The tale of an immigrant
RAJ S. RANGARAJAN
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Mira Nair's `The Namesake,' takes a look at the emotional and psychological effect of immigration.
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If you haven't heard or read about `The Namesake,' you perhaps don't watch movies. The buzz on this new film — set in Kolkata and New York — directed by Mira Nair and featuring leading lights Tabu and Irrfan Khan, has been so phenomenal that box office revenues have crossed the million mark in North America alone in record time.
But, with immigration a live theme in different parts of the world and with Indians genuinely concerned about their visa statuses or lack of it, it is surprising that the movie did not create muchofa stir within India.
Whether you are an immigrant or not, whether you watch the film in Kolkata or Kentucky, `The Namesake' provokes you to think. It touches on one's personal experiences and straddles the cultural divide emotionally and psychologically.
In several ways, it makes you think of your own journey to another land and perhaps concomitant assimilation. With the global village more than a concept now the aspiration to become a citizen of another country, especially if that country is America continues to fascinate people.
Arranged Marriage
The Gangulis from Kolkata settle in Queens, New York in the 1970s after a traditional marriage. Parents Ashoke (Irrfan Khan) and Ashima (Tabu), who crave for the family bonds that India offers, mostly succeed in attaining their peace in a foreign land.
But not surprisingly, their son Gogol (Kal Penn) finds it difficult to reconcile to his way of life in America and to his name: Gogol — a non-American, non-Indian name.
Gogol is torn between two cultures and has to constantly struggle between his own identity in the U.S., and the heritage he was born into. At some point he changes his name to Nikhil and after his father's sudden death shows more understanding and responsibility as the first-born son, and in his relationships.
Ashoke names Gogol after the Ukrainian author Nikolai Gogol whose books he loves and there is a flashback scene involving a train wreck when Ashoke reveals to his son why he was named Gogol. Its interesting, Nikolai's actual surname was Lanovskii, but reportedly the writer's grandfather had taken the name "Gogol" to claim ancestry as a noble Cossack.
Ashoke's advice to the son about holding on to family traditions and about taking ownership of his life seems passé even in the America of the 1970s when the lacuna between generations was apparent and when the racial, cultural and ethnic mix was slowly being accepted, though grudgingly.
In the movie, professionals are in charge such as Mira Nair, Tabu and Irrfan Khan, not to take away the superb efforts by screenplay writer Sooni Taraporevala or from Pulitzer-winning author Lahiri's credits.
One expected Kal Penn to show theatrical magic considering that he has been adept at playing supporting roles well (`A Lot Like Love' with Ashton Kutcher, Amanda Peet;and `Harold and Kumar Go To White Castle'), but that didn't happen.
Touching Performances
Tabu (`Maachis,' `Virasat') has performed commendably as a lead and Irrfan Khan (`Salaam Bombay,' `Maqbool') plays a typical Bengali "babu." with his true-to-life Bengali character. Mira Nair's directorial stamp shows.
The Ashoke-Ashima-Gogol shot with The Brooklyn Bridge in the background must evoke nostalgia for Kolkata residents since it is an obvious reminder of the Hoogly.
The storyline is a classic immigrant reminder — one where newcomers continue to deal with the present without attempting to forget or ignore the past — something that all immigrants have faced whether they go to America (Indians) or Germany (Turks) or Canada (Sri Lankans).
In places it seems to resemble émigré stories, although no Indian perhaps moved to America for political reasons.
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