The Reluctant Fundamentalist - Tage des Zorns

This movie challenged my views of American policy. I thought that it was definitely written with an Indian audience as the demographic it would do best in. We had an opportunity to listen to the Director (Mira Nair) speak about this and her other movies. She told us "This movie is intended to start a conversation", and that it does. If you are a Hollywood / blockbuster fan you probably will not enjoy this as much. If you are open- minded, watch film for more than just entertainment, and like Bollywood / Indian film, this is for you. I think that just as 20 years ago film depicting disability, or sexuality was far less popular such is true about a film that illustrates a point of view that's not that of a gun toting American.

Off late, it seems that there's a new genre of films, both in India and in the West. As varied as they may be in their narratives, they share certain broad elements-a Muslim immigrant to the West facing the hostility and suspicion of a post-9/11 world and gradually becoming disillusioned with the once sought-after Western way of life and seeking solace in his/her own roots. 'The Reluctant Fundamentalist' is the latest addition to that particular genre and yet, unlike many of the others, it doesn't have a lot to do with terrorism. Sure, terrorism and its consequences do drive the plot to a significant extent; but above all, this is a very human story about identity, self-doubt, and internal conflict.

The protagonist Changez Khan is a man living in two worlds, and throughout the story, he is never really able to pick a side, despite his assertion that his side has picked for him. In that regard, he is perhaps the most realistic reflection of a modern Muslim youth placed in a similar situation. Without spoiling anything much, I will say that this isn't your sundry story about young people feeling victimized and turning to radicalism-this is something far more complex...something you need to see the whole movie to truly appreciate.

Riz Ahmed does a great job portraying the multi-faceted and conflicted protagonist Changez, and Liev Schreiber is brilliant as Bobby Lincoln, the enigmatic American whose conversation with Changez forms the backbone of the narrative. Less impressive is Kate Hudson as Changez's American lover Erika.

As soon as I saw the early credits running right to left I was grabbed by the intelligent Mira Nair, then the rousing singers, sumptuous visuals, disparate actors woven together in this complex, compelling story... wow. The Reluctant Fundamentalist is why I love cinema. This movies imperfections are perfection.

I read Mohsin Hamids exquisite book prior to viewing this fine movie and I almost side- stepped this movie because I didn't feel Hamids books subtle yet intense conversation would be translated onto the big screen. How wrong I was - thank you Mira Nair and all those involved.

I walked out of this movie and clicked my heels - the sun was shining and the world was travelling just fine in far more places than most realise.

For those who have read Mohsin Hamid's brilliant novel on which this film is based the story will be easier to follow than the somewhat disconnected screenplay that was written by Hamid with Ami Boghani and William Wheeler. Mira Nair directs, and knowing her previous work suggests that it is this very disconnect that she wishes to emphasize in this profoundly moving film - in these times of global unrest and fear because of terrorist acts we don't know who to trust and who to dislike, but the answer is that there is no right or wrong. Nair achieves this by beginning her film with a conversation between an American journalist Bobby (Liev Schreiber) and a Pakistani professor Changez (Riz Ahmed) in a setting of high tension in a bar in Lahore and our initial belief is that the Bobby represents the core we trust and with whom we identify, that Changez is the unknown 'different culture' stranger who is suspect. In the course of the film that position is deeply altered. And that is where the power of the message is so affecting. But we must go through flashbacks of eleven years to understand the real drama.

Changez Khan (the very handsome and very fine actor Riz Ahmed) lives with his poet father Abu (Om Purl) and mother Ammi (Shabana Azmi) in Pakistan. The family is poor but educated and Changez decides to go to America to find his place in the corporate world of money and success - and help support his family (his sister is ready to marry but the family can ill afford a traditional wedding). Changez arrives in America, attends university, and rises rapidly, gaining a position with a Wall Street company that specializes in financial advising for business internationally. The head of the company Jim Cross (Kiefer Sutherland) personally picks Changez after testing his skills and sends Changez on missions to the Philippines etc where he examines the finances, cuts waste (and jobs of workers) and makes the businesses run efficiently, increase profits, but sacrificing the working class. On one such mission Changez is asked to analyze a publishing house in Istantbul, the owner Nazmi (Haluk Bilginer) has translated Changez' fathers poetry into Turkish, and pleads with Changez not to destroy his publishing house. Cross demands Changez shut it down and Changez refuses and submits his resignation. As he prepares to pack to return, jobless, to the US he is watching television and the twin towers of 9/11 are being attacked. His attempts to return to the US are met with police and airport interrogations since he is not a native born American, and this allows the viewer to witness the horrible and demeaning treatment 'foreigners' received in the wake of 9/11.

Changez does return to New York and has another setback with his photographer artist girlfriend Erica (Kate Hudson), herself deeply bruised by the loss of her lover in a car crash she caused in the recent past, who has an art opening that includes videos and images of bits of conversation she has shared with Changez - information which in the exhibition further underlines the concept of Changez as a potential terrorist. Changez flees to Pakistan, becomes an anti-violence but fiery professor whose students seek to rid their Pakistan of the American intruders. And this is where the conversation at film's beginning ultimately makes sense (it is now 2011). The manner in which the film ends is left for the viewer to experience. As in the book there are many sidebar stories and characters that underline the stories of both Bobby (who has been talked into joining the CIA) and Changez who moves from his love of the American Dream and his sweetheart, to his spiritual commitment to his Pakistan. These characters, as well as many others in this film, allow us to see there is no one way to view acts as right or wrong. It is all perception and hopefully this brilliant film will assist us in understanding the confusion that deeply affects us all everyday as we walk around the topic of terrorism. Grady Harp, May 13

Four years after I read the impressive novel by Mohsin Hamid, I went to see the film which is based on the book. I wondered how a novel, which is essentially one long monologue by an educated Pakistani called Changez Khan with no other voices whatsoever, would be turned into a big screen offering but reckoned that, if they could do it for such complex works as "Life Of Pi" and "Cloud Atlas", it could work for Hamid's subtle narrative. So it proved.

The 'conversation' in Lahore has been effectively opened out with shooting not just in Pakistan and India but the United States and Turkey, while very effective use is made of music, starting with a dramatic opening scene. The essential clash of cultures, via a confrontation between the reluctant fundamentalist (played by Riz Admed) and the ambiguous American Bobby (Liev Schreiber), is retained, but the film is less opaque than the book, with it being (eventually) much clearer where the two main protagonists stand in the 'war on terror'.

Although the political messages are signposted more simplistically in the film than in the novel, this is still a work that challenges preconceptions about the capitalist West and the religious East and ultimately about ends versus means and good versus evil. Considerable credit should go to Indian director Mira Nair ("Monsoon Wedding" - another culture-conflict movie) and, as well as the excellent main roles, there is strong support in minor roles filled by Kiefer Sutherland and Kate Hudson. Although the turning point for Changez is the attack on the Twin Towers, subsequent events in Afghanistan, Iraq and elsewhere have only served to underline the need for a better understanding of what motivates fundamentalism and how best it should be opposed.

So do see "Zero Dark Thirty" (which I thought was excellent), but also take the trouble to find the much less high profile film "The Reluctant Fundamentalist". At one point in the movie, Changez is asked by an American official: "How do you feel about the United States of America?" It is not a simple question. This film does not offer a simple answer.