The Observer, March 30, 2007
Volume XXXIX, Issue 22
Adaptation of The Namesake beautiful
As a summer filled with big-budget sequels sets in around us, a few promising film adaptations of truly beautiful novels give audiences hope for a deeper movie experience than Saw IV ever could. One such adaptation, The Namesake, directed by Mira Nair, stands as a raw, deep, often gut-wrenching look at love and what it means to be an immigrant in America.
Based on the award-winning novel by acclaimed author Jhumpa Lahiri, The Namesake has many good things going for it. Where the movie marvelously succeeds is in its portrayal of the challenging yet misunderstood love between Indian immigrants Ashema and Ashoke Ganguli, brought together through an arranged marriage. Yet many of the missteps in the film result from too much dependence on Kal Penn, clearly a few leftover winks and open jaws away from establishing himself as a legitimate dramatic actor.
The first half of the film is absolutely beautiful and haunting. The concept of an arranged marriage is foreboding to our American culture, grounded in the belief of forced hands and suppression of true love. Nair shows the true side of most arranged marriages in India. Cautious glances and uneasy admiration between Ashema and Ashoke slowly blossom into a powerful and dependent relationship. As Ashema is grilled by Ashoke's parents as to how she can leave all her family, friends, and life in India to go halfway across the world to the cold, mean streets of New York, she merely smiles and says, "He will be there, won't he?" while gesturing to an equally nervous Ashoke. Love is not all about public displays of affection and lust. Ashema and Ashoke learn about each other and argue, yet remain steadfast to helping each other adapt to a new country. Shots of cold, dark Queens, N.Y. are a stark contrast to brightly colored, vivid India. Lingering shots of facial expressions, a touch here or there, simple words – These are the only things needed by Irfan Khan and Bollywood star Tabu to perfectly exemplify true love. Khan is especially touching, breaking your heart as the ultimate loving father every time he smiles or talks sweetly to his wife or children.
The Namesake is powerful and touching and will especially resonate among the children of immigrants, who so often tease and think they understand the relationship between their parents. Mira Nair gives us love immersed in honor, tradition and respect. It seems so pure and so right that audiences will be left longing for their culture, whatever it may be, wanting to call their fathers in their native tongues and explain how they understand how hard he worked for them and that they love him for it. As Ashema and Ashoke welcome their son Nikhil "Gogol" Ganguli (Penn), the story loses the slow, blossoming cinematography and pace that gave it a pure feeling. As more and more of the novel seems to be crammed into the story and lessons are thrown on the table by the minute, it tarnishes the beauty of the first half.
As Nikhil, affectionately dubbed Gogol by his parents, grows up, he suffers from an identity crisis as his parents preach family and Indian culture at home and he learns of self-preservation and the concept of every man for himself outside the home. Penn has played this role before, an American-born Desi who smirks and mocks his way into audiences' hearts while remaining true to his Indian culture in films such as American Desi.
Yet Gogol seems to be a deeper character, one who loves his father and possesses a wealth of knowledge that can't seem to match up with a traditional commitment to family. It is only tragedy that opens Gogol's eyes and it requires a certain amount of introversion and thought. Kal Penn can't seem to get past his frat-boy Taj routine when delivering his lines. The outside-looking-in view of Caucasian America is emphasized well through Australian model Jacinda Barrett's portrayal of the sexy, blonde Maxine, who never really understands why "Nick" is so different around his parents, and why he remains devoted to them. The misguided and ugly relationship between Gogol and his Bengali wife Moushumi serves as an effective and stark contrast to the true love felt between Ashema and Ashoka.
This film can be enjoyed by all, but will really hit deep with those who have first hand experience with the issues The Namesake explores. Discussion about feelings and emotion is often the exception in first generation households, and this film relies heavily on imagery and soft dialogue to convey the powerful message that love is what keeps these homes together. The concept of remembering your heritage and home country is also nicely done, portraying India as a utopia on earth.
A lot of the deeper points and aspects to look at in the novel, such as coming-of-age, establishing an identity, and overcoming tragedy, are clearly not as well developed in the film and seem to be thrown inside the film in order to remain true to the novel. Take in the beautiful scenery of India, enjoy the eclectic blend of traditional and contemporary Indian/hip hop music by Nitin Shawney, and pick up the phone after the film ends and tell your parents how much you love them. Romance and true love will never be confused again.
