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In
terms of movies, many of us will still only go to see those that the
critics – your local newspaper reviewer, the TV critics, and the guy on
the radio – say are good. If they say something’s terrible, most likely
we’ll skip it like a pregnant lady does the flu-shot. It’s a pity,
because those folks are robbing us of some fine movie experiences.
Not
only is everyone different, and therefore not everyone is going to
enjoy the same movie, but some people will be able to relate to a movie
where some people won’t be able to. Most of the critics that saw Mira
Nair’s The Namesake
obviously didn’t recognize the tune it was playing. They didn’t
recognize the themes of snubbing one’s heritage, finding one’s identity
and place in the world or the many methods of grieving because, well,
otherwise, it’d definitely have made their best-of-the-year lists.
If you’re looking for a film with complete resolution, The Namesake
isn’t it – and that’s probably one reason why the critics took it
apart. It’s a film that – in some respects – leaves you hanging to know
what becomes of the central characters. In this case, that’s the only
ending it could have – because, as the film reminds us, life goes on.
The third-act shouldn’t be an open and shut case.
But more so,
critics savaged it because it “wasn’t as good as the book”. Yep, that
old can of worms. Never has a book been turned into a film that’s an
absolute clone of the former – it’s impossible. Trying to condense a
coupla hundred pages into a couple of hours of film is not only a huge
task in itself, but it’s unavoidable that some bits are going to be
left out. You can, for all intents and purposes, only include the
important stuff.
Based on the book by Jhumpa Lahiri, The Namesake
tells the journey of an Indian family living in America. We view Mum
and Dad’s struggle in the new terrain, and later, are introduced to
Gogol (named after the author), their eldest son, who not only seems to
loathe his name but has a little to do with his family as possible.
When tragedy strikes, it serves as his wake-up call.
Me, I’ve
never read the book. I’m not an Indian living in America, either. Could
I relate to the film? Did I get something out of it? My word yes! This
is a touching and effecting tale of a man – Indian or not – trying to
make his way in the world. It takes him a while to find his place, but
he finds it. Just as we all do.
Here is a film with emotional
resonance and compassion that combined with some poignant performances
– especially by funny man, Kal Penn, in a rare dramatic role – will
make anyone question those early reviews.
EXTRAS
Among the extras – which include commentary, deleted scenes and so on –
is an enlightening and enjoyable featurette where the filmmakers went
to a university and sat down with the students to inform them what went
into making the movie. This honest and frank piece has Nair, her
producer and cinematographer, all informing the wannabe filmmakers
about financing a film, lightning a film, and anything else they dare
know. Conclusion:
Movie 80% Extras: 60%
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