The boy Krishna is abandoned by his mother at the Apollo Circus and she tells him that he can only return home when he can afford 500 rupees to pay for the bicycle of his brother that he ... See full summary »
The film examines the plight of a group of widows forced into poverty at a temple in the holy city of Varanasi. It focuses on a relationship between one of the widows, who wants to escape the social restrictions imposed on widows, and a man who is from the highest caste and a follower of Mahatma Gandhi.
Ashok runs a family business that sells takeout food that also has a video rental store at the side. Ashok's extended family includes his wife Radha, his brother Jatin, their ailing mother ... See full summary »
Macbeth meets the Godfather in present-day Bombay. The Scottish tragedy set in the contemporary underworld of India's commercial capital; two corrupt, fortune telling policemen take the ... See full summary »
A mistaken delivery in Mumbai's famously efficient lunchbox delivery system connects a young housewife to an older man in the dusk of his life as they build a fantasy world together through notes in the lunchbox.
After breaking up with his childhood sweetheart, a young man finds solace in drugs. Meanwhile, a teenage girl is caught in the world of prostitution. Will they be destroyed, or will they find redemption?
It's 1947 and the borderlines between India and Pakistan are being drawn. A young girl bears witnesses to tragedy as her ayah is caught between the love of two men and the rising tide of political and religious violence.
While traveling by train to visit his grandfather in Jamshedpur, Calcutta born, Bengali-speaking Ashoke Ganguli meets with fellow-traveler, Ghosh, who impresses upon him to travel, while Ashoke is deep into a book authored by Nicholai Gogol. The train meets with an accident, and after recuperating, Ashoke re-locates to America, settles down, returns home in 1977 to get married to aspiring singer, Ashima, and returns home to New York. Shortly thereafter they become parents of a boy, who they initially name Gogol, and a few years later both give birth to Sonia. The family then buy their own house in the suburbs and travel to India for the first time after their marriage. The second time they travel to India is when Gogol and Sonia are in their late teens, and after a memorable visit to Kolkata and then to the Taj Mahal, they return home. Gogol falls in love with Maxine Ratliff and moves in with her family, while Ashoke spends time traveling, and Sonia moves to California, leaving Ashima... Written by
The novel's author (Jhumpa Lahiri) and much of her extended family were used in party/funeral scenes for the family in the U.S. because Mira Nair stayed at Lahiri's home and met much of her family. She thought they had a look she was trying to achieve, and that they were lovely people. See more »
While in the International Arrivals area of JFK Airport, Gogol focuses on the holographic photos/art lining the hallway; this is a modern decoration of that area (and that technology wasn't prevalent ~20 years ago). See more »
I saw "The Namesake" at the 22nd October screening at the London Film Festival. Mira Nair introduced the film, along with Nitin Sawhney, who wrote the score.
I admit that I loved the book, and therefore have been looking forward to this film for a while. As a second generation Bengali Brit who was born in India and went to university in the US, I know something about what it means to feel displaced, to be a stranger in a strange land, though I have never felt like an immigrant. I also have the Bengali dilemma of having two names. So the book has a lot of resonance for me.
Fortunately the film does full justice to Jhumpa Lahiri's novel. Cramming a story spanning three decades into two hours without making it feel rushed or contrived takes some doing, and Mira Nair paces it beautifully. The cinematography, the editing (juxtaposing Calcutta and New York), and even the colours of the opening credits are all spot on.
The cast are by and large, superb. Kal Penn does really well as the central character, Gogol. Anyone who has seen him in Harold & Kumar and Van Wilder: Party Liaison may have had reservations about a comic actor (albeit talented) playing this part, but he portrays the character as a confused, vulnerable, and multi-layered young man who ultimately learns to become comfortable in his own skin.
But perhaps the main reason why this story appeals to me to so much is the similarity between the experiences of his parents Ashok and Ashima and what I imagine it must have been like for my own parents when they came to England. Both Irfan Khan and Tabu are excellent. They bring a mix of loneliness, hope and pathos to their roles, people who cannot let go of their past but are prepared to sacrifice everything for their future. Their innate ordinariness is what makes their characters so sympathetic and believable.
Much like Monsoon Wedding, this is a visual and lyrical film. It is an essay on home, and on going home, not the physical place, but the state of mind.
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