..] there are a lot of overriding themes explored here (such as the daughters fearing that they're repeating their moms' mistakes) that have a universal scope and appeal."
Pre-release and box office
In April 1993, Amy Tan watched the rough cut of The Joy Luck Club and praised it as an emotional tear-jerker. It was thereafter screened to a more sophisticated audience in mid-May, to a broader audience a few weeks later, to the Asian American Journalists Association on the week of August 16, at the Telluride Film Festival on the Labor Day weekend, and at the Toronto Film Festival in mid-September. The film opened to theatres at limited release in Los Angeles, New York City, and San Francisco in September. It slowly expanded to several hundred theatres by October 1 nationwide, including Salt Lake City, Utah, and St. Petersburg, Florida. It opened in some other cities on October 8, like Austin, Texas. The film earned nearly $33 million in the United States.
Awards and nominations
|BAFTA Award, 1995||Best Screenplay, Adapted||Amy Tan, Ronald Bass||Nominated|||
|Casting Society of America, 1994||Best Casting for Feature Film, Drama||Risa Bramon Garcia, Heidi Levitt||Won|
|National Board of Review, 1993||Top Ten Film||Won|||
|USC Scripter Award, 1994||Amy Tan, Ronald Bass||Nominated|||
|Writers Guild of America, 1994||Best Screenplay||Amy Tan, Ronald Bass||Nominated|||
|Young Artist Award, 1994||Best Actress Under Ten||Melanie Chang||Nominated|||
|Best Actress Under Ten||Mai Vu||Nominated|
|Best Youth Actress||Irene Ng||Nominated|
The soundtrack was released by Hollywood Records on September 28, 1993. It was composed and produced by Rachel Portman, co-orchestrated by Portman and John Neufeld, conducted by J. A. C. Redford. Chinese instruments were used as well as Western music. Filmtracks website and Jason Ankeny from Allmusic gave the soundtrack four stars out of five. Filmtracks found the music cues not as "outstanding" as Portman's "other singular achievements in her career" but the website noted that the whole album "never becomes too repetitive to enjoy[,]" even when the music cues lack diversity from each other. The first 14 tracks was composed by Rachel Portman. The 15th and final track, "End Titles", was composed by David Arnold, Marvin Hamlisch, and Rachel Portman. The album duration is around 44 minutes.
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