Dim Sum Funeral (Anna Chi, 2008): Canada

Reviewed by Darryl Walden. Viewed at 2009 Santa Barbara Film Festival.

In Dim Sum Funeral, four estranged adult siblings re-unite because of the death of their mother, Mrs. Xiao (Lisa Lu), a well to do, yet, cleverly manipulative immigrant from China. We are initially engaged by Anna Chi’s wit through the cinematographic lens of Michael Balfry as the camera pans from right to left before settling on the revolving restaurant landmark of Seattle, Washington that establishes the mise en scene.

The symbolism is dual. First, it denotes the migration of an Eastern culture to the industrial sophistication of the West. Secondly, it announces the foreboding gloom of death. The camera shifts the pan from left to right as it encompasses the Chinatown segment of Seattle onto the Xiao estate, then slowly ascends through various inner decor until arriving at the deathbed of Mrs. Xiao. Here, the symbolism is extended where the movement of the opening shots in totality imitate the form of written Chinese script. This is not just good film making; it is subtle ingenuity at its best.

Viola Gruber (Taila Shire), the longtime housekeeper and only true friend to Mrs. Xiao sets upon the task of telephoning the four siblings.  The camera deftly guides us through the respective communiques with sequential cuts that briefly expose the personal life of each sibling. 

Elizabeth (Julia Nickson), the oldest, is a journalist whose marriage suffers due to the untimely death of a young son.  Alexander (Russell Wong) is a successful dermatologist, yet,  is plagued by adulterous behavior–a matter for which he ironically condemned his father.  Victoria (Francoise Yip), a maverick realtor was spurned by Mrs. Xiao for entering into a relationship with an African American male which produced a son.  The beautiful MeiMei (Steph Song) stars in B-grade martial art movies and has a lesbian lover (Bai Ling).

Feeling responsible for the divisive aberrations in her children’s lives, Mrs. Xiao wills that she be given a traditional Chinese funeral which lasts seven days.   It is an attempt to rectify her failing to balance Western assimilation with traditions of Chinese morality and begin the healing process toward re-uniting the family.

All of the actors in this film give solid performances.  Impressed by their interactive chemistry that convinces the viewer this group of people were real family, I asked Anna Chi during the Q and A following the screening what went into the casting.  Although Susan Taylor Brouse is given due credit for casting, Anna assured us the choices emerged from a circle of her personal friends who understood the importance of the film’s underlying message which, to their credit, was mastered within 17 days.

Steph Song gives, perhaps, the most riveting performance, aided by Chang Tseng, the mysterious and often humorous Jo Li, who becomes pivotal to the familial healing process through his daily discipline of Tai Chi.

There is a genuine warmth to Dim Sum Funeral as it underscores the univeral themes of love, forgiveness and family unity as interpreted by Chinese sensibilities.  But then, it should be.  Director Anna Chi is a genuinely warm person.  I know.  So delighted that I liked this film, Anna gave this African American stranger a spontaneous and gracious hug which…touched my heart, the literal meaning of the words Dim Sum.  See the film and join the family.

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Published:
01.28.09 / 11am
Category:
Films, Santa Barbara Film Festival 2009