Monsoon Wedding Essay

The first thing Offred finally works the nerve up to steal is a daffodil from one of Serena Joy's arrangements. Even Jezebel's, where the Commander takes the Offred, is decorated with flowers. Flowers are also used to disguise things that are ugly or terrifying; the narrator compares the bloody mouth of a hanged man, for example, to the red tulips in Serena Joy's garden. Flowers are often considered symbols of beauty or fertility. In The Handmaid's Tale, they're given special attention as objects that can bloom and grow at a time when few women can. From a technical standpoint, flowers are also the part of a plant that holds the reproductive organs. They're constant reminders of the fertility that most women lack. It seems the older Wives are seeking to hang onto their attractiveness and fertility by decorating themselves with flowers and tending gardens: "Many of the Wives have such gardens, it's something for them to order and maintain and care for" (12). Serena Joy takes a bizarre pleasure in mutilating flowers. Perhaps these are attacks Serena Joy would like to make on the Handmaid, who can be seen as a flower living in her

i. The site celebratedayofthedead.com tells us the marigolds specifically are a symbol of death and are referred to as “the flower of the dead”.

When I think of the marigold I think of the time when I was a child and I loved to see marigolds. They remind me of grandma’s house and the beauty of the garden. When I looked it up I found that the marigold is the flower that is most associated with the desire for riches (Month 2). By the end of the book Missy is still interested in riches, but it’s different than we would expect. Missy is interested in the riches of knowing and raising a child who she loves and cares for. This adds depth to the story because there is a drastic difference between the beginning riches and the riches at the end of this

At first glance, the documentary Meet the Patels could easily be billed as a real-life My Big Fat Greek Wedding. Centered on Ravi Patel – a first generation Indian-American man – and his quest for love, it certainly displays all the trappings and inner workings of a riveting romantic comedy. However, beneath the exterior mesh of a typical boy-meets-girl frame story, as well as Ravi’s interactions within his branch of the Patel clan, one can also detect various allusions to the struggles of American homosexuality and gay marriage within the plot.

At this stage of the story, Lizabeth and the other kids are preparing to destroy Miss Lottie’s marigolds for the first time. She describes the marigolds as she says, “For some perverse reason, we children hated those marigolds. They interfered with the perfect ugliness of the place; they were too beautiful; they said too much that we could not understand, they did not make sense.”(231-232) This quote says that Lizabeth and the other children did not like nor understand Miss Lottie’s marigolds. They also thought it interfered with the sadness and how barren the place was. This goes back to where the marigolds are the out thing out, and represent the one last good thing in a bad

One interpretation of the marigold's meaning is passion in the middle of forlorn town. The Narrator describes her memory of the town as dusty and grey, the grumpy old woman seemingly had one joy, the one burst of color in her dull life, tending to her garden. Once the girl ruin this, the old woman seems done, for there was no more reason to care. Her passion for creating beauty in the somber world died. This adds to the theme of growing by showing how, with age and the experiences, people change. The marigolds could also be seen as Lizabeth's innocence, once flourishing and now destroyed. In the story after hearing her parents argue about money she recognizes life isn't how she thought. Shortly after, she sneaks out to destroy the marigolds. Once caught, she realizes the severity of her actions, she is no longer naïve. The theme is assisted by this because it shows the process of her transitioning from a child to a young

The marriage is one of the best things to make a happy life. Many years ago, parents had arranged marriages for their children. In Asia, as the customs of Vietnam, parents who decide and arrange the marriages of their children. Normally, parents flanked by close friends so they wanted their children to marry parent friend’s children, and gratitude between them will be even stronger together. Additionally, parents arranged for their children to marry the wealthy children to give their children full life. Also, parents choose their child partners and it is their customs. These children have no right to disobey and reject marriage. Their children married without ever knowing each other or see each other 's face. According to the book “The Immigrant Advantage,” it has a story of the Indian girl married under the marriage arranged by her parents. Until now, the Indian customs that still exist. Not only in India, in other countries, there is still customary marriages arranged by parents. Vietnam is no longer

In the film Monsoon Wedding, Indian culture is illustrated in the practices of the traditional Punjabi wedding. The wedding in the film was arranged as is the norm in Indian culture. Thought the wedding was rushed it was not forced. Aditi wanted to be married having realised the uncertainty of her previous relationship with a married man.

An analogy has been drawn about how she was in the past and how is she now. She was a carefree person, demanding love in her life, wanting to take care of her children and become a house wife and now she works as a schoolteacher, has become a responsible person concerned about her husband and child, struggling for her son’s life, bearing tantrums of her sister-in-law and living in a small house in a small city. On the other hand, Komal, sister-in-law of Anjali is a character shown who seems to be frustrated from her life from the time she has lost her husband. The book has depicted another face of an Indian woman, who lives her entire life following the customs that the society has decided for a widow. Anjali tried to make her first marriage successful by taking care of small things like making her husband, his favorite cardamom chai and best of meals while Prakash’s second wife Indu was never concerned about any of his likings and gave priority to her own personal

I first remember hearing about Mira Nair last year, not in my Introduction to Cinema class but from my half-Indian friend who praised Mira Nair’s Monsoon Wedding. It should be noted that my first film teacher was a white man, older than sixty and not concerned with women directors; out of the sixteen films screened for the semester, two were directed by women and none by women of color. Mira Nair has a unique understanding that she is fighting a long and slow battle for her films to be made relevant. Because of her race and gender, the system is against her. Thankfully, Mira Nair creates her films for herself and usually based on her own experiences and thoughts and is not waiting around for people to give her chances, she is taking them. She is a radical, feminist filmmaker with the way that she makes her own actions of making all type of films (shorts, documentaries, and fiction films) and packs a meaning behind them with her themes that are intended to make her audiences experience impressions of the life she has lived.

This joint family, like any social organization, must face problems such as acceptable division of work, relationships and specific family roles. These familial relationships are managed on the basis of a secular hierarchical principle. In fact, all Indians owe respect and obedience to the head of the family, who usually is the father or the oldest man of the family community. In The Gift of a Bride: A Tale of Anthropology, Matrimony and Murder by Nanda and Gregg, it is explained that, “females [are] placed under the perpetual guardianship of first their fathers and elder brothers, then their husbands.” (Nanda & Gregg 22) Thus, all the spending decisions, studies and profession, or marriage, are exclusively the responsibility of the father after the possible discussions with the other men of the family. Age and sex are the basic principles of this hierarchical system. The eldest sons enjoy greater unchallenged authority than their cadets. Of course men have more authority than women, but older married women have an important role within the family. In fact, the authority of a woman depends on the rank of her husband inside the group. Traditionally, the wife of the patriarch rules over domestic affairs and has considerable power over the other women in the community, especially her daughters- in-law.

The movie starts in a field of flowers. Radha, a young girl, is with her mother and her father. The sex/gender division of labor is portrayed in Radha taking care of her mother-in-law. It is her job to clean her, clothe and feed her. Her husband, Ashok manages their restaurant and works full time. Radha is a home nurse for her mother-in-law and manages the house and Ashok is a businessman. The usual division of labor, had women being domestic, relying on the patriarch to make money for the family. Ashok's extended family includes his wife Radha, his brother Jatin, their mother Biji and their manservant Mundu, all living under the same roof. Jatin and Sita are getting married by the arranged marriage tradition, even though he is in love with

Nair's Techniques in film "Monsoon Wedding" Mira Nair directed the 2000 film 'Monsoon Wedding' with the intention of making it a Bollywood film on her own terms. Through watching the film, it becomes evident that this was mixing traditional ideals of Indian Bollywood together with the modern elements of the West, such as those depicted in particular in Hollywood films, the Western equivalent of the Bollywood film industry although on not so large a scale. Nair spent the latter part of her further education in the United States of America, attending Harvard University, where her more modern ethics, compared to the conventional Indian principles she was brought up with, were developed and thus came

Monsoon Wedding, a Bollywood film directed by Mira Nair and released in 2001, earned just above $30 million at the box office [1]. The film brilliantly depicts romantic entanglements during a traditional Punjabi wedding in Delhi, while delicately handling sensitive issues such as child-abuse, pre-arranged marital infidelity, growing old and striving to be different as an upper middle class Indian boy, or being a flirtatious, bored but basically settled NRI (non-resident Indian) housewife. The film won the Golden Lion award and received a Golden Globe Award nomination, achieving a total of six wins and ten nominations [2].

Central Idea: Flower is important in life as it helps in enormous symbolism, natural remedies for depression and are an integral part of many of life’s ceremonies.