The Mumbai Film Festival organised by the Mumbai Academy of Moving Image (MAMI) that concluded recently succeeded in attaining one of its many motives -- widespread exposure to the lesser known, yet keenly fanatical architects of cinema.
 
The seven-day festival that terminated with Robert Schwentkes' imposingly coursed Red, had another extraordinary climax in place on its closing day. That came in the form of the re-screening of the immensely gratifying, ingeniously titled When Harry Tries to Marry because of public demand.
For starters, the aforesaid English film has already earned accolades in its world expedition ranging from its premiere at the prestigious Austin Film Festival to the naturally remarkable script being included in the Top 10 of the Creative Screenwriting magazine competition.

Directed by Nayan Padrai, an Indo American filmmaker, the movie falls in an unusual genre of cinema. It could be aptly termed as an 'anti-romantic comedy' as the protagonist -- Harish Shankar, or Harry as he is known -- is not our archetypal American bloke who customarily drops by the trendy hot spots in town with promising blondes for company, pretty much unsure about the nature of the liaison.

Instead, Harry -- whose childhood comprised of hues of grey, with parents constantly at loggerheads -- grew up to have a much besmirched impression of a love marriage. So, with this belief etched staunchly within, he enthusiastically looks for an arranged association with the cultured Indian bride, and in his case -- it is the calm and sober Neeta, who herself is desperate to work it out.

As the film progresses, the director introduces us to a number of amusing characters right from the best buddy Louis -- who innovatively tries talking Harry out of his notions of an arranged marriage by demonstrating a coffee-choosing scheme to the father -- Deb Shankar, who being in an unusual yet tempting business of lingerie designing -- is battling his innermost demons.

Also, there is Theresa, who apart from sharing similar background, hitches with Harry, doubles up to his object of affection further complicating his dreamy marriage ideas, and there is the thoroughly entertaining fashionista mother who shows sophistication over Indian ethics.

What primarily clicks in WHTTM is the intriguing storyline coupled with the wit, alongside strong characterisation and earnest performances by the relatively novel cast. The transformation of Harry, where we see him from being logically enthusiastic for the possibility of his marriage strategies to getting cold feet while in action, is skilfully shown all complimented by the core traditions (including a garba sequence between the would-be spouses).

In the odd-span of 101 minutes, it is fascinating how the maker strongly converts the spectators into a part of the marriage proceedings, and also unknowingly arrests us into the perplexed mind-state of Harish.

As the climax approaches, one is entirely caught unawares as in a hilarious fashion the film closes and later Harry comprehends the many facets and multi-shaded nature of life discovering that two people cannot emotionally connect for all the wrong reasons.