Youn Yuh-jung owns it: ‘I've been in this job too long‘
Andrew Ahn's 'The Wedding Banquet' remake brings together cross-cultural cast to explore complications of love and acceptance
"Korean feels best," Youn Yuh-jung says with a sense of relief. "English is torture for me."
The 78-year-old actress and her co-star Han Gi-chan have just endured a four-hour marathon of back-to-back English interviews when we connect over Zoom for our conversation about "The Wedding Banquet," director Andrew Ahn's reimagining of Ang Lee's 1993 classic, which hits US theaters April 18.
Han nods vigorously in agreement. "Hearing Korean after speaking English all day feels so different," he says. "It has more authenticity somehow."
Ahn's film transforms Lee's groundbreaking comedy about a gay Taiwanese man who stages a fake marriage to appease his parents into a contemporary story with two queer couples at its center. Chris (Bowen Yang) and Min (Han) are in a relationship alongside Angela (Kelly Marie Tran) and Lee (Lily Gladstone), who are struggling with fertility issues.
When Min's visa is about to expire, he proposes marriage to Angela in exchange for financing her partner's IVF treatments. Complications arise when Min's formidable grandmother (Youn) arrives unexpectedly from Korea to oversee an elaborate traditional wedding.
"I didn't want to do it at first," Youn says, her characteristic bluntness on full display. "Reading scripts in English gives me a headache. And I'd done an independent film before — they're so tight on money, it's exhausting."
A hint of warmth emerges when she mentions her children's influence.
"But my sons pushed me. They happen to be Americans who love Bowen Yang and have seen Lily Gladstone's work before," she explains. "So it became a family decision, and I don't regret it."
For director Andrew Ahn, who spoke with The Korea Herald a day after the conversation with Youn and Han, the project allowed him to revisit a foundational text through a contemporary lens.
"Ang Lee's 'The Wedding Banquet' is one of my favorite films and the first queer film I ever saw," he explains. "So much has changed for the queer community since 1993. I've been having conversations with my boyfriend about marriage and kids for years, and I wanted to talk about how queer people build family."
The most striking difference between the original and the remake is the older generation's attitudes toward queerness. Where the parents in Ang Lee's version had to be kept in the dark about their son's sexuality, Ahn's film prominently features family members who show varying degrees of support and acceptance.
"I love the character of Angela's mother May, played by Joan Chen, because she's overly enthusiastic about her child being queer," Ahn says. "In Min's storyline, too, we see how different generations have different priorities, and how meaningful relationships require truly seeing and understanding each other.
"Those characters couldn't have existed in 1993. I was interested in exploring intergenerational conflict and how parenting and allyship require really seeing someone else."
Youn's character, initially skeptical of her grandson's fiancee, quickly sees through the charade but becomes the couple's most unexpected champion. When asked if she drew from any personal experience to portray this evolving relationship, Youn waves away the question with the detached ease of someone who's seen it all.
"I've been doing this job too long to need inspiration from real life," she says matter-of-factly. "Next year marks my 60th year acting. At my age — I'll be 80 in Korean age next year — there's nothing I can't understand. The world keeps changing, and you have to accept it whether you understand it or not. That's the wisdom that comes with age. I could play a grandmother without much burden because I can put all my lived experience into the character."
Han, born in 1998, represents a different generation entirely. Unlike Youn, he had never seen the original film before being cast.
"I was born five years after it came out — maybe my parents saw it," he laughs. "I decided to wait until after filming to watch it so I could approach the character freshly."
"You didn't need to see it," Youn interjects.
Their generational gap seemed to spill into language as well. Unlike Youn, who speaks English with the cautious precision of someone still finding her footing (she lived in the US from 1975 to 1984), Han delivers it with remarkable fluency and confidence despite this being his first time shooting in America.
"His English is unbelievable," Youn says. "This was his first time abroad, and he speaks perfectly! That's the power of Korean mothers. His mother only let him watch English TV growing up."
Han says with a smile, "I thanked my mother before I left for the shoot. I grew up attending an English kindergarten in Seoul and watching Sesame Street and SpongeBob. Acting in English was always on my bucket list, and getting to do it with Youn in my first English-language project is just a huge honor."
The pair developed a remarkable chemistry despite having never met before filming. Their first scene together — an emotionally charged confrontation — was scheduled for day one of production.
"My son tried to get them to move it later in the schedule," Youn recalls. "But I'm a professional. Andrew must have had his reasons to shoot it first."
Ahn speaks reverently of working with Youn, appreciating her decades of experience and insight.
"I loved her honesty on set. After our first take together, I said, 'That was lovely, can we go again?' She replied, 'If it was really lovely, we wouldn't have to go again.' She followed up by saying, 'American directors are so nice. You don't have to be nice—just tell me what to do.'"
That directness extended to the script itself. When the Korean dialogue felt too literally translated, Youn worked with Ahn to make it more authentic. One of the film's most memorable lines — when her character dismisses Angela, her grandson's "bride," as a "lesbian kkotbaem" (lesbian gold digger) — was her own invention.
"That was my idea," Youn says. "Andrew and I collaborated on the Korean translations throughout the filming. When things felt too direct, they sounded strange. We agreed I could change lines to make them feel more natural."
The film is set for release in Korea this fall, and everyone involved hopes it will spark meaningful conversations about acceptance.
"My hope," Ahn says, "is that this film shows these characters with such humanity that audiences can't deny them. Even if someone doesn't understand or approve of homosexuality, they might respect these people's lives and recognize that they want a family just as deeply as anyone else."
Han, who previously starred in the queer Korean drama "Where Your Eyes Linger," agrees.
"Koreans tend to be conservative about these issues, but I hope people view this with an open mind as simply a story about love between people. This isn't just about being queer — it's about building family, and I hope people can see it from that broader perspective."
When asked about her thoughts on the film's reception back home, Youn delivers the perfect deadpan closer: "I have no message to share. I'm not the Pope."
moonkihoon@heraldcorp.com
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Korea Herald
4 hours ago
- Korea Herald
Three theatrical worlds under one roof
This weekend, theatergoers have a rare opportunity to sample three vastly different stage productions — all playing under one roof at the Sejong Center for the Performing Arts in Seoul: one a time-tested classic with over three decades of history and two freshly premiered works that opened less than a month ago. Unfortunately, none of these productions offer subtitles or translation services, so fully appreciating the performances may be difficult without Korean fluency, particularly given their dialogue- and lyric-heavy nature. "Phantom" The musical "Phantom" by Maury Yeston and Arthur Kopit premiered in 1991, following the blockbuster success of Andrew Lloyd Webber's 'The Phantom of the Opera.' While both works draw inspiration from Gaston Leroux's classic novel, Webber's version became a global phenomenon, overshadowing 'Phantom.' Yet 'Phantom' offers a compelling and distinctive reimagining of the same story, shedding new light on the Phantom's inner world. It's well worth experiencing not only as a point of comparison but also as an example of how a familiar narrative can be transformed through a different artistic lens. In particular, the Korean production of "Phantom," presented by EMK Musical Company, has taken creative liberties to craft its own distinctive interpretation, earning widespread acclaim over the past decade. Now in its fifth and final run, the production returns with powerhouse vocalists Park Hyo-shin, Kai, and Jeon Dong-seok, who bring stirring intensity to the show's vocally and musically demanding score. EMK has confirmed that this season will mark the conclusion of this version. "Phantom" runs at the Sejong Grand Theater until Aug. 11, with no performances on Mondays. Tickets range from 70,000 won to 170,000 won ($51.50 to $125). "The First Great Show" Presented by the Seoul Metropolitan Musical Theatre, 'The First Great Show' is a whimsical and heartfelt homage to Korea's early musical theater. Set in the 1960s, when the idea of a 'musical' was just beginning to take root in Korea, the production follows director Yoo Deok‑han and producer Kim Young‑woong as they attempt to stage the nation's first-ever musical. This fresh, nostalgic production offers laughter and insight into Korea's theatrical origins. Running through June 15 at the Sejong M Theater, the show features a stellar creative team, including director Kim Dong‑yeon. Kim led the original Korean staging of 'Maybe Happy Ending,' which won six awards at the Tony Awards with its Broadway adaptation. Ticket prices range from 60,000 won to 80,000 won. "I'm Nowhere" At the Sejong S Theater, Seoul Metropolitan Theatre's new original, 'I'm Nowhere,' boldly confronts a haunting social reality: the lives of the forgotten. Written and directed by renowned theater-maker Ko Sun-woong, the play is inspired by a newspaper article on 195 unclaimed deaths — individuals who lived and died like ghosts, unnoticed by society. The story centers on a woman who escapes years of domestic violence, sheds her identity, and drifts through the margins of society, only to die alone and become a literal ghost. Through her posthumous gaze, the play explores what it means to be unseen in both life and death. For this play, Ko takes an inventive, meta-theatrical approach, where actors break the fourth wall and openly acknowledge the artifice of theater. The play runs until June 22 except on Mondays. Ticket prices range from 40,000 won to 50,000 won. gypark@
Korea Herald
7 hours ago
- Korea Herald
Interview: K-pop idol-turned-actor Cha Hak-yeon comes into his own
From boy band leader to leading man, the former Vixx star carves a steady path on screen At 35, Cha Hak-yeon still carries the youthful spark that gave him a commanding presence in Vixx a decade ago. Turn back the clock to the days of the group's greatest hits, like "Voodoo Doll" and "Error," and that same electrifying energy, now channeled with more restraint, powers his transition from K-pop idol to seasoned actor. While fans may still remember him as the boy band's charismatic leader and main dancer, N, Cha has spent nearly a decade building his acting chops across television. Most recently, he's stepped into lead roles in the breakout hit "Castaway Diva" and the currently airing "Oh My Ghost Client." 'My experience with movement and choreography helps a lot with acting,' Cha tells The Korea Herald at a Samcheong-dong cafe. 'I can memorize a 5-6 minute action sequence in one rehearsal and nail it in a single take,' he laughs. Now he brings that confidence to "Midnight Sun," a remake of the 2007 Japanese tearjerker. In it, he plays Min-jun — a fruit vendor by day, aspiring actor by night — who falls for Mi-sol (played by Jung Ji-so), a singer living with a rare condition that prevents her from being exposed to sunlight. It's Cha's first lead role in a feature film, an opportunity that came rather naturally. 'The director said my energy aligned perfectly with Min-jun's,' he recalls. 'He told me to just bring what I already have rather than create something new.' Now, the actor exudes this relaxed assurance, articulating each word with quiet, thoughtful precision — but that wasn't always the case. 'When I first started acting, ignorance was bliss — I thought I could just wing it,' he says. 'Soon, I realized I needed to take a step back and really build my foundation.' After years of steady work, he's found his rhythm. 'I have this ease now that lets me trust the process and the people around me.' The film itself presents a difficult puzzle for the actors and viewers alike. "Midnight Sun" is largely a tonal misfire — its earnest, PG-13 wholesomeness feels awkwardly splattered across what should be devastating melodrama. The emotional crescendos, especially Mi-sol's inevitable goodbye, somehow manage to feel dead despite all the tragic weight they carry. It's the cinematic equivalent of watching someone cry through a gauzy, pastel-tinted Instagram filter. The role's earnest optimism seems to have left a lasting mark on the actor, though. Min-jun's try-anyway-even-if-you-fail attitude resonated so deeply, Cha claims, that it reshaped his outlook on future roles. 'Those lines felt like the character was speaking directly to me,' he says. 'It gave me the courage to take on more challenging roles' — including his upcoming lead in the BL (boys love) drama "The Killer Next Door." After more than a decade in the industry, Cha still finds strength in familiar places. Though he sat out Vixx's recent comeback due to scheduling conflicts, the group — and its fans — continue to be a grounding presence in his life. 'Starlight (Vixx's official fandom) gives me strength and motivation,' he says. 'I'm not someone who thrives in isolation. Having people who always believe in me — that's what pushes me forward.' The sentiment rings especially true following Vixx's 13th anniversary celebration last month, where the group shared a commemorative photo that had fans feeling all kinds of nostalgic. The members also showed up for him at the screening. 'Some of them even burst into tears,' he says. As for what's next, Cha prefers to keep things simple. 'Right now, I want to carry a full project on my own. I've learned so much from senior actors who create this amazing energy on set. I'd love to become that kind of presence.'
Korea Herald
7 hours ago
- Korea Herald
Interview: Dancing Mongryong, Russian dancer steps into Korea's most romantic role in 'Chunhayng'
Igor Kontarev becomes 4th foreigner to perform as Mongryong in Universal Ballet's 'The Love of Chunhyang' In ballet, there is Prince Siegfried in 'Swan Lake,' Romeo in 'Romeo and Juliet' and, in Universal Ballet's repertoire, there is Mongryong in 'The Love of Chunhyang.' This weekend, Russian-born ballerino Igor Kontarev will step into one of Korea's most beloved folkloric roles, as the company brings its signature reinterpretation of the classic tale. The production returns to the stage for the first time in three years, with the soloist making history as only the fourth foreign dancer to take on the role. 'I was really surprised, first of all, because I'm a foreigner, and not many foreigners do this,' Kontarev said in an interview with The Korea Herald on Tuesday. 'I know it's a really big responsibility to do this kind of role which is so important for Korean culture and for Korean audiences.' Premiered in 2007, 'The Love of Chunhyang' brings the beloved folktale of Chunhyang, the daughter of a courtesan, and Mongryong, the son of a local aristocrat, into ballet set to Tchaikovsky's music. It is choreographed by Universal Ballet's artistic director Liu Bingxian, who is also known for 'Sim Chung' and 'Korean Emotion.' Having been with the company for nearly a decade, Kontarev was already familiar with the story. But preparing to step into Mongryong's shoes meant delving deeper into its cultural nuances. He said it was interesting to observe how the choreography reflected family dynamics across different social classes. 'The difference between Mongryong with his father and Chunhyang with her mother stood out to me. Mongryong is more calm with his father, always faces him, shows respect and bows with courtesy — which I think he was taught from a very young age. And Chunhyang feels more free with her mother.' Taking on the role has also meant intensive rehearsals and hours in the studio. A key part of the process, Kontarev said, was adapting to the unique stylistic features of Korean folk aesthetics embedded in the choreography. 'One of the biggest advantages was to learn firsthand from the choreographer Liu himself. And I'm really thankful for Hyang-gee (who plays Chunghyang). They gave me time to take in the different style,' he said. The ballet features three pas de deux between Chunhyang and Mongryong — each one mapping the couple's emotional journey, from the tender thrill of their first night together to the heartbreak of separation and, finally, their highly emotional reunion. Kontarev said the final duet was his favorite. 'It starts from the moment when Chunhyang drops into Mongryong's arms and he doesn't understand what happened to her. He first feels guilt, sorrow because this happened because of him,' he said. 'This is the highest emotional moment in the piece with all different emotions: joy and happiness and everything here. Even in practice, the emotion sometimes goes over your body, over your muscles.' What he can say for certain is that he cannot wait to meet the audience on stage. That, he says, is when the real art begins. 'When you touch the stage, when you see the audience, you understand what the art of ballet truly is,' he said. 'It's not just hard physical work — it then becomes art the moment you meet the audience, with the lights, the set, everything. You have to be inside the story.' So, he's leaving it to the audience to decide how he did. 'We are dancers but and actors, too. Sometimes, we have to show something we haven't felt yet,' he said. 'But the more I dance, the more deeply I understand the character. So let the audience see that, and let them be the judge.' 'The Love of Chunhyang' runs from Friday to Sunday at the Seoul Arts Center. Kontarev performs at 2 p.m. on Saturday alongside principal dancer Hong Hyang-gee. The production will travel to Daegu for performances on June 20 and 21.
