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This is another outstanding film by director Mira Nair, who has previously directed such incredible films as Academy Award nominee “Salaam Bombay”, the lush and erotic “Kama Sutra: A Chronicle of Savor”, and “Mississippi Masala”. This is a director whose very touch turns all her films to gold. She is truly an artist, and her films are palpable with feeling and emotion that recede the storyline.
Though a gross budget film, it features high budget, quality acting, as well as an inspiring myth and world class direction. It focuses on the arranged marriage of a young, upper class, Punjabi woman in Delhi, India, which is a mecca for Punjabis. It offers a birdseye understanding at a family in transition, one that is ringing in current values, while maintianing the used ones. Moreover, as in all families, there are many joyous moments, as well as troubling ones.
While the focus is on the wedding celebration and all the preparation and rituals surrounding it, there are five subplots in the film, all of which are curious, but it is the acting by the ensemble cast that makes the film so memorable. Naseeruddin Shah gives an award calibre performance as Lalit Verma, the financially strapped patriarch who wants all to go good with the wedding, but who, at the eleventh hour, is forced to confront a secret tragedy from the past and accomplish a decision that shows his sensitivity and appreciate for his family. His is truly a glorious performance.
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Shefali Shetty, with her colossal, expressive eyes, is well-behaved as Ria Verma, Lalit’s dull brother’s daughter, who is forced to advise a abominable secret from her past in order to prevent a tragedy from taking situation in the demonstrate. She gives a performance so soulful that the viewer cannot fail to be moved. Aditi, the daughter who is to be married, is a walking paradox, agreeing to an arranged marriage, while simultaneously having an affair with a married man. The role is beautifully played by relative newcomer, Vasundhara Das, who in exact life is an Indian pop star. Her prospective bridegroom, Hemant Rai, is played with unique sensiblility, by the very pretty Parvin Dabas, a actual life, male fashion model, in his first silver shroud role.
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Vijay Raaz, in a breakout performance as P. K. Dubey, the wedding events coordinator, adds a deft comedic touch. It is his poignant wooing of the Verma family’s maid, Alice, that nearly steals the demonstrate. Glance for the nightime marigold scene in which Dubey puts Shakespeare’s Romeo to shame. Tilotama Shome, in her first silver cloak role, brings a subtle, sensual shyness to the section of Alice that is touching. Theirs is an moving coupling, as P. K. Dubey personifies the unusual India, with his cell phone, his entreperneurial flair, and his email address, while Alice, the scared servant girl who is always dressed in a sari, seems to symbolize a more broken-down India.
The film is a polyglot of languages, with English, Hindi, and Punjabi spoken at different times by various family members. I confess that I found it a exiguous confusing to have the subtitles reduce up, on and off, and I also found the English spoken a microscopic difficult to understand, at times. So, thanks to DVD technology, I was able to peep the film with English subtitles on the entire time, so as not to miss a thing. The cinematography is ravishing in this film, with lush, vibrant colors throughout. The occasional employ of handheld cameras throughout the film gives it the feel of a docudrama, at times, which is very effective, as the film is a voyeuristic peer into a family. Moreover, this filming technique adds to the cacaphony of feeling and emotion that abounds in this film.
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The DVD offers a small number of features, the most entertaining one being the director’s commentary, which is an insightful gape into the making of the film, as well as the backround and reasons for each scene. It is determined that for the director, who is herself Punjabi, this film was a labor of savor. Bravo!
Occasionally, we Americans are treated to a enjoyable foreign film. I suspect that lots of these are made every year, but the powers that be long ago decided that we have neither the patience nor the inclination to peruse them. One that did procure through was the joyous Indian treat, “Monsoon Wedding”.
A family in Delhi is delighted after one of its daughters accepts an arranged marriage with a successful Indian engineer who lives in Houston, TX. The girl’s reason for accepting isn’t out of respect for tradition. She’s simply given up hope that her married lover will ever divorce his wife. When the prespective groom arrives, he turns out to be a really nice guy, and the bride-to-be agonizes over whether or not to be just about her past. Meanwhile, the man hired to compose the wedding tents finds himself head over heels in fancy with the family’s disturbed young maid.
There are lots of laughs in “Monsoon Wedding”, as well as many witty and insightful observations about middle-class Indian society. While there is a fascination in seeing some of the more exotic aspects of life in India, the most satisfying aspect of the film is its arrangement of showing how universal the joys of fancy and of family are.
Typical of cosmopolitan families outside of the USA, the characters often switch from one language to another while speaking. In this case, they grunt Hindu, Punjabi and English. I know some moviegoers can’t stand subtitles, but, to me, the employ of multiple languages simply adds to this film’s charms.
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