Monsoon Wedding

Watching this movie was, for someone such as me, who had fallen in love with Delhi and NSD(National School of Drama, New Delhi), almost simultaneously (no, I was not a student there; I just went to watch their plays) more than a decade ago, a journey down memory lane. And not just me! Many of my friends, who spent a considerable time in Delhi at some or other point of their life, agreed with me on this point. In the words of one of my friends,"Monsoon Wedding is a documentary about Delhi.". For me, it was thrilling to view the places near Jama Masjid, where once I spent many afternoons at my friend's home, (and surely, nor far from where Dubey's residence would be!) after so many years.

But then what can I do? "We are like that only."

This movie has some of the best Indian actors, such as Naseeruddin Shah, Khulbhushan Kharbanda and Rajat Kapoor in it. But the guy who beats all of them and steals the show is our Dubeyji, Vijay Raaz. I had noticed him first in the movie "Jungle", where his portrayal of an almost silent (had he taken Omerta, by any chance?) bandit-gang member was excellent; but in Monsoon Wedding, his portrayal of Dubeyji beat all these first-rate actors. I've been a great fan of Naseeruddin Shah for quarter of a century now; but in this movie, my vote goes to Raaz.

The most striking feature of this movie is Mira Nair's ultimate attention to detail. (I think this is also a major factor that adds such authenticity to the character of Dubey!). From the Hindu ritualistic red-thread worn by Shah on his wrist (it must be put for the movie, Shah being a Muslim in real life, or was it that his real-life Hindu wife made him wear that!), to the pair of shorts worn by Raaz, Nair & Co. has painstakingly paid enough amount of attention to details. A Dubey would surely dress, talk and carry himself the way depicted in this movie. His choice of profanities are the most authentic that one would hear on the streets of Delhi. Alice and Ria also put very powerful performances!

This movie took me back to Delhi, and to the corridors of the Univ. I (and Nair, much before I, for that matter!) once walked on. Anyone who loves, or plans to fall in love with, Delhi should watch this movie, because as Mauz once said, "Who would go away, Mauz, leaving the labyrinths of Delhi behind?" (Kaun jaye, Mauz, Dilli ki galiyan chhod kar?).

Notes: The following is in response to some of the comments by Western reviewers.

1) Just because he addresses his nephew as "idiot", the bride's father is not mean and abusive; this is just a term of endearment. I guess, this is just a matter of cultural difference; things that are accepted in the Orient may be completely offensive in the Occident, and vice versa. This reminds me of the autobiographical note by the Egyptian born Nobel laureate, Prof. Ahmed Zewail, whose (toally accepted and used in the Arab world) figure of speech "I will kill you" terrified a classmate at Caltech (or was it Berkeley?).

2) Some people thought that the two guys sharing a bed (when the young girl offers a kind of striptease show to the Australian guy) was a hint at homosexuality; it was not! I don't mean that homosexuality does not exist in India; but it's quite common in India for people to share a bed when there's a shortage of beds (especially when a number of relatives and guests come down for, say, a wedding, to stay overnight, and then mostly younger members of the family are pushed to share beds.).

Note: Robert de Niro and Hervey Keital slept on the same bed in "Mean Streets", but they were not gay either!

3) Would the maid and the wedding planner be allowed to dance with the upper-class family? My Answer is: I think, yes! Most of the Punjabi weddings include Whiskey/alcohol in the menu (at least, for the important guests), and once you have alcohol in your veins, Universal Brotherhood (Bhai-chara in Hindi) prevails. I, in spite of not being a Punjabi or a Native Delhiite, took part in such wedding dances myself at times, and had seen with my own eyes such situations.

In Delhi, the wealthy father of the bride (Lalit, played by N. Shah) prepares an elaborate wedding. We meet his extended family, arriving from as far as America for the wedding, beginning with a formal engagement party 4 days before. Several subplots are followed: Additi, the bride, has chosen an arranged marriage instead of waiting for her married lover to leave his wife. Ria, her cousin, has never married and is being pestered by all concerned. We learn that Ria's father, Lalit's big brother, has passed away and so Lalit is her father-figure as well. Dubey, the wedding organizer, becomes smitten with Alice, Lalit's maid. As the days pass, family joys and family secrets are revealed.

I cannot praise this movie enough. First of all, kudos to N. Shah for a sensitive, complex portrayal that never, for a moment, feels like acting. Without hand-held camera pretensions, Monsoon Wedding nonetheless feels more like meeting a family at a big affair than watching a movie. It is real and intimate, yet magical. All the performances are good; Rajat Kapoor as an uncle with a secret is particularly powerful, and bears a striking resemblance to a younger Donald Sutherland.

We see Indian society as India sees it. My coworker, Sreeman, tells me that everyone attends neighborhood weddings; that an average wedding has 800–900 guests, and his had 1200. Traditionalism matters, but modernity matters as well. At one point, Lalit and Dubey argue over the wedding tent; should it be white, the modern (Western) way, or should it be colorful? Lalit demands color and Dubey orders "the old kind." The struggle between modern and traditional ways is one of the primary undercurrents of the film, embodied by Additi's choice, in fact, we meet her married lover as the host of a TV talk show discussing traditional versus modern ways.

Another undercurrent is finding love, impediments to love, and choices about love. Additi, Dubey, Ria, and another cousin, Rahul, all have barriers to overcome before they have a chance at happiness.

But the main theme is family, and this huge, chaotic family is a wonder to behold. You can't always tell who's related to whom, but you get the sense that they can't either, and coming from a large, extended family myself, I know that's how it is. Family is everything to Lalit, yet he communicates harshly with a son he doesn't understand, and calls nephew Rahul "idiot." Yet his love and devotion are clear, and he is the real hero of this film, coming through for everyone and stretching himself to the limit.

I just finished watching this beautiful film for the third time. The first time I saw it, I really liked it. The second time I got more out of it and I liked it even more. I just finished watching it with the director's commentary and I can honestly say I had no idea how good this film actually was! It was shot entirely on location, in just 30 days on a very low budget with a cast of 68 and only a handful of them were real actors! (A great deal of actors who were originally cast in this movie pulled out at the last minute or didn't even bother to show up) I guess that is the beauty of this movie though. Nair wanted to capture the essence of the Punjabi people in a true setting. She didn't want to go for the big elaborate sets where people spontaneously break out into a big song and dance number like you see in a lot of Bollywood movies. Nair wanted her characters to start singing because that is what they do. One of her comments compared Indians to the Irish as two cultures who love to use song. Throughout the whole movie, you get such a feeling of reality as if you are a voyeur who is really looking into these people's lives. They are lying naked and vulnerable before us. The character of Alice really stood out for me. Tilotama Shome's talent radiated from her and I found myself wondering what other films she had done. In Nair's commentary, the answer was revealed: ZERO. Shome was an English Literature student in Delhi University. The scene wear Alice is pretending to be a bride (like a child playing dress up) is so simple yet so powerful and beautiful. I have a few reviews stating that Tilotama was miscast as the maid. That she was to "elegant" and self aware to play such a character, however, that is exactly what Nair wanted in the character of Alice. Nair wanted to make a statement about people. Our beauty and presence comes from within our soul, not from our lot in life. Tilotama Shome can have a brilliant career ahead of her if she wants it. It is also worthwile to mention two more exceptionally powerful performances by Vijay Raaz (who was a struggling actor before this movie) as Dubey (Alice's love interest) and Shefali Shetty, as Ria (who has a dark secret that can ruin the binds of family) These three performances were outstanding, but the entire cast was incredible. This movie is definitely worth seeing, but I really have to recommend you watch it like I did - more than once. It really is worth it.

It's only March, but I already nominate "Monsoon Wedding" as one of the best movies of the year.

Yeah, we've seen ethnic weddings/family gatherings before ("Lovers and Other Strangers," "Wedding Banquet," "The Godfather," "Avalon," "What's Cooking," "Tortilla Soup," among others), but this is still an original.

Not just because it takes place in India, not just because the characters come in from the Indian diaspora of IT jobs in the U.S., Australia, and the Middle East to the old homestead, and switch between Hindi and English mid-sentence, and switch comfortably between tradition and modernity.

But because these are completely wholly-formed, original characters and a sophisticated story. Yeah I was confused sometimes about who's related to whom, but from the rebellious teen-age boy dreaming of being a chef, to the bride with a secret lover, to the Houston engineer come home for an arranged marriage, to the complicated intra-family obligations and past positive and negative interactions, to cousins, aunts and uncles who genuinely love each other -- all are fully realized and completely believable, being both very individual and very universal.

Only a smidgen of a coincidence in the last moments of a too neat happy ending for a very sympathetic character mars the story, but understandably the audience cheers at the end.

A bonus is the wonderful use of Indian music -- I have zero idea if it's folk or Bollywood music they're singing but the soundtrack is exotic and exuberant as the characters use it to liberate thoughts and feelings within the structure of wedding rituals, with dancing as well. Stay through the credits as the ritual continues.

I'm ready to go see it again any time I'm feeling down.

(originally written 3/11/2002)

This movie is full of joy. Happy, cheerful, with so many characters, and most of them good, interesting ones. It is the story of a wedding in upper class Delhi. A large family spread all over the world reunites for the big event and all the ties and feelings between siblings, cousins, parents, friends are shown and expressed in a light but touching way. Love, friendship, envy, pain, sorrow, loneliness, passion and hope in a nearly perfect mix. This movie is full of colours and music, and it is an accurate portrait of modern India (the wealthier part of it at least). All actors are good, and some of them are gorgeous too. Very refreshing as there are no super stars, no blood, no perfect special effects, no sex. Mira Nair you are great ! Hope you'll give us many other movies this good.