149 Bewertungen
We arrived early for the movie. The city of Stamford in Connecticut boasts a big Indian population, due partly to the presence of many large firms. It's proximity to NYC makes Stamford a fitting place for immigrant settlements. Surprisingly, contrary to expectations, Americans at the Namesake showing far outnumbered their Indian counterparts. I could not help observing the sombre look on the faces of the visitors as they left, and I convinced myself that this wasn't another ABCD-flick as some reviewers had complained. I grew up in Calcutta, and such movies, although rare, is a chance to revisit a treasured past, a temptation I couldn't resist.
The movie, to some extent portrays an almost autobiographical recollection of Jhumpa Lahiri's experiences as an young adult growing up in Philly. She was born "Nilanjana" (as her good name), but due to a chain of events, her 'pet name', Jhumpa persisted, being both terse and less cryptic than her more Indian-ised first name. Nikhil (or Nick), played wonderfully by Kal Penn, faces a similar dilemma. Named Gogol, by his father in memory of the Russian writer, Nikolai Gogol, Nikhil finds himself estranged by his unusual non-American name in the midst of the American culture. He tries, in vain to convince his parents that he should change his name from Gogol to Nikhil. Gogol's father, played by Irfhan Khan, genuinely believes that there could be a name no more fitting for his son. The name carries a strong emotional value for him, which, understandably the Americanised Gogol cannot relate to.
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.
Irfhan Khan, plays a moving role as a parent trying to come to terms with his son's Western outlook. Alas, he's not able to inculcate his ideals into Gogol, and the phrase "In this country, you can do what you like" is oft repeated to pardon Nick's un-Indian disposition. Gogol's mother, Ashima, played again stirringly by Tabu, is the story of a mother adopting to an American lifestyle in Queens with her husband. Although, Tabu is a well known Bollywood star, her acting in this movie bears little semblance to Bollywood-ish pretension.
She is very real in her role of a mother trying to make ends meet, to accept her son's boycott of Indian customs, and his independent lifestyle. In India, where family values are closely guarded, the notion of separation from children is not so commonplace as it is in the Western world. It is even more challenging in America, where Indian parents have their immediate families as their only ties to homeland. In the movie, Tabu echoes the loneliness that families and immigrants feel abroad, made worse by revolting kids who don't understand their point of view, and the hardships they face that are dealt with resolution and immense strength of mind.
The original theme, although Indian, must not detract the viewer into thinking that it is reserved only for immigrants. Albeit, Jhumpa Lahiri, who won the Pulitzer Prize in 2000 for her book, Interpreter of Maladies, layers an otherwise plain story with human emotions and displays of courage and trials that are so honest, one can relate to them effortlessly and draw parallels with one's own experiences.
Last, but not the least, I must mention of Mira Nair. She has spun yet another masterpiece following Monsoon Wedding bordering on the immigrant theme. Mira Nair, who spent her early years in Calcutta was able to depict the Bengali theme effectively. The choice of cast is excellent and not for a moment did I feel that the movie was directed by an "Indian" person, in fact it was just as unbiased and forthcoming as other good Italian or French movies I have seen. There were also scenes of the Victoria Memorial Hall of Calcutta, scenes of Howrah Station, the Howrah Bridge and other locations that are readily identifiable with the city. Indeed, her class is distinct from the rest of Bollywood and Indian wannabes who sport themselves as literary and movie geniuses, the like that are commonly spotted in Westport and Greenwich, CT.
I'm very conservative with my reviews, but this is a movie that deserves an 8/10. When we left the movie theater, the audience was silent and couples walked slowly and grimly out of the theater. It was, to me a testimony to how moving this film was, and I'm sure it will dwell in your memory a long time to come. Cheers to Nair, the cast, and Lahiri for a great collaboration and a timeless movie.
The movie, to some extent portrays an almost autobiographical recollection of Jhumpa Lahiri's experiences as an young adult growing up in Philly. She was born "Nilanjana" (as her good name), but due to a chain of events, her 'pet name', Jhumpa persisted, being both terse and less cryptic than her more Indian-ised first name. Nikhil (or Nick), played wonderfully by Kal Penn, faces a similar dilemma. Named Gogol, by his father in memory of the Russian writer, Nikolai Gogol, Nikhil finds himself estranged by his unusual non-American name in the midst of the American culture. He tries, in vain to convince his parents that he should change his name from Gogol to Nikhil. Gogol's father, played by Irfhan Khan, genuinely believes that there could be a name no more fitting for his son. The name carries a strong emotional value for him, which, understandably the Americanised Gogol cannot relate to.
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.
Irfhan Khan, plays a moving role as a parent trying to come to terms with his son's Western outlook. Alas, he's not able to inculcate his ideals into Gogol, and the phrase "In this country, you can do what you like" is oft repeated to pardon Nick's un-Indian disposition. Gogol's mother, Ashima, played again stirringly by Tabu, is the story of a mother adopting to an American lifestyle in Queens with her husband. Although, Tabu is a well known Bollywood star, her acting in this movie bears little semblance to Bollywood-ish pretension.
She is very real in her role of a mother trying to make ends meet, to accept her son's boycott of Indian customs, and his independent lifestyle. In India, where family values are closely guarded, the notion of separation from children is not so commonplace as it is in the Western world. It is even more challenging in America, where Indian parents have their immediate families as their only ties to homeland. In the movie, Tabu echoes the loneliness that families and immigrants feel abroad, made worse by revolting kids who don't understand their point of view, and the hardships they face that are dealt with resolution and immense strength of mind.
The original theme, although Indian, must not detract the viewer into thinking that it is reserved only for immigrants. Albeit, Jhumpa Lahiri, who won the Pulitzer Prize in 2000 for her book, Interpreter of Maladies, layers an otherwise plain story with human emotions and displays of courage and trials that are so honest, one can relate to them effortlessly and draw parallels with one's own experiences.
Last, but not the least, I must mention of Mira Nair. She has spun yet another masterpiece following Monsoon Wedding bordering on the immigrant theme. Mira Nair, who spent her early years in Calcutta was able to depict the Bengali theme effectively. The choice of cast is excellent and not for a moment did I feel that the movie was directed by an "Indian" person, in fact it was just as unbiased and forthcoming as other good Italian or French movies I have seen. There were also scenes of the Victoria Memorial Hall of Calcutta, scenes of Howrah Station, the Howrah Bridge and other locations that are readily identifiable with the city. Indeed, her class is distinct from the rest of Bollywood and Indian wannabes who sport themselves as literary and movie geniuses, the like that are commonly spotted in Westport and Greenwich, CT.
I'm very conservative with my reviews, but this is a movie that deserves an 8/10. When we left the movie theater, the audience was silent and couples walked slowly and grimly out of the theater. It was, to me a testimony to how moving this film was, and I'm sure it will dwell in your memory a long time to come. Cheers to Nair, the cast, and Lahiri for a great collaboration and a timeless movie.
In 2003 days after its publication, I could hardly put down Pulitzer-winning Jhumpa Lahiri's novel "The Namesake". Lahiri was born in London to Bengali immigrants, raised in Rhode Island, and now lives in Brooklyn.
I was therefore excited when I heard that Mira Nair would be directing a film based on the novel. Readers may be familiar with Nair's films, including "Monsoon Wedding" (2001), "Kama Sutra: A Tale of Love" (1996), "Mississippi Masala" (1991), and Oscar-nominated "Salaam Bombay!" (1988); she is also in pre-production on a crime drama, "Shantaram", due in 2008.
Mumbai-based graduate of Harvard (where she met Nair) Sooni Taraporevala wrote the screenplay, as she also did on "Mississippi Masala" and "Salaam Bombay!" (incidentally, she is apparently directing her first film, based on her own screenplay, due to be released this spring). I don't know why, but the setting of the film version of the story is changed from Boston to New York and moved about a decade forward.
The story is that of the Gangulis - Ashoke (Irfan Khan) and wife Ashima (Tabu), Kolkata (Calcutta) immigrants 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 "good 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. Wittingly or not, he follows the advice to "play the field" but to reserve marriage for a woman of Bengali origin.
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 identity.
I enjoyed the film but, as often is the case, I found it to fall short of the book, whose power made me an instant fan of Lahiri's (watch for a cameo appearance by her in the film as Aunt Jhumpa). Armchair criticism is easy, and perhaps more meaningful insight is gained by asking if the medium is effectively used to convey the story's ethos.
The answer is a gentle "yes". One of Lahiri's strengths is attention to detail revealed in a matter-of-fact style that doesn't belabor the obvious. But of course the film cannot fairly be expected to reveal all of the original's subplots, such as Gogol's first relationship with his college sweetheart Ruth, or the myriad details beautifully presented in the book surrounding multicultural birthday celebrations, for example.
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.
There are some particularly well composed, emotive scenes, 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. I wouldn't, however, characterize the film as a whole as having consistently memorable cinematography, though it is rather effectively subtly understated and helps the story's progress.
The soundtrack could have been more appealing. Perhaps I was too focused on fidelity to the book which of course can simply be an irrelevant distraction, but I didn't relate to the music of high school student Gogol as characteristic of either the late 1970s or 1980s. Strictly speaking, the JFK exhibit was installed in 2000, which is inconsistent in fact and technology with most of the trips that the Ganguli family makes through the airport starting in the 1970s.
All that said, Mira Nair has made a sensitive, touching, and interesting film that triggers an authentic collection of emotions from joy to despair, with dashes of convincingly real everyday humor and chance. I was happy to see in the closing credits two of the three best known Bengali filmmakers mentioned, "For RITWIK GHATAK and SATYAJIT RAY, gurus of cinema with love and salaams"; only Mrinal Sen is missing.
I recommend both the film (expected to be released on March 9) and, especially, the book for immigrants and their friends, as well as to anybody who has felt significant loss, detachment, or uncertain change in their life. It is a story that is remarkable in its subtle depiction of the flip sides of the coin of history and promise.
(I saw the film at a pre-release screening on February 16, 2007 in Cary, NC USA. My review is a version of one that I am publishing in the forthcoming March issue of "Saathee Magazine".)
I was therefore excited when I heard that Mira Nair would be directing a film based on the novel. Readers may be familiar with Nair's films, including "Monsoon Wedding" (2001), "Kama Sutra: A Tale of Love" (1996), "Mississippi Masala" (1991), and Oscar-nominated "Salaam Bombay!" (1988); she is also in pre-production on a crime drama, "Shantaram", due in 2008.
Mumbai-based graduate of Harvard (where she met Nair) Sooni Taraporevala wrote the screenplay, as she also did on "Mississippi Masala" and "Salaam Bombay!" (incidentally, she is apparently directing her first film, based on her own screenplay, due to be released this spring). I don't know why, but the setting of the film version of the story is changed from Boston to New York and moved about a decade forward.
The story is that of the Gangulis - Ashoke (Irfan Khan) and wife Ashima (Tabu), Kolkata (Calcutta) immigrants 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 "good 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. Wittingly or not, he follows the advice to "play the field" but to reserve marriage for a woman of Bengali origin.
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 identity.
I enjoyed the film but, as often is the case, I found it to fall short of the book, whose power made me an instant fan of Lahiri's (watch for a cameo appearance by her in the film as Aunt Jhumpa). Armchair criticism is easy, and perhaps more meaningful insight is gained by asking if the medium is effectively used to convey the story's ethos.
The answer is a gentle "yes". One of Lahiri's strengths is attention to detail revealed in a matter-of-fact style that doesn't belabor the obvious. But of course the film cannot fairly be expected to reveal all of the original's subplots, such as Gogol's first relationship with his college sweetheart Ruth, or the myriad details beautifully presented in the book surrounding multicultural birthday celebrations, for example.
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.
There are some particularly well composed, emotive scenes, 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. I wouldn't, however, characterize the film as a whole as having consistently memorable cinematography, though it is rather effectively subtly understated and helps the story's progress.
The soundtrack could have been more appealing. Perhaps I was too focused on fidelity to the book which of course can simply be an irrelevant distraction, but I didn't relate to the music of high school student Gogol as characteristic of either the late 1970s or 1980s. Strictly speaking, the JFK exhibit was installed in 2000, which is inconsistent in fact and technology with most of the trips that the Ganguli family makes through the airport starting in the 1970s.
All that said, Mira Nair has made a sensitive, touching, and interesting film that triggers an authentic collection of emotions from joy to despair, with dashes of convincingly real everyday humor and chance. I was happy to see in the closing credits two of the three best known Bengali filmmakers mentioned, "For RITWIK GHATAK and SATYAJIT RAY, gurus of cinema with love and salaams"; only Mrinal Sen is missing.
I recommend both the film (expected to be released on March 9) and, especially, the book for immigrants and their friends, as well as to anybody who has felt significant loss, detachment, or uncertain change in their life. It is a story that is remarkable in its subtle depiction of the flip sides of the coin of history and promise.
(I saw the film at a pre-release screening on February 16, 2007 in Cary, NC USA. My review is a version of one that I am publishing in the forthcoming March issue of "Saathee Magazine".)
This film begins in India in 1977. A young woman meets an eligible man in her parent's home and then, after approving the match, they are soon married. However, he lives in New York and so the bride is soon pulled into a strange new culture. The rest of the film revolves around this marriage and the two children from this union (in particular, the focus is on the son).
I love Mira Nair's films, so I was favorably disposed towards this movie at the outset. However, while I am glad I watched it, I have two strong misgivings. First, because there is so much ground to cover (about 30 years of a family's history), the film comes off as very, very episodic. At times, the film jumps many years at a time and I found this disconcerting and I wanted to see more--because what we saw, I liked. Second, and this is related to my last complaint, is that because the film bounces around so much, the overall effect comes off as very cold and disconnected. Too often, I felt like I really didn't know the people at all. In other words, while the viewer learns about things these people do, who they are down deep is often an enigma. Plus, since you don't really get to know people, too often I had a hard time connected to them or caring about them when bad things occurred to them. Now perhaps this WAS the purpose of the film--the sense of emotional isolation and disconnect these people had, but still I wanted so much more.
I guess my complaints are probably more severe than some viewers might have because I have already seen several films about Indians, Pakistanis and Chinese families living in Western countries (such as the US, Canada and UK), so the idea wasn't so novel. As for me, I know what I would have liked. Instead of a two hour movie, it would have been great to break this into two or even three films or perhaps a miniseries. Really--there's just so much stuff and so many wonderful moments that are missed otherwise. For a somewhat similar experience, try watching "Bollywood/Hollywood", "Bend It Like Beckham" or "Double Happiness"--all are excellent.
On the positive side, however, it does give some insights into Indian culture and how tough it might be to live in a foreign culture--both for the first and second generation. Nice insights and some very touching moments.
Overall, not a bad film at all and well worth seeing--just don't be surprised if it leaves you wanting a lot more.
I love Mira Nair's films, so I was favorably disposed towards this movie at the outset. However, while I am glad I watched it, I have two strong misgivings. First, because there is so much ground to cover (about 30 years of a family's history), the film comes off as very, very episodic. At times, the film jumps many years at a time and I found this disconcerting and I wanted to see more--because what we saw, I liked. Second, and this is related to my last complaint, is that because the film bounces around so much, the overall effect comes off as very cold and disconnected. Too often, I felt like I really didn't know the people at all. In other words, while the viewer learns about things these people do, who they are down deep is often an enigma. Plus, since you don't really get to know people, too often I had a hard time connected to them or caring about them when bad things occurred to them. Now perhaps this WAS the purpose of the film--the sense of emotional isolation and disconnect these people had, but still I wanted so much more.
I guess my complaints are probably more severe than some viewers might have because I have already seen several films about Indians, Pakistanis and Chinese families living in Western countries (such as the US, Canada and UK), so the idea wasn't so novel. As for me, I know what I would have liked. Instead of a two hour movie, it would have been great to break this into two or even three films or perhaps a miniseries. Really--there's just so much stuff and so many wonderful moments that are missed otherwise. For a somewhat similar experience, try watching "Bollywood/Hollywood", "Bend It Like Beckham" or "Double Happiness"--all are excellent.
On the positive side, however, it does give some insights into Indian culture and how tough it might be to live in a foreign culture--both for the first and second generation. Nice insights and some very touching moments.
Overall, not a bad film at all and well worth seeing--just don't be surprised if it leaves you wanting a lot more.
- planktonrules
- 25. Juli 2009
- Permalink
This film is everything a good movie is supposed to be: diverting and credible. You are left in no doubt as to the integrity of the characters in their respective roles. The movie commences with Ashima, a young girl in India (played by intoxicating Tabu), introduced to a prospective husband, Ashoke. She decides she likes him because before entering the room to see him for the first time she sees his Western wingtiped shoes outside the door and decides he must be an interesting person. He is further endeared to her (and us) when she is asked to recite a beloved sample of English verse and he smiles at her composure and suppressed perturbation when interrupted by his pedantic father. She is married to this engineer and taken to the U.S. to live in New York, and slowly begins to adapt. The movie follows her for 25 years as she sees her two children become Americans and face their own (and in the case of one, very poignant) issues.
Loneliness, joy, tribe, custom, and life's relentless call for adaptation are major themes, and they unfold beautifully. Perhaps its most understated point is that none of the good would have come to pass but for the success of the arranged marriage between Ashoke and Ashima, i.e., that this wonderful young woman had the good fortune to link up with the kind and loving Ashoke. It is the success of the parents' marriage that makes everything possible. As a Westerner unfamiliar with the concept of arranged unions I shivered at the thought of what could have happened if Ashoke had not been such a decent man and loving husband and father.
This is a wonderful film.
Loneliness, joy, tribe, custom, and life's relentless call for adaptation are major themes, and they unfold beautifully. Perhaps its most understated point is that none of the good would have come to pass but for the success of the arranged marriage between Ashoke and Ashima, i.e., that this wonderful young woman had the good fortune to link up with the kind and loving Ashoke. It is the success of the parents' marriage that makes everything possible. As a Westerner unfamiliar with the concept of arranged unions I shivered at the thought of what could have happened if Ashoke had not been such a decent man and loving husband and father.
This is a wonderful film.
- alicegriffin
- 2. März 2007
- Permalink
I saw "The Namesake" at the 22nd October screening at the London Film Festival. Mira Nair introduced the film, along with Nitin Sawhney, who wrote the score.
I admit that I loved the book, and therefore have been looking forward to this film for a while. As a second generation Bengali Brit who was born in India and went to university in the US, I know something about what it means to feel displaced, to be a stranger in a strange land, though I have never felt like an immigrant. I also have the Bengali dilemma of having two names. So the book has a lot of resonance for me.
Fortunately the film does full justice to Jhumpa Lahiri's novel. Cramming a story spanning three decades into two hours without making it feel rushed or contrived takes some doing, and Mira Nair paces it beautifully. The cinematography, the editing (juxtaposing Calcutta and New York), and even the colours of the opening credits are all spot on.
The cast are by and large, superb. Kal Penn does really well as the central character, Gogol. Anyone who has seen him in Harold & Kumar and Van Wilder: Party Liaison may have had reservations about a comic actor (albeit talented) playing this part, but he portrays the character as a confused, vulnerable, and multi-layered young man who ultimately learns to become comfortable in his own skin.
But perhaps the main reason why this story appeals to me to so much is the similarity between the experiences of his parents Ashok and Ashima and what I imagine it must have been like for my own parents when they came to England. Both Irfan Khan and Tabu are excellent. They bring a mix of loneliness, hope and pathos to their roles, people who cannot let go of their past but are prepared to sacrifice everything for their future. Their innate ordinariness is what makes their characters so sympathetic and believable.
Much like Monsoon Wedding, this is a visual and lyrical film. It is an essay on home, and on going home, not the physical place, but the state of mind.
I admit that I loved the book, and therefore have been looking forward to this film for a while. As a second generation Bengali Brit who was born in India and went to university in the US, I know something about what it means to feel displaced, to be a stranger in a strange land, though I have never felt like an immigrant. I also have the Bengali dilemma of having two names. So the book has a lot of resonance for me.
Fortunately the film does full justice to Jhumpa Lahiri's novel. Cramming a story spanning three decades into two hours without making it feel rushed or contrived takes some doing, and Mira Nair paces it beautifully. The cinematography, the editing (juxtaposing Calcutta and New York), and even the colours of the opening credits are all spot on.
The cast are by and large, superb. Kal Penn does really well as the central character, Gogol. Anyone who has seen him in Harold & Kumar and Van Wilder: Party Liaison may have had reservations about a comic actor (albeit talented) playing this part, but he portrays the character as a confused, vulnerable, and multi-layered young man who ultimately learns to become comfortable in his own skin.
But perhaps the main reason why this story appeals to me to so much is the similarity between the experiences of his parents Ashok and Ashima and what I imagine it must have been like for my own parents when they came to England. Both Irfan Khan and Tabu are excellent. They bring a mix of loneliness, hope and pathos to their roles, people who cannot let go of their past but are prepared to sacrifice everything for their future. Their innate ordinariness is what makes their characters so sympathetic and believable.
Much like Monsoon Wedding, this is a visual and lyrical film. It is an essay on home, and on going home, not the physical place, but the state of mind.
As another proof that some of the recent award recipients have nothing to do with quality, here comes an assured and delicate piece of film-making that will probably not be honoured in the fair manner it deserves in next year's awards' frenzy. Just the other night, I had the pleasured to see an accomplished film for the second time: "Inside Man", and my jaw dropped when I realized that it was mysteriously absent in any "best of" celebrations. Regardless of what happens in about one year, audiences should not deny themselves the transcendental experience from seeing a movie that recognizes the beauty inside families and how their relationships are a mixture of inner and external pressures; only to all boil down to one word: Love.
As the title indicates, most of the storyline originates from a very peculiar name, and how it seems to affect the main protagonist. As the plot unfolds, we become involved in a sophisticated, almost flawless, and touching, without being maudlin masterpiece. With stunning camera work, a spiritual and moving score, and astounding performances by the entire cast, we learn to identify the universal values that this marvelous film highlights.
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. Seeing them celebrate breaks down any resistance we might have to whatever foreign quality this movie might be. It's exotic, inviting, showing us that we share more than we think. In "The Namesake", a Russian name becomes essential to some of the tribulations of a Hindu American young man. It anchors the love that originates between a mother and her children. As Ashima adjusts to her new surroundings, she manages to hold on her traditions, as she learns to cope with the changes that she can't stop. In the end, she delivers one of the most inspirational speeches in movie history, and we can't do nothing but witness a superb dramatic performance come full circle. Many in Hollywood might feel a tinge of envy as her is an actress that charms us in spite of apparently not trying very hard. Her character is lovely, strong, and sometimes reads like a collection of the best moments in every female great role in the last century. She embodies the best of Scarlett O'Hara, the pain and frustration of Sophie in "Sophie's Choice", some of the regal qualities of Helen Mirren in "The Queen", and she can even sing and makes us laugh, all when a screenplay that addresses the lives of one regular family in New York.
"The Namesake" deserves every single of the kudos people decide to give it. It's a brilliant film, based on an outstanding piece of fiction, and that one that never struggles to be anything else but faithful to its source material, and whose heart never stops beating, with a real and magnificent heart.
Run and enjoy some of the best moments of your life.
As the title indicates, most of the storyline originates from a very peculiar name, and how it seems to affect the main protagonist. As the plot unfolds, we become involved in a sophisticated, almost flawless, and touching, without being maudlin masterpiece. With stunning camera work, a spiritual and moving score, and astounding performances by the entire cast, we learn to identify the universal values that this marvelous film highlights.
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. Seeing them celebrate breaks down any resistance we might have to whatever foreign quality this movie might be. It's exotic, inviting, showing us that we share more than we think. In "The Namesake", a Russian name becomes essential to some of the tribulations of a Hindu American young man. It anchors the love that originates between a mother and her children. As Ashima adjusts to her new surroundings, she manages to hold on her traditions, as she learns to cope with the changes that she can't stop. In the end, she delivers one of the most inspirational speeches in movie history, and we can't do nothing but witness a superb dramatic performance come full circle. Many in Hollywood might feel a tinge of envy as her is an actress that charms us in spite of apparently not trying very hard. Her character is lovely, strong, and sometimes reads like a collection of the best moments in every female great role in the last century. She embodies the best of Scarlett O'Hara, the pain and frustration of Sophie in "Sophie's Choice", some of the regal qualities of Helen Mirren in "The Queen", and she can even sing and makes us laugh, all when a screenplay that addresses the lives of one regular family in New York.
"The Namesake" deserves every single of the kudos people decide to give it. It's a brilliant film, based on an outstanding piece of fiction, and that one that never struggles to be anything else but faithful to its source material, and whose heart never stops beating, with a real and magnificent heart.
Run and enjoy some of the best moments of your life.
Jhumpa Lahiri's international bestseller's screen adaptation, Namesake though not in the same league as the book, is a compelling work of art in its own rights. Though not significantly altered from the novel, the movie's script provides a distinctly different treatment to the way characters are depicted. As a consequence, Namesake the movie, is in many ways is more of a depiction of the life and experiences of Ashima Ganguli than that of Gogol Ganguli (the person who is meant to be the Namesake). Nonetheless, the movie is an insightful portrayal of a lifecycle of an immigrant family - including some brilliant scenes and some tender moments of exquisite emotional glory.
The acting of Tabu (as Ashima Ganguli) and Irfan Khan (as Ashok Ganguli) is of a very high standard. Their comfort in the role of immigrant parents is numbingly realistic. Irfan Khan stands out for bringing a typical immigrant father's character almost live to the screen. He is aware of his children's needs for different perspectives and practices than his own, but at the same time he is uncomfortable at their departure from values he holds dearest to his heart. In her portrayal of an immigrant Indian wife and mother, Tabu has attained excellence in her typical style.
Along with these outstanding characters, coexists a characterization that is less appealing than you would expect from a Mira Nair movie's protagonist. Gogol Ganguli's dilemmas and struggle for an identity have been dealt with in rather brief scenes, and the themes have not emerged well. That is why his reasons for refusing a girl with whom he was happy, and instead loving and marrying a girl, who eventually hurt him, are obvious only if you have an immigrant perspective. That is why the concluding scenes of the movie do not seem consistent with his character - it seems that the pursuer of an American value system in him concedes to his racial roots, but the transition is rather sudden, even mildly abrupt. The enigma around his characterization is the biggest drawback of the movie. After all, the Namesake - Gogol Ganguli - is expected to rise above the rest and convey a bit more.
The acting of Tabu (as Ashima Ganguli) and Irfan Khan (as Ashok Ganguli) is of a very high standard. Their comfort in the role of immigrant parents is numbingly realistic. Irfan Khan stands out for bringing a typical immigrant father's character almost live to the screen. He is aware of his children's needs for different perspectives and practices than his own, but at the same time he is uncomfortable at their departure from values he holds dearest to his heart. In her portrayal of an immigrant Indian wife and mother, Tabu has attained excellence in her typical style.
Along with these outstanding characters, coexists a characterization that is less appealing than you would expect from a Mira Nair movie's protagonist. Gogol Ganguli's dilemmas and struggle for an identity have been dealt with in rather brief scenes, and the themes have not emerged well. That is why his reasons for refusing a girl with whom he was happy, and instead loving and marrying a girl, who eventually hurt him, are obvious only if you have an immigrant perspective. That is why the concluding scenes of the movie do not seem consistent with his character - it seems that the pursuer of an American value system in him concedes to his racial roots, but the transition is rather sudden, even mildly abrupt. The enigma around his characterization is the biggest drawback of the movie. After all, the Namesake - Gogol Ganguli - is expected to rise above the rest and convey a bit more.
- anupamsatyasheel
- 16. Mai 2007
- Permalink
Books allow you to travel without leaving, and on the same note, movies too opens up a visual world that one can immerse into, going to places the filmmakers bring you, and experiencing and feeling the emotions that they try to evoke from you. There are few movies which leave me speechless at the end of it. Not because it's bad, but rather, on the contrary, The Namesake is a superb movie. I was in awe with so much that director Mira Nair managed to pack into its 2 hours, and the intricate layers that make up the movie.
The movie begins with Ashoke and (Irfan Khan) and Ashima (Tabu) Ganguli, newlyweds and Indian immigrants to the USofA. The first third of the movie follows their struggles in their new adopted country, as they begin a new life amongst themselves in a foreign land, and starting a family there in order to provide boundless opportunities for their offspring in the land of the free. Things become more interesting and the family dynamics a joy to watch, once their kids come into play in the latter half of the movie, centered only their firstborn son Gogol Ganguli (Kal Penn).
It's a look into family ties, the clash of cultures and values, especially with their Americanized children's western thinking versus their parents more traditional, conservative views. It's not all bickering if you'd come to expect, but rather, a very meditated story, full of understanding and tolerance, and the realization of change, as epitomized by dad Ashoke. Watching this movie, despite the racial / cultural differences, still made me think a lot about my own state of family affairs, as the story touches on universal themes - family love, parents, the constant desire to be living life in the way you want, and one point that stuck to me throughout, was that about Gogol's struggle with his name, something which I can most definitely identify with.
His disdain for his name Gogol (after Nicola Gogol) almost plays central to the movie. And fleshing out his character perfectly is Kal Penn. Who would've expected one half of Harold and Kumar being able to pull off such a complex role with aplomb? Here, his Gogol/Nikhil on one hand knows what he should be doing about not forgetting his culture and roots, but on the other, with his Caucasian girlfriend (played by Jacinta Barrett), he looks more comfortable in the American way of live he's so familiar with. It's the internal conflicts that we see him go up against, and how culture and myopia seem to influence his choices in the wrong ways.
The rest of the cast are brilliant too, and I'm singling out Irfan Khan and Tabu as nothing short of bringing out excellent performances. They bring forth certain tenderness in their relationship, and plenty of love for their son. You can feel their awkwardness in having to deal with a new culture head on, and yet knowing that it's for the better, for their family, for opportunities. They can do a lot with so little - a touch of the hand, a twinkle of the eye, that you can't help but be welcomed into their world.
The Namesake is filled with beautiful music, from both contemporary tracks as well as classical Indian music, as it parallels the struggles of the family straddling between two different cultures. And there are moments in the film that will even cause those with strong hearts, struggle to hold back a tear or two.
This movie brought me to India, a country I have yet to visit, Kolkatta and the fabled monument of love, the Taj Mahal. With authentic locales, excellent acting and a layered storyline, The Namesake is firmly set in shortlist of my favourite movies of this year. Hurry and watch this in the cinemas before its run is up.
The movie begins with Ashoke and (Irfan Khan) and Ashima (Tabu) Ganguli, newlyweds and Indian immigrants to the USofA. The first third of the movie follows their struggles in their new adopted country, as they begin a new life amongst themselves in a foreign land, and starting a family there in order to provide boundless opportunities for their offspring in the land of the free. Things become more interesting and the family dynamics a joy to watch, once their kids come into play in the latter half of the movie, centered only their firstborn son Gogol Ganguli (Kal Penn).
It's a look into family ties, the clash of cultures and values, especially with their Americanized children's western thinking versus their parents more traditional, conservative views. It's not all bickering if you'd come to expect, but rather, a very meditated story, full of understanding and tolerance, and the realization of change, as epitomized by dad Ashoke. Watching this movie, despite the racial / cultural differences, still made me think a lot about my own state of family affairs, as the story touches on universal themes - family love, parents, the constant desire to be living life in the way you want, and one point that stuck to me throughout, was that about Gogol's struggle with his name, something which I can most definitely identify with.
His disdain for his name Gogol (after Nicola Gogol) almost plays central to the movie. And fleshing out his character perfectly is Kal Penn. Who would've expected one half of Harold and Kumar being able to pull off such a complex role with aplomb? Here, his Gogol/Nikhil on one hand knows what he should be doing about not forgetting his culture and roots, but on the other, with his Caucasian girlfriend (played by Jacinta Barrett), he looks more comfortable in the American way of live he's so familiar with. It's the internal conflicts that we see him go up against, and how culture and myopia seem to influence his choices in the wrong ways.
The rest of the cast are brilliant too, and I'm singling out Irfan Khan and Tabu as nothing short of bringing out excellent performances. They bring forth certain tenderness in their relationship, and plenty of love for their son. You can feel their awkwardness in having to deal with a new culture head on, and yet knowing that it's for the better, for their family, for opportunities. They can do a lot with so little - a touch of the hand, a twinkle of the eye, that you can't help but be welcomed into their world.
The Namesake is filled with beautiful music, from both contemporary tracks as well as classical Indian music, as it parallels the struggles of the family straddling between two different cultures. And there are moments in the film that will even cause those with strong hearts, struggle to hold back a tear or two.
This movie brought me to India, a country I have yet to visit, Kolkatta and the fabled monument of love, the Taj Mahal. With authentic locales, excellent acting and a layered storyline, The Namesake is firmly set in shortlist of my favourite movies of this year. Hurry and watch this in the cinemas before its run is up.
- DICK STEEL
- 7. Apr. 2007
- Permalink
As a fellow Bengali and Jhumpa Lahiri fan, I had low expectations for a movie adaptation of her poignant novel (though I think The Interpreter of Maladies was better written). However, I was pleasantly surprised when I finally saw the movie at today's NY Times Arts and Leisure Weekend screening. The movie addresses all issues with care, and makes a non-Bengali audience understand the nuances of Bengali culture. The movie captures the hustle and bustle of India, sets the tone of the movie from the very first scene, and, overall, is heartwarming and true. It is humorous at all the right points, and the transition from a loud, vibrant and colorful life to a lonely, cold, and snow-white New York is breathtaking. You can feel Tabu's (Ashima's) loneliness. Jhumpa Lahiri's cameo is well-appreciated, though many in the audience did not catch it. The movie is respectful of Indian culture and uses small instances as canvases for large messages. Everyone is well-cast. Kal Penn shows himself to be capable of more difficult roles than the college-boy stereotype. Tabu and Irrfan Khan do not disappoint, since they are some of the highest-esteemed actors in India today. I felt like going back to Calcutta during all the Indian scenes. Starting the opening credits with the characters of the actors' names replaced with American characters was witty. "Everyday has been a gift, Gogol," Irrfan Khan (Ashok) tells Kal Penn (Gogol) in the movie, but truly, The Namesake is a wonderful gift for its audience, especially since I saw this movie 5 days before my birthday.
- dashing-snigdha
- 6. Jan. 2007
- Permalink
Ashoke Ganguli (Irrfan Khan) is on a train reading Gogol in India when it crashes. After recovering from the life-altering incident, he moves to America following his train companion's advise. In 1977, he returns to Calcutta to marry singer Ashima. Ashima is homesick when they move to his poor neighborhood in Queens, New York. They have a son Gogol and a girl Sonia. Gogol (Kal Penn) hates his name and is embarrassed by his culture. After a trip to India, he becomes comfortable with his culture, decides to study architecture and switch back to his 'good' name. He falls for Maxine Ratliff (Jacinda Barrett) from a rich white family.
The movie is expansive and beautiful. I love Ashima's journey. It's so touching and the quintessential immigrant story. The movie needs to be tighter with the drama. It doesn't have much drama to begin with. Also it needs to stay with her for the whole movie. I would rather this not be a movie about Gogol. The switch in the point of view works to some extend although Gogol's journey is very different. I guess the movie does need to follow him to get the name's origin. The time jumps don't always allow the story to flow but Ashima is always the emotional heart.
The movie is expansive and beautiful. I love Ashima's journey. It's so touching and the quintessential immigrant story. The movie needs to be tighter with the drama. It doesn't have much drama to begin with. Also it needs to stay with her for the whole movie. I would rather this not be a movie about Gogol. The switch in the point of view works to some extend although Gogol's journey is very different. I guess the movie does need to follow him to get the name's origin. The time jumps don't always allow the story to flow but Ashima is always the emotional heart.
- SnoopyStyle
- 27. Feb. 2016
- Permalink
Just got home from the Sept 11, 2006 official world premiere screening of The Namesake at the Elgin Theatre at the 2006 Toronto International Film Festival.
Director Mira Nair briefly introduced the film by saying that it was her most personal project as she herself lived in Kolkata for 12 years and then in New York City for 25 (the 2 cities that the characters in the film travel between as well). She dedicated the film to the legendary directors Ritwick Ghatak and Satyajit Ray. She introduced the actress Tabu who said a few words about how grateful she was to work on the project, especially as it helped her to understand her own mother better. Director Karan Johar and actor Amitabh Bachchan (who is not in this film, but a guest at the screening) also happened to be in attendance in the audience and were introduced to warm applause.
I better admit right off the bat that I went to see the film based simply on how much I've enjoyed Mira Nair's films in the past. I did not know the work of the veteran Indian actors or the work of the younger American based cast. I was aware that Kal Penn has acted in several teenage and/or stoner comedies but I've never actually seen those films so have no preconceptions about his work. And I've only seen maybe a dozen Bollywood films in my life, just enough to know that the scenes of kissing in The Namesake would not be acceptable to a traditional crowd. Also, I have not read the book that the film is based on, although having enjoyed the film as much as I did, I definitely intend to read it as soon as possible (in fact we picked up 2 copies on the way home).
OK, so after getting all of that out the way, maybe some will take my views with a grain of salt as they might feel that I am not qualified to comment, but I found this to be an all round entertaining and enjoyable film that made your heart ache for the different characters at various times and that hit all the right notes along the way. The casting seemed all-round perfect and everyone was completely believable in their roles. Kal Penn was absolutely solid in his part and grew from a young surly teenager to a confused young man to a mature adult. In the role of the parents both Tabu and Irfan Khan were thoroughly believable as a young arranged marriage couple in Kolkata who moved to America to build a new life and who aged together gracefully with lifes ups and down on the way. Tabu carried more of the weight here and was just gorgeous as a young bride and grew into a mother with many cares but who held herself with dignity throughout. Her acting even just with her eyes was just wonderful to watch. All of the technical aspects, the cinematography, costuming, locations, set decoration, and soundtrack etc. were equally impressive. The theme of family and the search for one's self are universal and are all well communicated in this film. The sense in the room of the theatre was that everyone was identifying with the film throughout (the audience was maybe 15-20% of South Asian heritage - with the rest a mixed Canadian Toronto and film festival crowd) and the occasional jokes and visual gags all went over to great enthusiastic laughter.
I encourage everyone to see it when it opens in general release. So far only this and Babel and Paris Je T'aime have earned a 10/10 from me at this year's TIFF.
Director Mira Nair briefly introduced the film by saying that it was her most personal project as she herself lived in Kolkata for 12 years and then in New York City for 25 (the 2 cities that the characters in the film travel between as well). She dedicated the film to the legendary directors Ritwick Ghatak and Satyajit Ray. She introduced the actress Tabu who said a few words about how grateful she was to work on the project, especially as it helped her to understand her own mother better. Director Karan Johar and actor Amitabh Bachchan (who is not in this film, but a guest at the screening) also happened to be in attendance in the audience and were introduced to warm applause.
I better admit right off the bat that I went to see the film based simply on how much I've enjoyed Mira Nair's films in the past. I did not know the work of the veteran Indian actors or the work of the younger American based cast. I was aware that Kal Penn has acted in several teenage and/or stoner comedies but I've never actually seen those films so have no preconceptions about his work. And I've only seen maybe a dozen Bollywood films in my life, just enough to know that the scenes of kissing in The Namesake would not be acceptable to a traditional crowd. Also, I have not read the book that the film is based on, although having enjoyed the film as much as I did, I definitely intend to read it as soon as possible (in fact we picked up 2 copies on the way home).
OK, so after getting all of that out the way, maybe some will take my views with a grain of salt as they might feel that I am not qualified to comment, but I found this to be an all round entertaining and enjoyable film that made your heart ache for the different characters at various times and that hit all the right notes along the way. The casting seemed all-round perfect and everyone was completely believable in their roles. Kal Penn was absolutely solid in his part and grew from a young surly teenager to a confused young man to a mature adult. In the role of the parents both Tabu and Irfan Khan were thoroughly believable as a young arranged marriage couple in Kolkata who moved to America to build a new life and who aged together gracefully with lifes ups and down on the way. Tabu carried more of the weight here and was just gorgeous as a young bride and grew into a mother with many cares but who held herself with dignity throughout. Her acting even just with her eyes was just wonderful to watch. All of the technical aspects, the cinematography, costuming, locations, set decoration, and soundtrack etc. were equally impressive. The theme of family and the search for one's self are universal and are all well communicated in this film. The sense in the room of the theatre was that everyone was identifying with the film throughout (the audience was maybe 15-20% of South Asian heritage - with the rest a mixed Canadian Toronto and film festival crowd) and the occasional jokes and visual gags all went over to great enthusiastic laughter.
I encourage everyone to see it when it opens in general release. So far only this and Babel and Paris Je T'aime have earned a 10/10 from me at this year's TIFF.
I saw it for the first time thanks to Professor Kyle. He's very humorous, gentle, and a sucker for students.
If you are not a culturally sensitive person, I recommend anyone to see it at least once. At least two things you can feel firsthand that there are novel contents.
I was born. I'm living. I'm getting old. I'll die one day. Me and someone I love could die at any time. But we forget that fact and live. We have to live to the best of our lives. This movie is a movie that makes you look back on what life is. Of course, there is something that is regrettable about the actors' performance. But it makes me think seriously about what life and death are. How should we live?
If you are not a culturally sensitive person, I recommend anyone to see it at least once. At least two things you can feel firsthand that there are novel contents.
I was born. I'm living. I'm getting old. I'll die one day. Me and someone I love could die at any time. But we forget that fact and live. We have to live to the best of our lives. This movie is a movie that makes you look back on what life is. Of course, there is something that is regrettable about the actors' performance. But it makes me think seriously about what life and death are. How should we live?
- badcomrade
- 26. März 2007
- Permalink
Meticulously observed and wonderfully heartfelt, this time-spanning 2007 family dramedy represents a return to form for director Mira Nair, who faltered somewhat with 2004's elaborate "Vanity Fair". This one is also a literary adaptation but this time from a contemporary best-seller by Jhumpa Lahiri, who wrote an emotionally drawn story about first generation Bengali immigrants to the United States and their U.S.-born children. It's an intricate book full of careful nuances, and Nair, along with screenwriter Sooni Taraporevala, captures most of them in a most loving manner. The story speaks fluently to the universal struggle to extricate ourselves from the obligation of family and a perceived enslavement to the past. Nair and Taraporevala manage to transcend the necessarily episodic nature of the novel to make it an involving journey toward self-acceptance.
The film initially focuses on Ashoke Ganguli and his arranged marriage to Ashima, a classically trained singer. The young couple move from Calcutta in 1977 to Queens in order for him to pursue his career as an electrical engineer. The adjustment is difficult, especially for Ashima in assimilating into the often cold U.S. culture, and these quiet scenes show a keen eye for subtle observation. They quickly have two children in succession, son Gogol and daughter Sonia. Gogol's name is the key plot point as he was inadvertently after Ashoke's favorite writer, Nikholai Gogol, and this is revealed to have greater significance as the story unfolds. Eventually, the film switches the perspective to Gogol's as he grows up, changes his name to Nikhil and starts his life as a yuppie architect in Manhattan.
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 movie falters a bit toward the end when it starts to ramble and feel pat, but the story's old world gravitas rescues it just in time. Beforehand I was convinced Kal Penn would be the spoiler in this film, but he gives a sharp, dedicated performance as Gogol. Poised to be taken seriously as an actor even amid his White Castle and Van Wilder movies, he seems a bit exaggerated only in the early teenage scenes which recall those other movies.
However, it is the superb work of Irfan Khan and Tabu as his parents that make the film soar. Both bring a level of assurance and compassion that ground the film completely, especially Tabu who makes the seemingly modest character arc of Ashima really striking. Playing yet another variation of the spoiled American girl, Jacinda Barrett again proves how fearless an actress she can be in exposing the vanity and ignorance of Maxine, Gogol's first serious girlfriend. 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. Cinematographer Frederick Elmes and production designer Stephanie Carroll provide masterful work in capturing the diverse flavors of the different locales. 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.
The film initially focuses on Ashoke Ganguli and his arranged marriage to Ashima, a classically trained singer. The young couple move from Calcutta in 1977 to Queens in order for him to pursue his career as an electrical engineer. The adjustment is difficult, especially for Ashima in assimilating into the often cold U.S. culture, and these quiet scenes show a keen eye for subtle observation. They quickly have two children in succession, son Gogol and daughter Sonia. Gogol's name is the key plot point as he was inadvertently after Ashoke's favorite writer, Nikholai Gogol, and this is revealed to have greater significance as the story unfolds. Eventually, the film switches the perspective to Gogol's as he grows up, changes his name to Nikhil and starts his life as a yuppie architect in Manhattan.
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 movie falters a bit toward the end when it starts to ramble and feel pat, but the story's old world gravitas rescues it just in time. Beforehand I was convinced Kal Penn would be the spoiler in this film, but he gives a sharp, dedicated performance as Gogol. Poised to be taken seriously as an actor even amid his White Castle and Van Wilder movies, he seems a bit exaggerated only in the early teenage scenes which recall those other movies.
However, it is the superb work of Irfan Khan and Tabu as his parents that make the film soar. Both bring a level of assurance and compassion that ground the film completely, especially Tabu who makes the seemingly modest character arc of Ashima really striking. Playing yet another variation of the spoiled American girl, Jacinda Barrett again proves how fearless an actress she can be in exposing the vanity and ignorance of Maxine, Gogol's first serious girlfriend. 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. Cinematographer Frederick Elmes and production designer Stephanie Carroll provide masterful work in capturing the diverse flavors of the different locales. 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.
I got to see this wonderfully fulfilling film by chance at a private screening.I had no expectations other than the fact that it was a Mira Nair film.
The film is a journey of a couple from Bengal to America and their lives with their children in a different culture, and the ultimate realization of the main characters - brilliantly played by Tabu, Kal Pen, and Irfaan.
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 its a film about what we all go through or will go through.
Tabu and Irfaan as the main couple have delivered a knockout performance, and kal Pen works well as gogol.The emotions are subtly handled and very effectively, as besides making me laugh at many points, the film made me cry for a long time ,well after it was over.
Sooni Taraporewala, has written a fabulous screenplay, and this film for me is my top film this year, Babel comes close.
The film is a journey of a couple from Bengal to America and their lives with their children in a different culture, and the ultimate realization of the main characters - brilliantly played by Tabu, Kal Pen, and Irfaan.
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 its a film about what we all go through or will go through.
Tabu and Irfaan as the main couple have delivered a knockout performance, and kal Pen works well as gogol.The emotions are subtly handled and very effectively, as besides making me laugh at many points, the film made me cry for a long time ,well after it was over.
Sooni Taraporewala, has written a fabulous screenplay, and this film for me is my top film this year, Babel comes close.
- subramaniam-chitra
- 16. Jan. 2007
- Permalink
*Minor Spoilers*
I have wanted to watch this movie from the very beginning, but never actually got around to it, and now, after watching this last night, I wish I had watched it earlier. But better late than never.
The film starts with Ashoke Ganguli, (Irrfan Khan) a bookworm, marrying Ashima (Tabu), a trained classical singer. The two then move from Calcutta, East India to Queens, New York; essential as Ashoke must continue with his engineering career. The change is difficult for both, especially Ashima, and she strives to adjust to her new life and the new culture she is now living in. Soon after the couple have two children, Sonia (Sahira Nair), and Gogol (Kal Penn). Gogol was named after Ashoke's favourite author Nicholai Gogol, and we learn that the name means a lot as the film progresses. The film then shifts perspective to Gogol's life. We see Gogol as a teenager, his battles with his name, neither Indian or American, and the ridicule he suffers as an adolescent. We then see Gogol pursuing his career as an Manhattan-based urban architect, and his personal struggle to find his own identity without letting go of his inherited background.
The Namesake deals with loss, life, relationships and the main characters evoke a collection of emotions which vary from gaiety to misery, pain to love. We get a look into cultural clashes, traditional values versus Americanized, modern thinking. But I found the The Namesake is not a nationality war, but a mature and understanding tale, full of tolerance and experience. And just watching the movie, I was given an insight of what many people, including even my parents, must have been through. It was extremely moving.
The performances of the main characters - the Ganguli family, have been some of the most powerful performances for me to watch on screen. Irrfan Khan and Tabu, two of the finest actors in Indian Cinema, perfected their roles and brought life into their characters. They were, for me, the finest performances, the REAL stars. They also had a fantastic chemistry, which was subtle and pure. Khan was outstanding as Ashoke, this is the first movie of his I have watched, and I now see what makes him such a admirable, first-rate actor. Tabu was also brilliant. Her performance as Ashima was so realistic to me. I saw in her what I see in my grandmother, devotion, sincerity, and most of all, acceptance. I was endeared to her character instantly - "Ashima means without borders, limitless". A particularly memorable scene would be her and Ashoke waving goodbye to their family in Calcutta, a moment that had me spellbound at the reality of the scene. Kal Penn was extraordinary as Gogol. Being an Indian myself, also one not living in my homeland, I could identify with Gogol a lot. His performance was full of sensitivity and emotion and it really came through to me. We see his growth as a rebellious graduate to a fine young man, and I was not expecting this from Kal Penn at all, as his filmography is full of stereotypical, comical roles, but he proved me wrong.
Mira Nair's direction of this movie is a blessing. I thought it was miraculous of her to fit an entire 2 generations and 3 decades in two hours. And the pace of which she did it with is beautifully done. Her cast choice was great, and I found The Namesake to have a certain class, a certain sensibility to it. Her depiction of Calcutta and New York was one of the key points in the film, and I loved the way she made them both so real. She made a bustling, colourful Calcutta, and a dull, raging New York so genuine. They were both so similar, but again so different.
"We all came out of Gogol's Overcoat".
I have wanted to watch this movie from the very beginning, but never actually got around to it, and now, after watching this last night, I wish I had watched it earlier. But better late than never.
The film starts with Ashoke Ganguli, (Irrfan Khan) a bookworm, marrying Ashima (Tabu), a trained classical singer. The two then move from Calcutta, East India to Queens, New York; essential as Ashoke must continue with his engineering career. The change is difficult for both, especially Ashima, and she strives to adjust to her new life and the new culture she is now living in. Soon after the couple have two children, Sonia (Sahira Nair), and Gogol (Kal Penn). Gogol was named after Ashoke's favourite author Nicholai Gogol, and we learn that the name means a lot as the film progresses. The film then shifts perspective to Gogol's life. We see Gogol as a teenager, his battles with his name, neither Indian or American, and the ridicule he suffers as an adolescent. We then see Gogol pursuing his career as an Manhattan-based urban architect, and his personal struggle to find his own identity without letting go of his inherited background.
The Namesake deals with loss, life, relationships and the main characters evoke a collection of emotions which vary from gaiety to misery, pain to love. We get a look into cultural clashes, traditional values versus Americanized, modern thinking. But I found the The Namesake is not a nationality war, but a mature and understanding tale, full of tolerance and experience. And just watching the movie, I was given an insight of what many people, including even my parents, must have been through. It was extremely moving.
The performances of the main characters - the Ganguli family, have been some of the most powerful performances for me to watch on screen. Irrfan Khan and Tabu, two of the finest actors in Indian Cinema, perfected their roles and brought life into their characters. They were, for me, the finest performances, the REAL stars. They also had a fantastic chemistry, which was subtle and pure. Khan was outstanding as Ashoke, this is the first movie of his I have watched, and I now see what makes him such a admirable, first-rate actor. Tabu was also brilliant. Her performance as Ashima was so realistic to me. I saw in her what I see in my grandmother, devotion, sincerity, and most of all, acceptance. I was endeared to her character instantly - "Ashima means without borders, limitless". A particularly memorable scene would be her and Ashoke waving goodbye to their family in Calcutta, a moment that had me spellbound at the reality of the scene. Kal Penn was extraordinary as Gogol. Being an Indian myself, also one not living in my homeland, I could identify with Gogol a lot. His performance was full of sensitivity and emotion and it really came through to me. We see his growth as a rebellious graduate to a fine young man, and I was not expecting this from Kal Penn at all, as his filmography is full of stereotypical, comical roles, but he proved me wrong.
Mira Nair's direction of this movie is a blessing. I thought it was miraculous of her to fit an entire 2 generations and 3 decades in two hours. And the pace of which she did it with is beautifully done. Her cast choice was great, and I found The Namesake to have a certain class, a certain sensibility to it. Her depiction of Calcutta and New York was one of the key points in the film, and I loved the way she made them both so real. She made a bustling, colourful Calcutta, and a dull, raging New York so genuine. They were both so similar, but again so different.
"We all came out of Gogol's Overcoat".
Tabu played a stellar performance as Ashima. Irfan as Ashoke was brilliant in this movie, especially capturing the essence of a middle aged Bengali man. Their chemistry was like a poetry.
The best Heart to Heart conversation in the movie: Ashoke: All those years ago, why did you... say yes to me?
Ashima: You were the best of the lot.
Ashoke: Huh?
Ashima: Better than the widower with four children and the cartoonist with one arm. I also liked your shoes.
Ashoke: Oh. Oh, okay, okay.
Ashima: you want me to say, "I love you," like the Americans?
Ashoke: Eh. (surprise)
Ashoke: Huh. (blush)
Ashima: Huh. (tease)
Ashoke: Bright Smile and laughs.
The movie also showcases first generation immigrant parents struggles on foreign land, their family connections, cultural differences, especially between Americanized children's Western thinking and those of their parents who are more conservative and traditional.
I liked the scene where Gogol denies to sit on rickshaw in Kolkata by saying "No, being pulled by another human being is feudal and exploitative."
I also liked the scene where Gogol finds his passion during his unexpected family trip to India. When he visited Taj Mahal and the surrounding monuments he decided to major in Architecture. I guess travelling to new places in general helps us to attain new perspectives and find new interests.
The visit to Taj Mahal also ignited a cute romantic conversation between Ashima and Ashoke in their own way: Ashima: I've always wanted to come here with you.
Ashoke: Smiles
Ashima: Just imagine how much Shah Jahan must loved Mumtaz to make this for her.
Ashoke: Other husbands also love their wives, Ashima. (Holds Ashima's hand). Only we cannot afford to build Taj Mahal.
Ashima: Smiles.
I wish all arranged marriages happening in India to turn out to be this beautiful.
I felt like the film went downhill after Ashoke dies.
The best Heart to Heart conversation in the movie: Ashoke: All those years ago, why did you... say yes to me?
Ashima: You were the best of the lot.
Ashoke: Huh?
Ashima: Better than the widower with four children and the cartoonist with one arm. I also liked your shoes.
Ashoke: Oh. Oh, okay, okay.
Ashima: you want me to say, "I love you," like the Americans?
Ashoke: Eh. (surprise)
Ashoke: Huh. (blush)
Ashima: Huh. (tease)
Ashoke: Bright Smile and laughs.
The movie also showcases first generation immigrant parents struggles on foreign land, their family connections, cultural differences, especially between Americanized children's Western thinking and those of their parents who are more conservative and traditional.
I liked the scene where Gogol denies to sit on rickshaw in Kolkata by saying "No, being pulled by another human being is feudal and exploitative."
I also liked the scene where Gogol finds his passion during his unexpected family trip to India. When he visited Taj Mahal and the surrounding monuments he decided to major in Architecture. I guess travelling to new places in general helps us to attain new perspectives and find new interests.
The visit to Taj Mahal also ignited a cute romantic conversation between Ashima and Ashoke in their own way: Ashima: I've always wanted to come here with you.
Ashoke: Smiles
Ashima: Just imagine how much Shah Jahan must loved Mumtaz to make this for her.
Ashoke: Other husbands also love their wives, Ashima. (Holds Ashima's hand). Only we cannot afford to build Taj Mahal.
Ashima: Smiles.
I wish all arranged marriages happening in India to turn out to be this beautiful.
I felt like the film went downhill after Ashoke dies.
- vilasithakarnatapu
- 28. Aug. 2023
- Permalink
I was pretty surprised to see that Kal Penn doesn't actually appear on screen till a third/halfway into the movie...in fact, while Kal Penn has more screen time in the last section of the film, his two parents in the film actually both have equal amounts of screen time as well, as they carry much of the first part of the film which focuses on their relationship and how they met each other, etc. Because of this, the film is somewhat oddly structured and its actual story unveils in sort of smaller ways (ie: the film doesn't really have a goal, etc driving it through each scene) which does make the narrative a little sloppy. But that sprawling sort of feel where we follow the different characters etc is sort of what gives the film its charm and richness in its characters.
I almost kind of couldn't get over the fact that teenage Kal Penn was pretty much Kumar but he does very well in the rest of the film for the most part; it's not a straightforward dramatic role, it has some comedic elements to it and I think he fits the role...I actually thought the namesake element that tied the film together was probably where the film was weakest though...but it was nice to see the story evolve fairly organically throughout rather than being driven in.
While I had issues with the film like said above, a lot of it for me is redeemed by how well this portrays the three cultures - the Indian, the American, and the in-betweens...it's a very very rich film when it comes to culture and it is endlessly fascinating even for that sole reason. And it portrays everything thoughtfully and interestingly, not with the standard stereotypes that might come along - as an Indian woman thanked Nair at the post-film Q&A for portraying the culture accurately and not resorting to the standard "women singing around trees" kind of stereotype.
I thought Tabu was fantastic as the mother, she really pulled off both the younger and older versions of her character well. Kal Penn was decent and it was nice to see the hot Jacinda Barrett in the film for a little bit :p though her character's kinda useless.
While I'm not Indian, I am a Chinese-Canadian who was born and raised in Canada, so I'm in a similar situation to the main character which helped me relate (though my parents are more Canadianized)...
Overall, I enjoyed the film - it isn't without its flaws but I think it's worth a watch.
I almost kind of couldn't get over the fact that teenage Kal Penn was pretty much Kumar but he does very well in the rest of the film for the most part; it's not a straightforward dramatic role, it has some comedic elements to it and I think he fits the role...I actually thought the namesake element that tied the film together was probably where the film was weakest though...but it was nice to see the story evolve fairly organically throughout rather than being driven in.
While I had issues with the film like said above, a lot of it for me is redeemed by how well this portrays the three cultures - the Indian, the American, and the in-betweens...it's a very very rich film when it comes to culture and it is endlessly fascinating even for that sole reason. And it portrays everything thoughtfully and interestingly, not with the standard stereotypes that might come along - as an Indian woman thanked Nair at the post-film Q&A for portraying the culture accurately and not resorting to the standard "women singing around trees" kind of stereotype.
I thought Tabu was fantastic as the mother, she really pulled off both the younger and older versions of her character well. Kal Penn was decent and it was nice to see the hot Jacinda Barrett in the film for a little bit :p though her character's kinda useless.
While I'm not Indian, I am a Chinese-Canadian who was born and raised in Canada, so I'm in a similar situation to the main character which helped me relate (though my parents are more Canadianized)...
Overall, I enjoyed the film - it isn't without its flaws but I think it's worth a watch.
- Chris Knipp
- 16. März 2007
- Permalink
An Indian man takes his new bride to America, where they raise a family and tackle everyday struggles of migration and identity. The Namesake is an exploration of what it means to be Indian and living in the diaspora. At times this is dealt with in a rather obvious and mundane manner, such as when the American girlfriend of second-generation Indian Gogol is too touchy-feely with older Indians, and wears the wrong colour clothes to a funeral. The lack of freshness and imagination in the cultural clashes is compensated for by a depth in charaterisation and subtlety in the depiction of family relations. The cinematography too depicts India as colourful and vibrant, but America is always muted, gray, and at times speckled with snow. India has been left behind for material and career gains, the pictures say, but something soulful and human has been lost in the process. This is slow-burn film, with no huge dramatic arcs, but instead full of the small dramas of day-to-day life authentically and sincerely depicted. This is a love-letter to the Indian experience of migration, diaspora and loss.
- magnuslhad
- 12. Apr. 2017
- Permalink