In the film's final wedding scene, Chadha replaces dialogue with music, a hallmark of Bollywood films, to finally orchestrate Darcy's embrace of tradition in his reunion with Lalita, which also symbolizes a reconciliation between America and India. When Jaya and Balraj's parents meet for the first time at their wedding, the public conversation diminishes as the background music increases in volume for the entrance of Darcy, who appears as one of the Indian wedding drummers. Dressed in his American shirt, he smiles and plays comfortably with a group of Indian percussionists; his current casual demeanor contrasts markedly with his social awkwardness in the film's first Indian dance. As the musical chords become louder and more accented, Lalita runs to Darcy. Then, with a few suspenseful chords, the music quiets as the two lovers engage in a still, face-to-face formation, symbolizing the meeting of America and India. At this moment, Darcy surprisingly turns her gaze away from her lover's face to look at Lalita's parents, whose nonverbal, cordial greetings accompany an awakening into a more exuberant chord progression. This exchange between Darcy and Lalita's parents demonstrates the transformation of Darcy's mind. Darcy fulfilled an important part of the Indian tradition of marriage: acquiring parental consent. Although Mrs. Darcy is not present, Darcy, in part, has followed the Indian tradition of arranged marriage by asking Lalita's Indian parents. His gesture demonstrates that he now accepts and respects Indian traditions, an essential quality to ultimately achieve equality in his marriage to Lalita and in the American-India commitment. The blissful expressions on Darcy's face, when he finally embraces L...... center of the card ......graciously accepted by Lady Catherine. The different, more rationalized ending of Pride and Prejudice reflects the difference between 19th-century people and 21st-century viewers, who are much more attracted to the Bollywood conventions of melodramatic development and happy endings but not the practical complications present in real life. Thus, by reducing the level of practicality but focusing on comic characterizations, dramatic presentation of scenes, and glorious music, Chadha cleverly draws 21st century audiences to better understand the integrity of commonly misunderstood aspects of traditional cultures and the madness of cultural tension. Cited1. Austen, Jane and Vivien Jones. Pride and prejudice. London: Penguin, 2003. Print.2. Bride and prejudice. Director Gurinder Chadha. Perf. Aishwarya Rai and Martin Henderson. 2004.