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The Joy Luck Club

In the novel, The Joy Luck Club, by Amy Tan, four Chinese women are drawn together in San Francisco to play mah jong, and tell stories of the past. These four women and their families reside in Chinatown and belong to the First Baptist Church. This is how the Woo’s, Hsu’s, the Jong’s and the St. Clair’s met in 1949. Subsequent to reading the novel, one would be more or less afraid to view the movie. Often times, novels later made into films are severely butchered and disappointing. Many people frequently feel enraged after watching the film adaptation of their favorite book. Once the moviegoer has been previously acquainted with the printed word, he/she has already developed preconceptions regarding characters, plot, and atmosphere of the book, and hence measures the film version against prior expectations. This however is not the case when comparing Amy Tan’s novel The Joy Luck Club alongside Wayne Wang’s film adaptation. Movie director, Wayne Wang brilliantly combines literary and motion picture devices to create a wonderful masterpiece. His film does not destruct, abuse or hinder Amy Tan’s novel, yet simply enhances it.

Avid readers might argue that in the twenty-first century, moviegoers are in search


Finally, the setting played an important role in the effectiveness of the movie. The setting of The Joy Luck Club was set in various locations. Some scenes were filmed in San Francisco and others in China. Because the story dealt with the Chinese people and there customs, it would only be logical for Wang to direct part of the film in China were it all started. He then moved the setting back to the United States when he dealt with the daughters. Because the movie moved back and forth from various years, Wang had to use numerous symbolic signs to tell the viewer the period of time. I think that this was very clever on his part. For example, he used songs, costumes and hairstyles. The movie used fabulous Chinese garments and clothing to give its viewers a sense of the Chinese traditions and culture.

Several of the novel’s most touching and emotional scenes are further intensified through the film. June’s mother depicts a tragic scenario when recalling her escape from the Japanese invasion into Kweilin. She envisions “the streets of Kweilin” which “were strewn with newspapers reporting great Kuomintang victories” and she remembers that “on top of these papers, like fresh fish from a butcher, lay rows of people-men, women and children who had never lost hope, but had lost their lives instead”(Tan 13). Despite the emotionality of Tan’s words, the film’s visual representation of this particular scene is even more gut wrenching. Similarly, the moment when Auntie Lindo meets her terrible husband for the first time and when her mother-in-law slaps her in the face exert a far greater emotional impact in the film. Thus, while the novel encompasses a far more detailed account of the Asian-American experience, the film illuminates the problems encountered by first and second generation immigrants more intensely than its literary counterpart. We not only read, but unmistakably see the culture clash when Rich, Waverly’s American fiancé, unsuspectingly breaks the most

Some topics in this essay:
Luck Club, Suyuan Woo’s, Suyuan Woo, Francisco China, St Clair’s, Wild Goose, An-Mei Hsu, Mei Woo, Auntie Lindo, Amy Tan’s, joy luck, luck club, joy luck club, book film, novel joy luck, suyuan woo, tan’s novel, amy tan’s, june’s father, emotional impact, daughter’s marriage, amy tan’s novel, women children,

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Approximate Word count = 1351
Approximate Pages = 5 (250 words per page double spaced)


  

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