Monsoon Wedding movie, by Nair, 2001


Personal Perception of the Movie

I liked the movie because it first strikes the viewer as a very fast comedy. The easiness by which music was being efficiently woven into the narration and the deft manner in which Nair manages to make her way between the story lines evokes emotion that glues one to the screen (Barnwouw 46).
The Importance and Dynamics of Punjabi Families

The importance and dynamics of Punjabi families is illustrated in the how Monsoon wedding converts Vijay Raaz, an actor with a remarkable body and face, to P.K.Dube. He is later transformed in the course of the film from a spidery joker, subject to hysterics of loneliness. He gets used to anxiety fits and unquenchable demands for money that transforms him into a sympathetic character. Viewers pity him but in the end, he is admired for his willpower to make use of his ingenious talents to win Alice. He generates a fancy world of hearts for her and steps in it as her suitor holding a massive heart shaped garland of marigolds (Nair 23).

The Monsoon Wedding in effect builds a framework of illusions and dreams in its episodes. The illusions are diaphanous, porous, and colorful like the saris that women enthusiastically maul over in a fashion shop during the selection of Aditi’s trousseau. The message conveyed from Monsoon Wedding on the importance and dynamics of Punjabi families is interesting to the casts. That things can shift in and out of the confusion apparent in the night world where obstacles are real but a route can be found around the mirrors (Bennet 57).
Comparison of the Punjabi Families to the American Families

The entire Monsoon wedding film shatters most western mistaken beliefs about life in India, rather than face stark images of disease and poverty. Nair depicts a contemporary India where snobbery and social life climbing are predominant. The love life of the young protagonists in the film shows that India’s youth have  undergone a revolution in as far as their love lives are concerned so that it is comparable to what goes on in the USA (Desai 35).

The love triangles that persist in the USA are also typified in the movie. The screenplay by Sabrina reinforces the negotiations between the groom and the potential bride. She was a woman on a bounce back having ended her love affair with her boss and now getting involved with a handsome young man all the way from Houston Texas. The Indian characters also speak a mixture of Hindu and English in their sentences unlike the American ones who speak fluent English (Nair 30).
Other Themes and Their Interpretation

Apart from the wedding theme, Nair presents several important moments in the film. For example, the theme of mirrors and confusion which replicates the improbability felt by everyone in this rapidly dynamic world where it is increasingly becoming difficult to sort out the contemporary identities and the stark realities on the international front. This is practical because it is difficult to decide on the right path and choose the right face to flaunt in each circumstance. Just like Lalit Verma who hires a team to fix her daughter’s wedding  constantly worries how she will pay them, Dubey struggles up a social ladder that has lots of tradeoffs and pains. Although he starts making it, he still leads a lonely life in his mother’s tiny house. However, he eventually marries Alice and they are permeated in the circle of Verma’s extended family (Barnwouw 50).
Scenes Significant in developing Characters’ Relationships

The romance between Hemant and Aditi offers some moments of truth, particularly when they remind each other of their pasts. However, an actual heart rending moment that touches me most is when P.K.Dube falls to his knees facing a heart that is formed from marigolds in a desperate adoration gesture before Alice (Bennet 60).

Vikram and V.J. Dubey who also doubles up as the coordinator of the wedding make use of the cell phones to deceive not only their wives but also their employer and mother. As the police close in on the tryst that Vikram has with Aditi, he tells his wife that he is in the studio. Consequently, Aditi gets her revenge on Vikram’s duplicity by driving his SUV away in a bid to ensures that he is stranded in the rain as the officers ridicule him. This is about the theme of deceptive appearances that the film director uses to indulge the viewers (Desai 65).
The General Theme of the Movie

The general theme of the movie is that of deceptive appearances. This theme reaches its climax in the scene where men working on the wedding pavilion decide to peep at the family maid through the window Alice (Tilotama Shone) as she fits herself the bride’s wedding jewelry, converting herself into a beautiful princess. They erroneously accuse her of stealing; however, Dubey, who has fallen in love with her acknowledges that she is only making a fuss of her right to dream (Nair 55).





Works Cited

Barnwouw, Erik.  Documentary: a history of the non – fiction film. Oxford: Oxford University Press. (2010): 45-56. Print.

Bennet, David . Multicultural States: Rethinking Difference and Identity. New York: Routledge. (2009):56-67. Print.

Desai, Jigna . Beyond Bollywood: the Cultural Politics of South Asian Diasporic Film. New York: Routledge. (2007): 34-67.Print.

Nair, Mira. Create the world you know. Cinema militants Lecture, the Netherlands film festival. (2012): 23-56.Print.




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