The Namesake (2006) 6/10
Ashoke Ganguli (Irfan Khan), a Bengali professor living in New York, marries Ashima (Tabu) and brings her to the United States in 1974. Their American-born son Gogol (Kal Penn) struggles between his family’s traditionalism and his desire to assimilate. Directed by Mira Nair.
The Namesake is a movie struggling to find itself. Although I haven’t read the novel, and so have no idea how close it is to its source, it feels like a movie trying to slavishly follow a novel’s plot and pacing. It has a novels way of rising and falling around events, without a clear flow of character or narrative arc. I wanted to take it apart, shake off the loose pieces, and put it back together with a more sound structure. Almost everything about the movie is appealing except its inability to tell a story.
This is the sort of movie I see all the time and don’t bother to write a full review of. (After all, most weeks I see two or three movies and only review one here.) But it has some very good qualities that are worth discussing. First, of course, is the modern immigrant experience; arriving not on Ellis Island but at JFK International Airport, treated symbolically (if clumsily) in the movie as a sort of waystation; each time the Ganguli family passes through JFK they pass between worlds; between states of being. Ashoke and Ashima are always aliens in their adopted country, their traditions don’t fit in. And looking at it, you can certainly see how most of our traditions didn’t fit in at one point, and how the first generation born here struggled with a foot in each world.
There’s a fascinating anti-feminist feminist component about The Namesake. I realize that sounds contradictory, so hang in there.
In the course of the movie, there are two women in Gogol’s life. They are incredibly poorly-written characters, stereotypes of Evil Feminists or Evil Modernism or something else Evil and Female. Their evils are variously independence, informality, premarital sex, wearing short skirts, and disrespecting tradition. The feeling at the end of the movie, when the family comes to a particular sort of resolution but the Evil Women are cast aside, is of misogyny.
Rethinking my position involves spoilers about the end. Continue at your own risk.
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