9 Asian American coming-of-age movies that aren’t The Joy Luck Club



Last week, Colorlines published a list of 9 coming-of-age movies starring (and focusing on) people of color. While I usually enjoy most articles that Colorlines puts out, I was frankly a little disappointed in the Asian American representation in the list: our sole entry was Wayne Wang’s adaptation of the Joy Luck Club, also the second oldest (behind Boys ‘N Tha Hood) on the list.

Don’t get me twisted: I appreciate the effort to include Asian Americans on this list of POC coming-of-age films, and Joy Luck Club deserves respect as one of the first, and most mainstream, of Asian American films. But, Joy Luck Club is also more than 22 years old, ambiguous in its navigation of the line between exploration and exoticization of Chinese history, culture and tropes, and highly controversial within the community with regard to its portrayal of Asian and Asian American men. And, I say that as a fan who grew up on Joy Luck Club.

Asian American film has flourished in the last 22 years since the release of the Joy Luck Club film adaptation; there are so many more films in this genre than Wayne Wang’s (clearly important) familial and feminist epic.

Here are 9 Asian American coming-of-age films (in no particular order) that aren’t the Joy Luck Club. How many have you seen?


1. The Debut (2001)

Directed and co-written by Gene Cajayon, and starring Dante Basco (“Rufio! Rufio! Rufio!”), The Debut explores the relationship between young Filipino American aspiring artist, Ben Mercado, and his immigrant father Roland (Tirso Cruz III); the conflict threatens to ruin sister Rose’s (Bernadette Balagtas) eighteenth birthday party.


2. The Namesake (2006)

Starring actor turned Obama staffer Kal PennThe Namesake explores questions of identity and family between immigrant parents Ashoke and Ashima Ganguli (Irrfan Khan and Tabu), and their American-born children including older son, Gogol (Penn), whose rejection of his name symbolizes his attempts to disconnect from his Indian American history and heritage.

Based on a novel by Jhumpa Lahiri and directed by Mira Nair, this film is easily the best in Kal Penn’s filmography, and worth renting.


3. Better Luck Tomorrow (2002)

The first film acquired by MTV Films, Better Luck Tomorrow was a debut movie for director Justin Lin (who was recently tapped to direct Star Trek 3) and also first introduced the world to the character of Han (played by Sung Kang), whom many speculate is the same Han to appear in the Fast And Furious franchise.

The film focuses on Ben Manibag (Parry Shen), a typical high-achieving Asian American high school student whose small acts of rebellion in the form of petty theft escalate out of control to murder.


4. The Motel (2006)

Directed by Michael Kang and starring Sung Kang with young actor Jeffrey Chayau, the film explores adolescence and sexuality through the eyes of 13-year-old Ernest Chin (Chayau), whose life is turned upside down when he meets and befriends the motel’s newest guest, the jaded and angry Sam Kim (Kang).


5. The People I’ve Slept With (2009)

This film is loosely a coming-of-age story, since it is an exploration of a woman’s shifting relationship with her sexuality and her femininity. Asian American films that explore questions of sexuality are a distinct sub-genre within Asian American film, and inclusion of The People I’ve Slept With is in some ways a placeholder for this entire category of movie; others of note include Charlotte Sometimes (by Eric Byler) and Yes, We’re OpenThe People I’ve Slept With is a comedy directed by Quentin Lee and starring Karina Anna Cheung as young Angela Yang, who enjoys sex but discovers she is pregnant and so must revisit her sexual partners to figure out who the father is.


6. Saving Face (2004)

In this film written and directed by Alice Wu, Wilhelmina struggles to reestablish a relationship with her 48-year-old mother Hwei-Lan Gao (Joan Chen), after Hwei-Lan is kicked out of her father’s house for being pregnant out-of-wedlock; over the course of the film, both Wil and her mother struggle with Wil’s closeted homosexuality and her budding romance with the daughter of one of Hwei-Lan’s friends, Vivian (Lynn Chen). Both Wil and Hwei-Lan grapple with their place in Flushing’s Chinese American community, while still trying to “save face”.


7. Catfish in Black Bean Sauce (1999)

Written, produced, directed by and starring Chi Muoi LoCatfish in Black Bean Sauce focuses on the identities of a Vietnamese American brother and sister who are adopted by an African American family in the South, and the resulting familial and interracial tensions. Those who are interested in films positioned at the intersection of Asian and Black interrelationships might also be interested in checking out Mississippi Marsala, which tells the story of star-crossed lovers Mina (Sarita Choudhury) and Demetrius (an incredibly young Denzel Washington).

Below is a clip from Catfish in Black Bean Sauce, because the trailer on YouTube is of such poor quality, it’s practically unwatchable.


8. Ocean of Pearls (2008)

Co-written by and directed by Sarab Singh Neelam, the film focuses on the story of Dr. Amrit Singh (Omid Abtahi), a young Sikh Canadian surgeon who moves to Detroit from Toronto. The move, which forces Amrit to leave behind his family and his Indian Canadian girlfriend, prompts him to face deeply personal questions regarding racism and assimilation, his Sikh heritage, as well as the unfairness of the American medical system.


9. Strawberry Fields (1997)

A low-budget independent film co-written and directed by Rea Tajiri, the film stars Suzy Nakamura as Irene Kawai, a young teenager growing up in the midst of anti-war protests in the 1970’s. Haunted by the sudden death of her sister, Irene discovers a picture of her grandfather growing up in a Japanese American internment camp, and embarks on a  road trip to Arizona to find the spot at Poston War Relocation Camp where the photo was taken. Sadly, the trailer for Strawberry Fields doesn’t exist on YouTube.




Amy Tan (author): ‘Identity is everything’


Everything I’ve written is about identity,” author Amy Tan said while promoting her latest book at University Temple United Methodist Church in Seattle’s University District on December 5.

Tan, who gained international acclaim for The Joy Luck Club, said her the biggest influence on her identity comes from her mother—the inspiration behind her latest endeavor, The Valley of Amazement.

Tan’s inspiration for the novel, as the story goes, happened while Tan was doing research for another project. She had stumbled upon a photo titled “The Ten Beauties of Shanghai.” In the photo, five beauties wore clothing identical to what Tan saw her grandmother wear in another photo. Tan said one of the five beauties was the most popular courtesan in 1910 and 1911. Tan said she began to wonder why the courtesans wore the clothing they did and what their lives were like. This curiosity prompted an eight-year journey to discover what life might have been like for courtesans in the early 1900s.

The Valley of Amazement begins in Shanghai in 1905, centering on Violet. The story begins when her mother abandons her and she is prompted abducted and sold to a courtesan house.

For Tan, the book was never about courtesans, however.

It’s all about me,” Tan said. While Tan’s work is often said to revolve around mother-daughter relationships, she said she always believed that her writing was about identity. “The biggest influence in my identity, and probably many others, is my mother,” she said.

Unlike many authors, Tan said she did not grow up wanting to be a writer. She often wrote fiction as she was growing up, but never thought of pursuing fiction as a career. Dissatisfied with her job later in life as a business writer, Tan wanted writing to be different. She attended workshops and set her own personal goal—to be published by a literary magazine before she was 70. “I still have some time left,” she said.

But publication and money were never what really drove her. In fact, Tan said she was fearful for writers who would evaluate their worth based on publications and sales.

You cannot take anything for granted when it comes to writing,” Tan said. “You can have enormous talent and never get published.”

Tan said the success of The Joy Luck Club was an unanticipated stroke of luck. Even if editors had rejected her writing, she said “that would be painful, but I would still have my meaning.”

Tan advised aspiring writers to ask themselves why they want to write and if they would still do it if they never published.

My philosophy for the beginning [of the writing process] is to always know why I write,” Tan said.

Tan told the audience that when she writes, she focuses more on pleasing herself over her editors, and imagines herself in a place where no one can look over her shoulder.

Tan wrapped up the night by saying: “If writing has taught me anything, it has taught me the meaning of my life.

Check out this link:

Amy Tan (author): ‘Identity is everything’


Was 1993 Hollywood’s Year of Asian America?

For a brief blip in time it seemed like it might be possible: Twenty years ago in 1993, Hollywood released what seemed like a record number of Asian or Asian American-centric films. Was this the dawning of a new era?

We had Dragon: The Bruce Lee Story, The Joy Luck Club, M. Butterfly, Map Of The Human Heart, Golden Gate, Heaven and Earth, and Rising Sun

Check out this link:

Was 1993 Hollywood’s Year of Asian America?