oThe film's narrative is constructed around the erection of the wedding tent by PK Dubey. oThe romance entanglements of the Punjabi family is played out against this "manufactured" nuptial event. otraces five intersecting stories, each navigating through different aspects of love of during a traditional Punjabi wedding in Delhi. In essence:
oThe love between a couple married for 25 years, teenage lust, the bride’s tryst with her lover the night before her arranged marriage to another man, family incest all in a middle-class Punjabi household. othe troubled dynamics between the future bride (aditi) and groom resonate in various ways in the hesitant courtship between wedding planner Dubey and the Verma family's young maid Alice (Tilotama Shome), in Lalit and Pimmi's longstanding but perhaps passionless marriage and in the slow burn attraction between Aditi's attractive young cousin Ayesha Verma (Neha Dubey) and Indian-born Australian student Rahul Chadha (Randeep Hooda) oplays out the conflict between traditional Punjabi custom and the emerging capitalist society in contemporary India, crossing boudaries of class, continent and morality ointerweave the ancient and the modern, the old-fashioned and the irreverent, the innocent and the sexual in today's globalized Delhi
ofilm plays homage to the City of Delhi and depicts modern, cosmopolitan India. oTwo-thirds of the film was shot in an affluent farm-house on the city's outskirts oa blend of old and new cities: exteriors of old Mughal Delhi and the gaudy charm of the wedding sari-shops of Karol Bagh juxtaposed with the chic ateliers of the city's established designer culture and its posh corporate world.
tent act as a strong symbol/motif:
oWhen Dubey mistakenly puts up the “fashionable” white tent now used by many young couples in modern Delhi, Lalit echoes the older generation who associate white tents with death and funeral celebrations. Granted, at the stage of the narrative, the betrothal between Aditi and Hermant seems more like the white cloth of death than one of celebration
oShows the assimilation of other religions (ie.Christianity) in contemporary India.
Lighting (taken from Prof Pia’s formalist analysis)
oEach parallelisms in the film has distinctive lighting
oAlice and P.K. share warm amber moments in the classic setting of Bollywood. This romantic lighting style emphasizes the authenticity of the passion they share o A stark contrast in lighting is used for middle- class Western-influenced youth: The chaotic and energetic movement of the Punjabi household is interrupted by the cold blue lighting style indicative of the tension in the scenes between Aditi and Hermant. oNair allows confronts the audience with the bride Aditi’s infidelities o In the scene in the coffee shop, the clinical lighting reveals the scared and spirited child within her, nervously twirling her engagement ring, withdrawing her hand from the groom’s show of affection. Aditi is crossing a female threshold, in which she must turn her back on her western lifestyle to accept her traditional Punjabi fate. o Nair uses the blue night tones for the steamy sexual energy between Ayesha and her cousin Ruhal, a constant parallel to the passionless relationship Aditi is about to enter into.
the juxtaposition of varying looks for each couple makes the audience question and compare the essential nature of the film
Costume (function to reinforce the film's narrative and thematic patterns.) oA smorgasbord of traditional and western clothing interweaved to further reiterate the ancient and the modern, the old-fashioned and the irreverent, the innocent and the sexual. oClass issues: Alice wearing a humble sari as compared to her affluent employer
Staging: movement & performance
oAditi: shows increasing doubts about committing to life in America with a man she has only just...