Director: Mira Nair
Writer: Sabrina Dhawan
Cinematography: Declan Quinn
Starring: Naseeruddin Shah, Lillete Dubey, Vijay Raaz
Studio/ runtime: IFC Productions, 114 minutes
Famed Indian director Mira Nair returns to her roots and strikes a colorful balance
The groom in the arranged marriage which Indian director Mira Nair’s 2001 feature Monsoon Wedding tracks confesses early in the film: “I don’t know who’s who half the time.” Viewers might feel similarly, as Nair’s fifth full-length film immerses us in a colorful whirlwind of the modern extended Indian family (hailing from Australia, Dubai, and Houston, Texas) and all the sub-plots such gatherings imply. Sure, the arranged marriage might appear to be the film’s centerpiece, but the real “wedding” being investigated here is India’s centuries-old traditions coming together with Western culture. Myriad threads about family and love get spun together via Nair’s intricate cuts and cinematographer Quinn’s kinetic camera, holding the ensemble performances together. Included in this two-disc set are Nair’s short fictions and full-length documentaries, but while the former tends toward the melodramatic, the latter reveals her to be a trenchant observer of the contradictions at the heart of everyday India. Restored to vibrant marigold oranges and saffron reds, Monsoon Wedding strikes a balance between Nair’s two extremes, just like any successful couple.



When Mira Nair focuses on the titular event in her film the movie becomes confusing and melodramatic. Like a....well...like a wedding, actually. But Nair wants us to see so much more, and it is when she shows us those private moments surrounding the wedding when her film resonates. The way a hand plays on someone's back; watching a woman put on jewelry; the quiet interplay of a husband and wife when they are alone, feels like the audience is prying into something exquisitely personal. Declan Quinn takes his camera, cinema verite style, around Delhi and shoots people just doing "stuff" and this segues perfectly into the manic party preparations.
The seven short films included in this collection only help to broaden our appreciation of Nair as a film maker. It is true she has had the good fortune of choosing excellent cameramen (Quinn & Epstein), but it is Nair's commitment to, and compassion for, the people at the center of her films that make her work moving.