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Reflection Entries Monsoon Wedding
Monsoon wedding is a romantic film about a Punjabi cultural wedding that has been hurriedly organized between Aditi and Hemant Rai. Mira Nair has directed this film.
Lalit, the father of the bride has put much effort in marrying off his daughter and this brings together all his relatives from different corners of the world, as far as Australia. I like this move made by Lalit. As a father in such a strict and conservative society, one should ensure that the marriage of his daughter is timely and successful.
I like the way Lalit splashes money to this end.
There are some other twists in the plot of the movie. I like the place where Lalit’s brother in law arrives for the planned wedding. One of his niece avoids him like plague. Perhaps this is because he had earlier humiliated her through molestation. These two had a very frosty relationship.
This man seems to be a serial molester, as he still does this to a younger member in this family. I also like how the marriage turns out to be chaotic despite being expensive. At one point, the bride, Aditi, tells her suitor, Hemant, about Vikram, her former supervisor who had been eyeing her.
In fact, they had even hit off a relationship. I also like the way these revelations appear too harsh for Hemant to take. However, he has to face the facts. He decides to accept and move on.
There is also another instance where the wedding organizer tries to win a house cleaner’s heart. I like this film’s theme of promiscuity, where everyone tries to get a partner. This leads to serious disagreements later. Ria busts Tej trying to coerce Aliya into submission so that he could rape her. All these dramatic events pissed Ria leading to her decision to leave before the wedding only to be convinced back by Lalit, the father of the bride. All these affairs ended up as genuine relationships sealed from the initial clandestine ones. It is only Ria who remains single. Everyone seems to be happy at the end of the film.

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Yet, even with such global strategies, cultural factors deeply affect the movie industry. “Monsoon Wedding,” with an Indian cast and crew and shot in India, was naturally marketed as an Indian film in America and Europe. For non-Indians, the story, the characters, the scenery, and the setting all seemed to indicate authentic “Indian-ness.” Yet, the subtle cultural differences mentioned above between it and other films cued Indian viewers that it was a different type of movie. It seemed not quite Indian and perceived as a Hollywood movie. And this irony is not reflected just in films.

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Other elements of the film also display the complexities of globalization. For example, while produced in India with an Indian screenwriter and cast, “Monsoon Wedding” is a departure from the standard genres of the Indian movie industry. Its bright and whimsical feel is typical of Indian films, but its themes of sexuality and moral conflict are rarely addressed so realistically in Indian cinema.

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