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Monsoon Wedding 2001 |
Review by Jonathan Cornwell |
Directed by Mira Nair
R, 114 min. (mature themes, language) |
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Starring: Naseeruddin Shah, Lillete Dubey, Shefali Shetty, Vijay Raaz, Tilotama Shome, Vasundhara Das, Parvin Dabas, Kulbhushan Kharbanda, Kamini Khanna, Rajat Kapoor
Producers: Mira Nair, Caroline Baron
Screenplay: Sabrina Dhawan
Distributor: USA Films
Released: 2/22/02 (Limited)
(In English, Hindi, and Punjabi with subtitles) |
Rating:
 (out of ) |
Monsoon Wedding is one of those rare films that comes along without much fanfare, but leaves all who see it in a state
of complete fulfillment and joy at its contagious love for life. It's a film that quickly gains a following through word of mouth,
and, although its theatrical run is limited to the art houses, some mainstream moviegoers will actually go out of their way to
seek it out. Monsoon Wedding is, without question, one of the best Indian films to ever hit American screens. It has
that special ingredient that enables average films to rise above their material. This film is not a masterpiece of storytelling,
but it grips you through its believable characters and interaction between family members during the days leading up to
an arranged marraige that must shake itself free of formidable obstacles if it's to be a success. Indian director Mira Nair's
ability to brilliantly mold complex characters and intricate subplots is impressive despite her past successes with
Salaam Bombay!, Mississippi Masala, and Kama Sutra. If not for a subplot that seems a bit out of place with the rest of the
picture, Monsoon Wedding would be one of the year's best films. As it is, it's a triumph of sublime acting and numerous feel-good
moments that dominate its running length.
The story centers around the days prior to a marraige between Aditi (Vasundhara Das), the daughter of a middle class Indian
family, and Hemant (Parvin Dabas), who is originally from India but currently lives in Houston, Texas as a computer engineer.
They like each other when they meet; however, Aditi must break off a secret relationship with her boss and Hemant must forgive her if
they are to be joined in matrimony. There are so many characters in the story that I won't try to mention them all, however, there are a few intriguing plot
threads. Aditi's father, Lalit (Naseeruddin Shah), is seen in a constant state of worry about either the weather or his
wedding coordinator, P.K. Dube (Vijay Raaz), who is not exactly a calming influence. While Lalit is caught up in the wedding
details, P.K. has begun a consensual flirtation with the young family maid, Alice (Tilotama Shome), between his duties.
Meanwhile, the presence of a family friend deeply troubles Aditi's cousin, Ria (Shefali Shetty), who is afraid he is
trying to duplicate his sexual abuse with her years ago on another young girl in the family. As the story moves along,
the various narrative threads come together for one vibrant conclusion.
One of the strengths of Monsoon Wedding is that, for a foreign film, it is easily understandable. The characters use
a mixture of Hindi and English in their conversations, and at times even a little of both in the same sentence. I've been
told that this is common in educated families in India because it portrays a sense of culture within the family. The effect
is at first unsettling, but quickly becomes enjoyable and then humorous as they use each language to emphasize certain
parts of their speech. One of the more frustrating aspects of being a movie reviewer is that many moviegoers simply
refuse to see any films that have subtitles, no matter how enjoyable it is. With Monsoon Wedding, here is an example of
a film that cleverly uses a peppering of English to enhance its enjoyment level. If a viewer isn't willing to read even the
minimal subtitles contained in this film, they are simply depriving themself of a joyous experience.
Monsoon Wedding could be labeled part musical because it bursts into song on several occasions. The music,
bombastic and very loud, is easily in step with the rest of the film, and injects even more life into an already vivacious
motion picture. Its cinematography is wonderful with lots of color and flair - we see the multitude of costumes, dresses,
and scenery that surround the wedding and wonder how an American couple would fit in. In a sense, Indian weddings have
an energy that is sorely lacking in American weddings, which are usually pedestrian affairs in comparison. Nair is
determined to keep the audience's eyes locked on the screen, and here she succeeds completely.
At its heart, Monsoon Wedding is about the intricate relationships that surround an impending marraige - those that are
strengthened by it and those that are threatened by it. Together, the family is able to perservere despite the exile
of a suspected pedophile in their midst, which, in my opinion, hurts the story more than it helps. But nothing can hold
this film down for long, as it quickly rights itself with a lively burst of celebration during the wedding party. New relationships
have been made, some others healed, and still others emboldened by a stirring event that touches all their lives.
Monsoon Wedding won best picture at the Venice Film Festival last year, and for good reason. One would be
hard-pressed to find a more satisfying motion picture, which is even more enjoyable if you drag a cynical friend along to see it.
© 2002 Jonathan Cornwell
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 |
 | Masterpiece - Film perfection |
 | Excellent - A Must See |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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