The stars of the 1993 film reunited for the holidays and shared a photo recreating an iconic scene from the film.
The ladies of the Joy Luck Club got together in the sweetest reunion ahead of the holidays. In an Instagram post shared by Ming-Na Wen on Monday, friends and former co-stars Rosalind Chao, Lauren Tom and Tamlyn Tomita reunited and posed for a photo that all Joy Luck Club fans will recognize from the film.
“Kicking off the holidays with my #JoyLuckClub sisters!” Wen captioned the video comparing the women to when they first met. “Thanks for hosting the fab dinner and getting us all to do this, Lauren [Tom] & Curt [Kaplan]! Thanks Ollie for doing the video! You're an awesome instagram/Tiktok son!😂."
“Happy Holidays!!💚❤️💚#FriendsForever," Wen continued.
Tomita took to the comment section to celebrate the good times, writing, "The food was fabulous, the friendships everlasting, the fun infectious, and the festiveness was joyous and shining...Thank you, Lauren and Curt, and Ollie for sharing the warmth of your home and your hearts!!!"
"Happy Holidays, Merry Christmas, and Happy New Year!!!!❤️🥂💐🎉✨🕊," she added.
Chao also shared the love in the comments, writing, "Grateful to you gals for hanging with me despite all my protestations and text mutings ! Love celebrating with you… truly a sister vibe happening between us and the Husband Boy Luck Club!"
The original film, based on Amy Tan’s bestselling novel, tells the story of four Chinese-American women in San Francisco with their Chinese immigrant mothers -- made up of Lindo Jong (Tsai Chin), Ying-Ying St. Clair (France Nuyen), An-Mei Hsu (Lisa Lu) and Suyuan Woo (Kieu Chinh) -- who meet to play mahjong and swap stories full of happiness, hardship and the culture clashes that arise between generations.
Even Tan couldn't resist commenting on the sweet reunion between her adaptation's stars, writing on the post, "And I am the honorary Auntie of these amazing women."
The Joy Luck Club was the first major studio movie with a primarily female Asian American cast.
In 2018, the film's producer, Ronald Bass, told ET that scripts for both a TV series and a film sequel were being circulated around Hollywood.
"Both the series or sequel, if they happen, will be the same cast 25 years later," Bass said at the time. "In other words, the mothers are now grandmothers. The daughters are now mothers and they each have a millennial daughter of their own. So, now it would be a three generation - what's that like in mother-daughter relations? Today's world versus first, second generations and immigrants."
When asked which is more likely, the then-76-year-old Oscar winner said, "There's a pilot script written, so someone's just got to pick it up. But, the harder thing, as you know, for selling television versus features - that's why I work in both - is that for television, they say it's a million buyers but they actually have to put it on the air. For someone to buy your script for a feature, anybody can make one if you make it at the right price. Anybody can release them. So, I would always say a feature's more likely to go than a series."
Four years later, Deadline reported that a sequel was officially in development with Tan and Bass involved.
The premise would reportedly feature the original leading cast reprising their roles, now as the mothers and grandmothers of their families. In the sequel, the mothers and grandmothers would introduce a new generation who explore their own relationships with culture, heritage, love, womanhood and identity.
"We are excited to be teaming with Hyde Park and Jeff Kleeman in bringing to life the next generation of these four families so close to our hearts," said Tan and Bass in a statement.
Ashok Amritraj’s Hyde Park Entertainment Group and The Judge producer Jeff Kleeman were also attached to the project.
"I am thrilled to work with Amy, Ron and Jeff to bring this special film to the screen," Amritraj added. "Now more than ever it is important to share authentic stories about the Asian-American experience, and we believe this film will speak to wide audiences with its narrative rooted in humanity and connection."
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