Mira Nairís circus of Indian familial dysfunction during the whirlwind created by an arranged wedding, seeks, in more thoroughness than her previous movies, to appeal to a commercial (a/k/a American) audience.A portion of that compromise could be deferred to an issue broached by Nair, which is that the younger generation of India has become too Americanized in ways of living and thinking, and the dogmatic insistence of tradition from the elders. A trait that goes hand-in-hand with dysfunction is chaos, and the strategy of conflict showcased takes dominance to even the culture. Attention is paid, however, to the confluence and surpassing of each sideís Red Alert axis ó otherwise exhibiting a further exposition of compromise. (The best example of the co-mingling of eras is through the soundtrack, which matches up the cultural, the classical and the contemporary sounds of music.) As one who is continually accumbent to the old ways of tradition, as much as I found the American influences on the modern culture interesting, the unfamiliarity and introduction to their traditions (the consummation of marigolds, falling bright flowers as an aphrodisiac, decorations in henna tattoos) carried a stronger resonance, a worth of exploration. Itís a good thing for that, since the repetitive formula of crisis and mop-up is so uncreatively followed, an all-too-serious molestation issue is superficially imposed, and the fresh glow of the marigolds is sullied by a grainy, scummy result from the film transfer.
With Naseeruddin Shah, Lillete Dubey, Shefali Shetty, Vijay Raaz, Tilotama Shome and Vasundhara Das.[Worth-seeing.]