The Joy Luck Club is an 1989 novel by Amy Tan, which was adapted into a 1993 film, directed by Wayne Wang.The book centers around four mother-daughter pairs living in San Francisco. The mothers are Suyuan Woo, An-Mei Hsu, Lindo Jong, and Ying-ying St. Clair. The daughters are, respectively, Jing-Mei (June) Woo, Rose Hsu Jordan, Waverly Jong, and Lena St. Clair. All of the mothers immigrated from China during their lives, and much of the book talks about their relationships with their mothers, with the exception of Suyuan Woo. The book is structured in sixteen chapters, each narrated in first person by one of the characters; the first four are told by the mothers, the next eight are told by the daughters, and the last four are told by the mothers, all with the exception of Suyuan Woo, who is dead at the beginning of the novel, so Jing-Mei takes her chapters. Most of each chapter is dedicated to a flashback of the narrator's childhood, usually regarding a particular incident or series of events involving that character's mother.
Film and book The Joy Luck Club provide examples of:
Abusive Parents: Or rather, abusive aunt and uncle in young An-Mei's case. Lena thinks she encounters one in the apartment next to her as a child, but it turns out the mother and daughter are only playing.
Artistic License - Music: At the end of the section Two Kinds, she mentions playing two songs from Robert Schumann's Scenes from Childhood, Pleading Child and Perfectly Contented, thereafter realizing that the two songs are actually two halves of the same song. The two songs, actually known as Bittendes Kind and Glückes genug, are actually separate songs from the same book, Kinderszenen, only that they are beside each other. At least the German names were translated into the English names properly.
Bald of Evil: Lena's boyfriend Harold's baldness is a visual cue to his cold soullessness, along with the grey clothing and furniture. His replacement is notable for having thick, luxurious hair, symbolic of his warmth and goodness.
Batman Gambit: Lindo's plan of getting out of her first marriage.
Darker and Edgier: Arguably, the fate of Ying-Ying's first baby in the movie. In the book, Ying-Ying gets an abortion. In the movie, Ying-Ying carries it to term but later drowns it, acting listless the whole time.
Defiled Forever: An-mei's widowed mother is raped by a strange man, and is then forced to marry him because she is considered defiled.
Extreme Doormat: Tan makes it pretty clear on just how terrible the consequences can be if a woman acts as such.
Flashback: All the mother and daughter stories up to the present.
Heroic SacrificeMeetsMy Death Is Just the Beginning: An-mei's mother, trapped into a horrific marriage to her rapist, commits suicide by poison, but does so two days before the new year. Folklore states that the third day after death is when a spirit returns to settle old scores — and you do not want a spirit angry with you on New Year's Day. An-mei's mother ensures her daughter and son will be cared for.
An-Mei's mother, due to her circumstances. She's later decides to take An-Mei so she could live a better life, ironically doing this again by abandoning An-Mei's younger brother (it's implied that taking him to the house where she served as a concubine could be frowned upon).
Poor Communication Kills: Mr. St. Clair could never understand his wife fully because of this, resulting in a marriage run mostly by tolerance than true love. Also a common case between the mothers and daughters.
Precision F-Strike: Andrew McCarthy's character gives this to his own mother after she makes remarks towards Rose.
Rape as Drama: Tyan-yu and Lindo in "The Red Candle." Huang Taitai enables and condones this because she wants an heir. However, nothing happens anyway. In the film, Tyan-yu thrusts something at Lindo and makes her scream — but it's only his pet lizard! His mom is in Selective Obliviousness.
Rich Bitch: Ying-ying in her youth, before she was broken by her terrible first marriage. The Second Wife in An-mei's story is this to a T.
The Roaring Twenties: In the sequences with the mothers' childhoods. More evident in An-mei and Ying-ying's stories, given how they were raised in wealthy families with some Western influence.
Stage Mom: Suyuan and Lindo in regards to their daughters' piano playing and chess playing. Suyuan especially counts since the only reason Jing-Mei picked up the piano in the first place was because Suyuan was trying to force her into being a child star.
Well Done Daughter Girl: Waverly and Jing-Mei feel this about their mothers, who constantly compared each of their daughters to the other's.