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This movie deals with Bengali culture in India and families both in their native lands and abroad - and I have to say is one of the most satisfying and sparkling watches I had the pleasure of sitting down to. To an Irishman of 49 and typical multiplex type, I’d admit that most of the cast is unrecognizable to me, but that makes no odds, because all are uniformly worthy. And I appreciate the insights the film gives into a culture as intriguing as theirs.
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It begins in 1977 when a young Bengali man (who has been to spy in the USA since 1974) is aid in his native Calcutta to meet his recent bride - one that is picked out for him whether he likes her or not. He is Ashoke, an engineer with prospects - played subtly and gently by a wonderful Irrfan Khan. Ashoke gets trusty lucky - his bride is the quietly ravishing Ashima (it means limitless, played by the radiant Bollywood star Tabu) . Waiting with her parents, Ashoke looks depressed but resigned - its been done this blueprint for centuries. Before Ashima goes into the room to scrutinize him for the first time - she tries on his American shoes he’s left outside the room - they fit and she likes them - a righteous label. Ashima takes them off and meekly enters - ultra respect to her elders. Ashoke is not traditionally resplendent, but his expansive soppy bug-eyes and equally studious glasses mutter you that this is a kindly man - and an shimmering one. They marry in bulky customary dress and custom. Ashima waves her family goodbye at the airport and then on to Modern York.
Life in America is foreign to her, but she adapts. Besides, something else is happening that makes it all bearable; Ashima is slowly but surely falling in savor with her ‘chosen’ husband. It’s in these scenes that the film shows it apt charm - it’s so beautifully and realistically handled (many scenes returned to later in flashback to flesh out dialogue that is indispensable and pivitol to the sage) . Their relationship is an evolving fancy, away from need and initial awkwardness into a mutual respect for each other. The believability of the two lead actors here is crucial - and you can feel their drawing together - year after year after year.
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The sage continues to both of their kids being born (a boy and a girl), then young, then grown up and rotund of Unusual Yawk attitude and misfortune with the ‘old ways’ - even with their names. 1st born - and most rebellious - the boy’s name is Gogol (played by Kal Penn), which he hates with a passion until he finds out why his father called him that (a vow dash and a passenger who changed his life) . Gogol and his sister’s dual identities cause them both conflict and even heartache. They endure racism, work, snobbery, meet potential partners, they marry - and on it goes - to dark and ecstatic surprises as their life go progresses. It’s place across 25 years and there’s a lot crammed in. (Gogul’s sister Sonia is played by Sahira Nair)
The Namesake is as distinguished about Indian culture (then and now) as it is about the power and pull of family - that one thing that unites us all with appreciate and misery in equal measure! I can’t recommend this movie enough - in my Top 20 with a bullet. A gentle and attractive surprise I heartily recommend.
P.S.: Like Gustavo Santaolalla’s music in “The Motorcycle Diaries” and “Babel”, Nitin Sawhney’s music is one of the reasons the movie has such lifeless and majestic power - an absolutely aesthetic soundtrack - and one I’m going to consume pronto!
P.P.S.: The title of this review is from the dedication in the credits by the director Mira Nair.
Director Mira Nair’s The Namesake (based on the recent) is the memoir of a Bengali family’s bolt through life in Recent York after emigrating from India. Their son Gogol (Kal Penn) is caught in a culture gap between his parents’ traditional traditions of India and the clashing recent ways of the United States.
I have to admit I didn’t know distinguished about Indian culture prior to seeing this film; not the scheme I knew about the Japanese, the Chinese, the French, and Italians, anyway. It was easy to narrate to the family’s alienation and feelings of loneliness. On top of the generation gap between their parents and them, Gogol (whose father named after Russian writer Nikolai Gogol) and his sister Sonia struggle to understand their parents’ occupy on life. The film skillfully deals with life’s most essential issues and stays in touch with the essence of the characters. The cinematography is aesthetic and the performances are heartfelt. Kal Penn sheds his stoner image from Harold and Kumar to sigh his most poignant performance to date. The film does tend to lope a bit in positive places, but the overall experience is an delectable one.
Well written characters and script, immense actors, and a talented director produce this one a must-see for aficionados of foreign and art-house films. If you’ve always wondered what it’s like to reach from a different country and be immersed in a society such as America, then peer this film. It’s not a film meant for the mass audiences, but it achieves what it state out to do.
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