Monsoon Wedding is
a film that heralds India’s arrival on the global stage. Technology, new
consumer goods, and The film uses a wide array of camera angles and shots taken
on a Super 16 camera that give it a “home movie” feel and roots the audience in
the realistic melodrama of the narrative. Throughout the film, language plays a
key role in cluing in the audience to influence of globalization on modern
India. Characters throughout the film use English frequently for both business
and pleasure, and switch between the two languages frequently and with ease.
For example, Hemant’s father uses the word “rockyolies” to describe ice cubes
when he requests a scotch on the rocks. In earlier films, English would be used
only for casual expressions or by the social elite; now, English is seen to
enter into everyday conversation, and English slang is shown to be much more
popular and pervasive.
Also, many of Lalit’s family come from across the world to
attend to wedding, from Oman to the U.S. and Australia. The array of accents,
like Rahul’s Australian accent, speaks to India’s increasingly global
demographics.
The film features multiple scenes where the medium of
language is important to establishing the mis en scene. For example, we are
first introduced to Dubeyji as he is talking on his cellphone with Lalit about
the wedding. Dubeyji lies about being in traffic when speaking with Lalit,
which cues in the audience to his character; he is a hustler, someone always on
the lookout for an opportunity. Later, we are introduced to Varun as he is
watching a Hindi cooking show. The host of the program is teaching the audience
how to cook coconut curry, a traditional Indian dish. This program speaks to
global reach of Hindi media and culture, and also to Varun’s passive,
effeminate nature.
Language intersects the issue of censorship frequently
throughout the film. The talk show anchored by Aditi’s former lover, Vikram,
broadcasts an episode about India’s censorship laws and their place in a modern
India. Some guest argue that the censorship laws are outdated, while others
argue they preserve the nation’s “Indianness.” Nair often snubs the censorship
laws through verbal and non-verbal language; for example, the kiss shared between
Vikram and Aditi, and, later, Aditi and Hemant, blantantly flies in the face of
India’s censorship law against showing kissing on screen. Similarly, for the
first time ever we are introduced to a Hindi film that features frequent,
mature language. The use of the “f” word demonstrates that India’s are much
more laissez faire about “Western” culture and its influence on Indian culture.
Sometimes, the language in Monsoon Wedding that speaks the loudest is the language of the
things that are unsaid; the silence between the moments. The scene where Dubey
arrives at Lalit’s house to confess his love to Alice is one of the most
poignant and tender moments of the film. Alice encounters him sitting in a
circle of candles and holding a heart made of marigolds, and the two share a
silent moment with each other that encompasses their entire relationship. Their
love is simple, pure, and requires no words to explain it; in this case, the
film frame says a thousand words. Unlike Aditi and Hemant’s wedding ceremony, theirs
is quiet, serene, and it is this contrast of traditional and modern expression
that speaks to the complicated role that language plays in a modern, global
India.
Patrick,
ReplyDeleteI'm really glad you pointed out the use of profanity in this film. With the newer films we watch in this class, I keep comparing them to "Shri 420," which I think makes an interesting contrast between the older, more "traditionally Indian" films and these more modern globalized films. In "Shri 420," the evil villains were the characters who were westernized, greedy capitalists. In this film, though I'm not sure we would necessarily call any of the characters greedy, they almost match up to the description of the villains in older films. The women are modern, urban, and sexual beings, the men drink, smoke, and curse, and one of the children is likely homosexual (something that would have been incredibly taboo in older films and is still incredibly risque even today) and one of the other children hides in closets to see her family members naked. What is interesting for me with the profanity is not the fact that it is used, but the fact that it is used so casually. For me, it adds some realism to the film. Though I can only speak for my own personal experience, it seems that profanity is used on a daily basis in American, and to see it in "Monsoon Wedding" adds a very American perspective to the film. Though they have relatives coming from all over the world, it seems to me that the main influences in the film are western (Australian and American) and Indian (specifically of the Punjab).
Great post!
I also like that you discussed the profanity in the film (one of the first things my girlfriend pointed out to me as we were watching this was that the film was rated R and were surprised to then hear some of the language used given the usual Bollywood trends). It never occurred to me that this deliberate use of profanity could be a direct snub at the censorship laws in India but makes total sense when you combine these elements of the film with the fact that it was a movie created under a New York based company rather than an Indian one. Dubey and Alice's silent love makes for an interesting contrast with Aditi and Hemant's problematic and boisterous relationship and particularly with Rahul and Ayesha's.
ReplyDeleteAs for how the film was done, the way in which the songs were incorporated were done in such an interesting way that I felt deliberately was trying to keep the Western audiences in mind so as to not surprise them with a musical number that seems to somehow break the realism of the film. Instead, the music is merely blended into the film as though it were a realistic scene at a family gathering. Do you think this decision diminishes the effect that the songs have by not delivering them traditionally?
I really like your exploration of language in the film with Indian film censorship in mind. However, as you yourself have noted, the film targets an international audience; it was only released in few select theaters in major cities within India. This, as Nathan has also noted, has an impact on the film form (length, use of song within the narrative, use of camera, 16mm to give it a home movie or even indie, documentary feel) as well as on language. Lalit's colorful vocabulary when frustrated is the kind of language eschewed by the Hindi film until very recently. In fact, even a film like 'No One Killed Jessica' provoked public protests about the female protagonist (emphasis on gender) using abusive language. It is interesting that 'Monsoon Wedding' shows characters using profanities without vilifying them.
ReplyDeleteI also discussed language in my presentation on this film. The characters come from all over the world and bring their languages and dialects, resulting in an Indian language and culture that is simultaneously globalized and enriched. But you took the definition of language one step further, discussing non-verbal as well as verbal language. Non-verbal communication can also be traditional or modern; Dube's courting of Alice with candles and marigolds is distinctly traditional. Another element of language that would have been interesting to read about here would be language across class barriers, for example, the Vermas' versus Dube's and Alice's use of language. All in all, great post!
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