In Mira Nair’s movie, Monsoon Wedding, the viewer is carefully guided in the hopes that they may be given some fleeting insight into Indian culture and in doing so left hopefully better such that, as they learn of others, they may learn too of themselves. Where on some notes the film strikes its mark and inferred intentions are realized, in a few other aspects it falls short and the viewer is left feeling that a greater potential exists than that which was reached.
As the story progresses, thematic elements and motifs become quickly apparent. We are left to follow a large Indian family where Aditi, a young bride-to-be, and her fiancé Hemant are in the days immediately preceding their arranged marriage. The father of the bride, Lalit, bears a great deal of mental and fiscal stress as he works with a dishevelled event organizer Parabatlal Kanhaiyalal 'P.K.' Dubey to assure the festivities go as planned. Meanwhile, a number of love interests (some more scandalous than others) kindle. Ideas of love: its inception and its management, in addition to those of Americanization, globalization and the domestic concerns of a rapidly budding economy give the story enough material beyond the romantic notions immediately assumed to keep most audiences interested. Here the film undoubtedly succeeds, inspiring critical thought and worthwhile discussion.
However, with the family of both bride and groom arriving from around the world, the scenes soon become awash of names and faces, the relationships between whom are often only briefly mentioned. Here develops what I found to be a significant issue in the film: the large number of individuals which are key to the understanding of the many subplots are introduced at a rate and in a manner that often leaves the viewer uncertain of their relations. This becomes troubling, as in order to understand—and thusly appreciate—the actions and motivations that exist within these subplots, one must take extreme care to mentally catalogue who each individual is and how this implicates their involvement. This is unfortunate, as the quality of the material that encompasses these subplots is sufficiently well written, something that may escape the audience if they are unsure of the predicate material.
Consequently, Monsoon Wedding is destined to be a movie confined to English classrooms and the shelves of those with greater than average patience. Whereas quality material exists within the script, and the acting is par, critical errors in presentation leave a movie that will likely get better with each viewing, but most will not bother to watch again.