Based on Jhumpa Lahiri’s poignant novel, the movie the movie revolves around the Gangulis - Ashoke (Irfan Khan) and wife Ashima (Tabu), Kolkata (Calcutta) immigrate to the U.S. in the early 1960s (1970s in the film), their son Gogol (Kal Penn), and his younger sister Sonali/Sonia (Sahira Nair). As a bachelor in India, Ashoke suffers in a train wreck, but his life is saved because, instead of sleeping on the nighttime journey, he had been reading "The Overcoat" by Russian writer Nikolai Gogol.
When Ashoke and Ashima's first child is born, they are surprised that they cannot leave the hospital without naming him; they prefer to wait for the great-grandmother's suggestion. The name of the Russian writer occurs to Ashoke, and he assigns "pet name" Gogol. The "real name" that the great-grandmother mailed never arrives, so the name Gogol sticks. As the boy grows, his name bothers him; it is neither Indian nor American, nor even a first name. He legally changes his name at college to "Nikhil".
The story follows Gogol/Nikhil as he goes to Yale University, is inspired to be an architect on a family trip to India when they visit the Taj Mahal, goes to graduate school and on to a job in New York City, and experiences several relationships including an American and a Bengali.
How do the US-born children relate to India? Where is home for the parents and how do they stay in touch and perform their duties while geographically separated from their extended family? THE NAMESAKE is a story of the power of a name and of family; the immigrant experience; the search for love, context, and above all….identity.
For every single person who is of Indian descent yet lived overseas for a considerable amount of time or were born overseas, THE NAMESAKE will strike a chord on some level, and identify with the movie in more ways than you possibly thought. The story outlines the stark differences between Indians raised in the States trying to embrace parental Indian values whilst also seeking inclusion in the American way of living. As such, this leads to a hybrid of Indian vs. American ways of living, oftentimes leaving young adults direction-less in times when their Indian-ness is challenged. The movie is extremely realistic and offers no bollywood style twists or long drawn Hindi pop songs. Instead what you get is raw emotion, real struggles and a frightfully original storyline.
Having not read the Lahiri’s novel, I cannot compare how faithful screenplay writer Sooni Taraporevala has been to the novel, but nonetheless she has done a good job despite some loose ends. The major flaw I found in the movie was the character of Maxine (Jacinda Barrett) who is shown to be totally clueless, calling Gogol's parents by their first names, kissing Ashoke and Ashima and holding Gogol's hand when she meets his parents even though he had explicitly told her not to, and arriving at Ashoke's funeral wearing a sleeveless black top. More than that, the scene involving Gogol and Maxine never quiet connect with the viewer on any level, and one feels that the screenplay hasn’t been able to do enough justice to develop that part of the plot properly.
Is that the only fault? There are probably more, but I found this to be such an emotionally effective and poignant movie which had me completely involved I didn’t notice anymore.
Mira Nair yet again does an outstanding job as a director, and the passion she has put into making this movie clearly translates on celluloid. Given that Nair herself spent 12 years of her life in Kolkotta and 25 years in New York this indeed makes it her most personal piece of work to date. After MONSOON WEDDING, Nair has yet again spun a superbly dramatic film which is as emotionally draining to watch as it is rewarding. What is truly miraculous in the film is how its director weaves a story from the incongruities between two cultures that couldn't be any more different from each other, and yet, they are mirror reflections of each other. We all cry, feel happiness and disappointment. As our characters grow and change, we feel their sense of wonder, joy, and grief. The film effectively contrasts the chaotic vibrancy of Kolkata with the much more restrained, anonymous big city life of the States through foundational scenes of bridges – the Howrah Bridge over the Hooghly River and Manhattan's 59th Street Bridge. In New York, we can see the business of modern city life rendered mute through a small apartment's glass windows; in India, no such respite from daily life is readily found. Another effective motif is the recurrence of the "Travelogues" exhibit at JFK Airport, reminding us through changing holographic images about the transition in space and culture that the Gangulis experience traveling between America and India.
Throughout the movie the emotion of Loss has been portrayed extremely poignantly and beautifully by Mira, the loss of one's parents, the loss of one's children, and the loss of one's partner, leaving behind nothing but yourself and trying to find freedom and joy after the loss. This is a universal story, with universal emotions, and one that cuts across all cultures as it’s a film about what we all go through or will go through.
Ultimately the movie is a myriad of tightly weaved emotional sequences which subtly brings tears to the viewers eyes during countless parts of the movie. The scenes have been superbly composed and leave an unforgettable impression on the viewer’s minds. Such as the timidly uncertain wave goodbye of Ashima to Ashoke on their first morning in the New World when he leaves on dismal snowy streets for work, the wave at the airport before when Ashoke is going to Ohio to work, Taboo’s breakdown after she finds out about her fathers death, and ultimately the most heartfelt and truly ripping scene for me, Gogol’s breakdown in his fathers hotel room….yes I cried! Initially the film focuses on Ashoke and Ashima and their arranged marriage until Gogol grows up and the film then switches perspectives to Gogol’s. At the same, the film does not abandon Ashoke and Ashima as they remain significant figures in shaping Gogol's destiny, especially as the impact of a tragic turn brings unexpected changes. The cathartic aspect of these scenes is what makes the film powerful. Moreover, with her film-making experience in her native India and the U.S., Nair brings a seamless fluency to both locales. The film does start to meander a little towards the last 20 minutes and loses focus a little though once again these minor flaws I was willing to overlook in the bigger picture of things as the emotional impact of THE NAMESAKE was far greater on me than I possibly imagined.
Nair continues to make her kind of cinema, and once again comes out trumps. Her ability to convey so much without words is simply amazing, and her vision not only in the actual sense, but more in her characters, ambiences and the poetic silent moments makes her one of the finest film-makers we have around today. Looking forward to SHANTARAM Mira Nair!
Irrfan Khan delivers an outstanding account of himself. Having worked with a Bengali man straight from India for the last 6 months, it’s evident the amount of preparation and research that Khan has put into his role to get right into the skin of his character, and his portrayal is jaw-droopingly realistic as it is emotionally heart-breaking; he embodies his character like no other. His get-up, delivery and body language touches the height of perfection, and Khans silent performance leaves such a hammer-strong impact that it’s hard to shake off or even describe properly in words. Irrfan Khan is one of the most powerful and talented actors we have in India today, and it’s simply great to see him getting roles which do justice to his vast and supreme talent. Right from MAQBOOL to THE NAMESAKE he has continuously impressed me time and time again. Given his performance in LIFE IN A…METRO has garnered rave reviews all over, and his upcoming film A MIGHTY HEART which stars a certain Angelina Jolie is gaining hype, Irrfan Khan is truly moving on to bigger and better thing, and deservedly so!
Taboo delivers a powerful performance, and one that definitely ranks as one of her finest performances to date. Like Khan, she too LIVES her character by fleshing it out with thorough understanding of her character. She goes from young shy girl to a mother in her forties. In an affectionate moment after many years in the US, she teases her husband saying, "You want me to say, 'I love you' - like the Americans?" Not only does she have to portray a range of emotion from differing cultures, but often powerful feelings need to be sublimated, only hinted at. There are moments where Taboo doesn’t say a word, yet you understand exactly what she means. At others, a single expression on her face conveys a thousand words. This is a performance that left me speechless in places, while completely mesmerized in others. A special note must be made of the comfort level that is shared between Khan and Taboo as well as their chemistry. Both actors bounce off each other so perfectly, without stepping into each others territories.
Beforehand I was convinced Kal Penn would be the spoiler in this film, but he gives a sharp, dedicated performance as Gogol. Firstly, I’d say I’m glad Abhishek Bachchan didn’t play Gogol as I feel he would’ve been out of place. The fact that Penn (whose real name is Kalpen Modi) is born in America and in a stranger coincidence, like Gogol, has changed his name from Kalpen Modi to Kal Penn(ala Sean Penn) makes him the perfect candidate for the role. Penn has no doubt proven that he can do the “dumb comedy” routine rather well and has even found himself a following of sorts; however in completely contrasting role Penn is just as impressive. Penn lays out Gogol's frustrations well and goes through the various phases of Gogols life with sincerity and more importantly…conviction! This is a well rounded piece of acting from Kal Penn who proves that he can definitely act!
As Moushumi, the Bengali girl who comes with the family's seal of approval, Zuleikha Robinson has a ripe presence to match her character's aspiring worldliness.
Technically this is an accomplished film. Cinematographer Frederick Elmes and production designer Stephanie Carroll provide masterful work in capturing the diverse flavors of the different locales. The manner in which Elmes has captured Nair and Lahiris vision on celluloid is masterful to say the least and be it Kolkotta or New York.
Lastly a special mention to Nitin Sawhneys music which is haunting and lyrical both at the same time. Having seen Sawhneys live stage show A THROW OF DICE recently and being in complete awe of his work, it’s yet again amazing to listen to Sawhneys spellbinding background score in THE NAMESAKE.
Overall THE NAMESAKE deserves every single of the kudos people decide to give it. It's a brilliant film in my view, based on an outstanding piece of fiction. This is no doubt going to be a film which will affect people in different ways yet ultimately this film is for anyone who has struggled to forge his or her own identity only to find the need to embrace the past, especially those of us who have parents who displayed the courage to move from their native lands to a foreign land. Thank you Miss Nair….thank you for making me remember so much!
Final Rating: * * * *
