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The Namesake (2007)
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Reviews Counted:122
Fresh:104
Rotten:18
Average Rating:7.5/10
Consensus: An ambitious exploration of the immigrant experience with a talented cast that serves the material well.
Rated: PG-13 [See Full Rating] for sexuality/nudity, a scene of drug use, some disturbing images and brief language.
Runtime: 2 hrs 2 mins
Genre: Dramas
Theatrical Release:Mar 9, 2007 Limited
Box Office: $13,494,515
Synopsis: Like her previous films VANITY FAIR, MONSOON WEDDING, and HBO's HYSTERICAL BLINDNESS, Mira Nair's THE NAMESAKE is a lush, beautiful film bursting with rich color and visual texture. Based on the... Like her previous films VANITY FAIR, MONSOON WEDDING, and HBO's HYSTERICAL BLINDNESS, Mira Nair's THE NAMESAKE is a lush, beautiful film bursting with rich color and visual texture. Based on the bestselling book by Jhumpa Lahiri, the film follows two generations of the Ganguli family. After wedding via an arranged marriage, Ashima (Tabu) moves with Ashoke (Irrfan Khan) from her native Calcutta to New York. As Ashima struggles to adjust to life in her new home, a true love grows between the newlyweds. When they give birth to Gogol (who does not learn the true origin of his name until adulthood), the Gangolis decide to stay in American for their child's sake, settling in the suburbs and eventually giving birth to a daughter, Sonia (Sahira Nair). While Ashima and Ashoke attempt to balance their new life with Indian traditions, their children have the very different experience of being raised first-generation Americans. With little interest in their ancestry, both Gogol and Sonia disappoint their parents by having little respect for the sacrifices their parents made for them. Gogol's desire to change his name, and his relationship with a wealthy American girl (Jacinda Barrett), places a strain on the family which Gogol will later regret. Here, Penn proves he can play a serious role while still using his comedic skills to great affect. The actor shows impressive range in growing a clueless teen to a man his father would be proud of. Nair's skill at directing can be felt in the film's many great performances. Both Tabu and Irrfan Khan embody their characters so fully that the viewer really feels a personal connection to the story. As the head of the household, Khan's character will subtly make viewers laugh while breaking their heart. Packed with unique characters, THE NAMESAKE offers audiences an outlet into Bengali traditions and the immigrant experience while telling a universal story of family bonds which all parents and children should connect with. Nair excels in what is her most personal work to date. [More]
Starring: Kal Penn, Jacinda Barrett, Irrfan Khan, Zuleikha Robinson
Starring: Kal Penn, Jacinda Barrett, Irrfan Khan, Zuleikha Robinson, Tabu, Sahira Nair
Director: Mira Nair
Director: Mira Nair
Screenwriter: Sooni Taraporevala
Producer: Lydia Dean Pilcher, Mira Nair
Studio: Fox Searchlight Pictures
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Reviews for The Namesake
Impressive performances and handsome cinematography can't stop Mira Nair's "The Namesake" from being a generational epic that is unfortunately lacking in any emotional intensity.
The Namesake, about a Bengali couple who raise their family in New York, is rich in particulars. Yet the emphasis in Mira Nair's film version of Jhumpa Lahiri's best-selling novel keeps falling on the generic.
There's more love and heart in The Namesake than in many Hollywood dramas. I just wish the filmmakers had spread it around. Cross-cultural understanding should be a two-way street.
"The Namesake" is a hurried tapestry of cross-cultural experience that periodically derails due to episodic hopscotching in Sooni Taraporevala's script adaptation of Jhumpa Lahiri's debut novel about.
Nair’s tendency toward touchy-feeliness too often plays like cheap middlebrow pandering.
What should have been a home run for Nair is an unfocused mess of a movie that fails to really capture or keep one's interest.
Mira Nair’s handsome but inert adaptation of Jhumpa Lahiri’s Pulitizer Prize winning novel is another reminder of the fact that some books were not born to be movies.
Nair's film settles for something closer to the surface that makes its dramatic points well and brings Lahiri's characters to life but misses the emotional intensity.
There's elegance in the cinematography and pathos in some of the performances, but the script lacks structure. The movie shuttles between life events, more a snapshot collection of episodes than a cohesive character study.
It's full of good intentions -- too full. Love can sometimes blind you, as it does Nair, who tries to pack in too much of the book.
There were many moments when I found myself wanting to refer to the book to find out what really happened.
The cast as a whole excels, in fact, and the sumptuous cinematography by Frederick Elmes helps rescue a movie that should have been better than it is.
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| 77% 77% | The Hangover |
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