Marvellous Mira Nair

14 Aug 2019

 

With the Chichester International Film Festival scheduling a screening of Monsoon Wedding on 20 August at 20.45 I thought I'd post a review of the film I wrote for the now defunct clickwalla.com website back in 2002 (I haven't re-edited it).  At the end are images from an interview I did with Mira Nair for Desi magazine.

 

The 2002 interview was not my first brush with Mira Nair. In 1993 I was doing an A Level Film Studies. One of the essays had to be on a film director. I was keen to write about a female film director, and chose Mira Nair as I loved her two feature films, Salaam Bombay! (1988) and Mississippi Masala (1991).  Prior to this she had made some documentaries, and I wondered how I could find these.
REMEMBER 1993 is Before Email, Social Media, the INTERNET! 
So I wrote to Mira Nair at an address I found for her in Kuala Lumpur.  Months later I got a typed and signed reply from Mira Nair, in which she says how flattered she was that someone would want to write about her small body of work.  The body of work may have been small, at that time, but those first two feature films were so good. As is Monsoon Wedding, so do watch it.

 

 

Monsoon Wedding (2001)

Cast: Naseeruddin Shah, Lilette Dubey, Vasundhara Das, Parvin Dubas, Sameer Arya, Vijay Raaz and Tilotama Shome

 

 

The Rain is coming … and so is the family, read the film poster’s tag line.  For anyone involved in the organisation of an Indian wedding – these two events loom large, the first would spell disaster, the second – inevitable.

 

The Verma family are a middle class Punjabi family living in New Delhi, headed by the hapless father Lalit (Naseeruddin Shah) who, with his wife, Pimmi (Lilette Dubey) have arranged a marriage for their daughter, Aditi (Vasundhara Das), to Hemant (Parvin Dubas), an engineer from Houston.  As he flies over with his family to meet his bride and marry, she is busy coming to terms with the end of her affair with her married lover and boss, Vikram (Sameer Arya). 

 

Lalit has hired a mobile phone wielding wedding planner, PK Dubey (Vijay Raaz), to ensure that all runs smoothly, but things soon start to fall to pieces, as Lalit’s penny-pinching and Dubey’s on-the-cheap approach soon manifest themselves in the collapse of the wedding’s central feature - a large marigold archway, an ominous start to the wedding celebrations.  But Dubey soon has other distractions as he falls for the Verma family’s maid, Alice (Tilotama Shome).

 

With relatives flying in from all over the world, there soon develops a clash of cultures and families. As the four day and night build-up to the wedding unfolds, hidden secrets and new relationships threaten to disrupt the Verma’s most special day.

 

This is an ambitious film with five interwoven tales of love beautifully detailed here, whether it be the magic love of Alice or Dubey or the dysfunctional love or the kind of ‘old-shoe’ love, of the mother and father of the bride.  The use of an unobtrusive hand-held camera, and the conditions they were working under, three weeks of rehearsal, followed by thirty days filming capture the ‘last minute’ nature of a hastily put together wedding.  With its huge cast of speaking actors, over sixty at the last count, the audience, just like the groom, has to absorb all the relations, despite many being referred to as nick-names as well as their real names.  With the dialogue swinging from Hindi to English, often mid sentence the film remains vibrant and passionate.

 

 

On one level this is a heart warming tale of old and new love coming together, the film shows us that love come blossom unexpectedly between those in an arranged marriage, and between two shy individuals.  But on another it exposes the contradictions between rituals and reality, and smashes the perceived notion of sexuality and commerce in India by the Western world.  The India here is vastly altered from the endless diet of Bollywood movies that are reaching our screens.  The wedding planner is a social climber with a mobile phone, but falls for the innocent and shy maid, Alice, who he catches dressing up in her mistress’s jewellery.  His mother, constantly harping on about his single status and her lack of grandchildren, spends her day playing the stock market. The father has to beg his golfing buddies for money to pay for the wedding, Aditi on the eve of her wedding to a man she barely knows has once last fling in the back of her lover’s 4x4.  An Uncle’s disturbing history of child molestation comes to light and sexuality of modern Indian teenagers is examined.

 

 

Bright colours, and occasionally bursts of song and dance may on the surface seem to have all the hallmarks for a traditional Bollywood romp, but Mira Nair’s film is more than that; it captures the underlying changes in Indian culture.  Despite some of the film’s darker themes, you will remain uplifted, with the film’s vibrancy and passion sweeping you along. 

 

The haunting and evocative score for Monsoon Wedding conjures up images from the film and you will once again be swept along as Alice and PK fall in love to ‘Love and Marigolds’ and the Bollywood playback styled ‘Chunari Chunari’ will have you bopping away without realising you’re even grooving.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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