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Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

Posted By: Someonelse
Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

Monsoon Wedding (2001)
2xDVD9 | VIDEO_TS | NTSC 16:9 | 01:54:21 | 7,47 Gb + 7,70 Gb
Audio: Hindi-English AC3 5.1 @ 448 Kbps | Subtitles: English (+SDH)
Genre: Comedy, Drama, Romance | Criterion Collection #489

Director: Mira Nair
Stars: Naseeruddin Shah, Lillete Dubey, Shefali Shetty

Cultures and families clash in Mira Nair’s exuberant Monsoon Wedding, a mix of comedy and chaotic melodrama concerning the preparations for the arranged marriage of a modern upper-middle-class Indian family’s only daughter, Aditi. Of course there are hitches—Aditi has been having an affair with a married TV host; she’s never met her husband to be, who lives in Houston; the wedding has worsened her father’s hidden financial troubles; even the wedding planner has become a nervous wreck—as well as buried family secrets. But Nair’s celebration is ultimately joyful and cathartic: a love song to her home city of Delhi and her own Punjabi family.



Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

For anyone who has ever seen a Hollywood movie about an impending wedding, there won’t be a great deal of surprise in Mira Nair’s Monsoon Wedding except for the fact that it takes place in Delhi and the dialogue is spoken in a breathless mixture of English and Hindi and Punjabi, with the three languages often merging together into their own unique discourse. Yet, despite its almost rote narrative, penned by Sabrina Dhawan (who studied under Nair at Columbia University), the film is so alive and colorful (both literally and metaphorically) that it’s easy to overlook its formulaic nature and find yourself engulfed in its incessant energy.

Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

The wedding that is about to take place is between Aditi (Indian pop star Vasundhara Das) and Hemant (Parvin Dabas). As is the custom, it is an arranged marriage. Aditi lives with her upper-middle-class family in Delhi, while Hemant is an NRI (Non-Resident Indian) who works as a computer programmer in Houston, Texas. Aditi, who is a thoroughly modern young woman, has consented to an arranged marriage–at least, this is what she tells herself–because she’s ready to settle down. However, unbeknownst to her family, she has been involved with a married journalist (Sameer Arya) who hosts a tabloid TV show called Delhi.com (the inclusion of this TV show is just one of many small instances of how Nair carefully but unobtrusively interweaves themes regarding the modernization of Indian throughout the story). It is clear that Aditi wants to be with him, but he may never leave his wife, and she is fed up waiting.

Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

From the opening frames, Nair (Salaam Bombay!, Mississippi Masala) throws us right in the middle of the scenario and introduces character after character, which is confusing as hell at first, but creates a rhythm of excitement and anticipation that is much like being involved in an enormous family gathering in which you don’t know everyone. There are uncles and cousins and siblings, many of whom have traveled from other countries (including the U.S., Australia, and Dubai) to be there, and part of the film’s enjoyment is how we slowly learn who is who, even if it takes a while.

Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

Aditi’s parents, father Lalit (Naseeruddin Shah) and mother Pimmi (Lillete Dubey), are typical middle-class Indians. Lalit spends most of the film feeling harried about not only hosting dozens of relatives, but also footing the cost of the elaborate traditional wedding and all the accompanying ceremonies. These are being handled by P.K. Dubey (Vijay Raaz), a professional event arranger who is constantly barking on his cell phone and saying anything he can to calm Ria down, even if it’s an outright lie. Dubey begins the film as comic relief–he has a quirky, infectious comedic energy that makes him the most watchable character on-screen–but what is truly amazing about Raaz’s performance is how he transforms into a completely creditable romantic hero once he falls for the family’s maid, a lithe cutie named Alice (Tilotama Shome). There is a sly comparison here between the arranged marriage between Aditi and Hemant, in which they must learn to love each other out of necessity, and the immediate romantic passion Dubey feels for Alice. But, Nair declines to make a critical point about it, instead showing them as two sides of romantic love, rather than incompatible oppositions.

Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

Monsoon Wedding plays primarily as a romantic comedy, although it has a darker streak in it, namely a melodramatic subplot involving the sexual abuse of children. Unfortunately, this subplot feels forced, as if it were brought in from another film. The scenes here, including a long overdue confrontation between the predator and one of his victims, are well handled and powerful in their own way, but they don’t feel like they belong with the rest of the movie. Because most of Monsoon Wedding is joyful and celebratory, even in dramatic scenes like the one in which Aditi must confess to Hemant that she has still been seeing her married lover, the sequences dealing with child abuse are that much more of a downer, even though they ultimately function to underscore the importance of doing the right thing over holding fast to tradition.

Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

Despite that flaw, Monsoon Wedding is overall a real joy, a bright, exciting piece of work that invites us into a family and lets us get to know them from the inside out. Featuring a strong musical score of both traditional Indian music and modern pop songs (it was produced, after all, in India, home of Bollywood) and beautiful cinematography by Declan Quinn (who also shot Nair’s Kama Sutra: A Tale of Love), Monsoon Wedding is, despite sticking to formula, a celebration not to be missed.
Monsoon Wedding (2001) [The Criterion Collection #489] [ReUp]

Special Features:
- New, restored high-definition digital transfer, supervised by director Mira Nair and director of photography Declan Quinn
- Audio commentary featuring Nair
- Nair’s short documentaries So Far from India (1983), India Cabaret (1985), and The Laughing Club of India (2001), featuring video introductions by the director
- Nair’s short fiction films The Day the Mercedes Became a Hat (1993), 11’09"01—September 11 (Segment: “India”) (2002), Migration (2007), and How Can It Be? (2008), featuring video introductions by the director
- New video interview with actor Naseeruddin Shah, conducted by Nair
- New video interviews with Quinn and production designer Stephanie Carroll
- Theatrical trailer
- New and improved English subtitle translation

All Credits goes to Original uploader.

No More Mirrors, Please.



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