Review of Saving Face (2004) by Judy H — 06 Jun 2005

I intentionally lowered my expectations before seeing Saving Face, but I still managed to be disappointed by this predictable bundle of clichés. The performances are unremarkable except for Joan Chen, who singlehandedly makes the film bearable. The storyline is forced and unconvincing. Is Wil in the closet or just a lousy girl friend? Why is Vivian so disappointed that Wil shows up late to her dinner party -- isn't Wil's work schedule as an intern (or resident, whatever) predictably unreliable? Why doesn't Wil's mom (Joan Chen) already know Vivian, since she must be the only up-and-coming ballerina in a small immigrant community? And what's with all the racist jokes (, and why did the predominantly white audience in North Berkeley laugh so much at them?

The superficial and predictable story aside, the most troubling aspect of this is how "social change" (coming out, seeking self-realization) is pitted against "tradition" (saving face, obedience to elders). Do we not see changing "traditions" in the fiesty grandmother's historical travails and in the eventual community acceptance (and envy) of Joan Chen's pregnancy? Isn't there another way of seeing Wil's coming out not simply as a "fuck 'em" (last two words of the film) or merely standing opposed to tradition? Isn't coming out (as queer, as pregnant, whatever) also part and parcel of tradition itself that's constantly changing? In other words, there is no monolithic tradition guarded by Traditionals, and there is no such thing as standing up squarely against tradition, as though one can step outside tradition. Like so many other films and fictions in this genre, Saving Face relies on the simplistic dualism between tradition and anti-tradition (what, modernity?) thus assuming homosexuality (and out-of-wedlock pregnancy) to be intrinsically "outside" tradition, a fundamental deviation from the norm.

I've seen worse romantic comedies, of course, and the acting isn't bad. For a first-time director, the story is well-paced and nicely shot. But for the story's social implications and political missteps, I just can't celebrate it simply because it's "the first feature-length Asian American lesbian film." I do have high expectations, especially when it's close to home.