#Monsoon 1999 movie full#
#Monsoon 1999 movie series#

#Monsoon 1999 movie series#

Monsoon Wedding, as is increasingly the global arthouse fashion, has a multi-strand narrative that interweaves and contrasts a series of relationships. His wife Pimmi (Lillete Dubey) attempts to allay his concerns on both accounts while herself trying to keep on top of a house overflowing with family guests and barely repressed tensions. Meanwhile, AditiвЂ™s devoted father Lalit (Naseeruddin Shah) struggles not only with the escalating financial costs of the wedding, but also with the realisation of his daughterвЂ™s imminent and permanent departure from the family. When AditiвЂ™s older cousin Ria (Shefali Shetty) questions her motives in agreeing so hastily to an arranged marriage, Aditi herself begins to have increasing doubts about committing to life in America with a man she has only just met. Dubey (Vijay Raaz) supervises the lavish decorations to the Verma family home, but it quickly becomes clear that all is not well with the bride-to-be.ДЄditi has only reluctantly agreed to the marriage following a lengthy but ultimately unhappy relationship with her married boss. Extended family members arrive from all over the globe, wedding planner P.K.

#Monsoon 1999 movie full#

The film opens with preparations in full swing in the final days leading up to the ceremony. The wedding in question is an arranged marriage between an affluent, young New Delhi woman Aditi Verma (Vasundhara Das) and Hermant Rai (Parvin Dabas), a Houston-based engineer. (1) The film also marks something of a change in directorial perspective, representing the filmmakerвЂ™s first concerted exploration of the middle class New Delhi milieu of which she herself is a product. Winner of the Golden Lion at this yearвЂ™s Venice International Film Festival, NairвЂ™s success was the first time in more than four decades that an Indian production had won the award.

Mira NairвЂ™s Monsoon Wedding (2001) is the most recent contribution to the burgeoning nuptial film genre.

HoganвЂ™s MurielвЂ™s Wedding (1994) and My Best FriendвЂ™s Wedding (1997) connubial bliss has provided a rich source of contemporary melodramatic and comic inspiration. From Ang LeeвЂ™s The Wedding Banquet (1993) and the British hit Four Weddings and a Funeral (Mike Newell, 1994) through to mainstream offerings such as P.J. Given such varied possibilities, it is hardly surprising that weddings have featured consistently on the cinema screen, and no more so than in recent years. It offers unlimited potential for old family hostilities to resurface, romantic sparks to fly between members of the wedding party, other than the betrothed, and for plenty of other вЂbackstageвЂ™ intrigues.

A wedding is in many ways the penultimate dramatic premise-a family gathering on a large scale that is invariably accompanied by significant tensions, along with the requisite celebrations.