The Namesake Reviews

• 'We all come out of Gogol's Overcoat'

  
  By A328S9RN3U5M68 on 2008-09-23
  Jhumpa Lahiri's very popular novel THE NAMESAKE has been successfully adapted for the screen by Sooni Taraporevala and the gifted director Mira Nair has gathered a fine cast to capture the spirit of the original story of family commitment despite cultural changes and challenges. Some of the novel's impact is lost on the big screen, but the tender message remains at the end.
  
  In India a gifted young singer Ashima (Tabu) follows her family's rules of matchmaking and marries the quiet Ashoke (Irfan Khan), and soon after the wedding festivities are over the couple depart to New York for Ashoke's career. The cultural and climate changes are a shock to both, but their marriage soon produces a boy child who, instead of being named traditionally by the grandmother in India, has to have a name assigned in the New York hospital in order to be released with a birth certificate. Out of desperation, Ashoke decides to temporarily name him Gogol (Ashoke's favorite author)-played as a child by Sohan Chatterjee - , and the family of three soon becomes a family of four with the arrival of their daughter Sonia (Sahira Nair). While the parents maintain the customs of their Bengali heritage, the two children struggle with adapting to their preferred life in America and the conflict between parent and child is magnified by the cultural disparities. As young Gogol grows toward manhood (now Kal Penn) he favors Western ways and becomes involved with a non-Indian girl Maxine (Jacinda Barrett) and her family. Gogol tires of the critical comments about his name and decides to change his name to the more traditional Nick- further evidence of his separation from his background. But family tragedies occur and Gogol finds himself drawn to his mother and to his roots. When Gogol's father dies, the significance of his family grows even stronger and being unable to identify with Maxine and her family, he instead agrees to 'date' a Bengali girl from his past - Moushumi (Zuleikha Robinson) has blossomed from the frumpy bookworm into a beautiful and experienced woman. They marry, keeping to Indian traditions, but the marriage is rocky and in the end Gogol discovers that his true happiness is in the rich family history and beauty of his native India.
  
  There are moments of rare beauty, both cinematically (camera work is by Frederick Elmes) and emotionally (musical score is a lovely creation by Nitin Sawhney), and while the film is somewhat brittle at times due to the occasional bilingual nature of the script, the main characters are portrayed by such strong actors that the little flaws become unimportant. It is well to have so many films that deal with the immigrant experience at this particular juncture in our history, and when that theme is enhanced by the beauty of authors such as Lahiri, the messages become even more poignant. Grady Harp, September 08
  
  

• "For Our Parents - Who Gave Us Everything"

  
  By A129YBX5BVNW2 on 2007-08-14
  This movie deals with Bengali culture in India and families both in their native lands and abroad - and I have to say is one of the most satisfying and beautiful watches I had the pleasure of sitting down to. To an Irishman of 49 and typical multiplex type, I'd admit that most of the cast is unrecognizable to me, but that makes no odds, because all are uniformly superb. And I love the insights the film gives into a culture as fascinating as theirs.
  
  It begins in 1977 when a young Bengali man (who has been to study in the USA since 1974) is back in his native Calcutta to meet his new bride - one that is picked out for him whether he likes her or not. He is Ashoke, an engineer with prospects - played subtly and gently by a fantastic Irrfan Khan. Ashoke gets real lucky - his bride is the quietly beautiful Ashima (it means limitless, played by the gorgeous Bollywood star Tabu). Waiting with her parents, Ashoke looks uncomfortable but resigned - its been done this way for centuries. Before Ashima goes into the room to see him for the first time - she tries on his American shoes he's left outside the room - they fit and she likes them - a good sign. Ashima takes them off and meekly enters - ultra respect to her elders. Ashoke is not traditionally handsome, but his big soppy bug-eyes and equally studious glasses tell you that this is a good man - and an intelligent one. They marry in full traditional dress and custom. Ashima waves her family goodbye at the airport and then on to New York.
  
  Life in America is foreign to her, but she adapts. Besides, something else is happening that makes it all bearable; Ashima is slowly but surely falling in love with her 'chosen' husband. It's in these scenes that the film shows it true charm - it's so beautifully and realistically handled (many scenes returned to later in flashback to flesh out dialogue that is important and pivitol to the story). Their relationship is an evolving love, away from need and initial awkwardness into a mutual respect for each other. The believability of the two lead actors here is crucial - and you can feel their drawing together - year after year after year.
  
  The story continues to both of their kids being born (a boy and a girl), then young, then grown up and full of New Yawk attitude and difficulty with the 'old ways' - even with their names. 1st born - and most rebellious - the boy's name is Gogol (played by Kal Penn), which he hates with a passion until he finds out why his father called him that (a train journey and a passenger who changed his life). Gogol and his sister's dual identities cause them both conflict and even heartache. They endure racism, work, snobbery, meet potential partners, they marry - and on it goes - to sad and joyful surprises as their life journey progresses. It's set across 25 years and there's a lot crammed in. (Gogul's sister Sonia is played by Sahira Nair)
  
  The Namesake is as much about Indian culture (then and now) as it is about the power and pull of family - that one thing that unites us all with love and misery in equal measure! I can't recommend this movie enough - in my Top 20 with a bullet. A gentle and beautiful surprise I heartily recommend.
  
  P.S.: Like Gustavo Santaolalla's music in "The Motorcycle Diaries" and "Babel", Nitin Sawhney's music is one of the reasons the movie has such slow and majestic power - an absolutely gorgeous soundtrack - and one I'm going to buy pronto!
  
  P.P.S.: The title of this review is from the dedication in the credits by the director Mira Nair.
  
  

• An interesting look at a different culture

  
  By A3GI6DS6I474K8 on 2007-03-28
  Director Mira Nair's The Namesake (based on the novel) is the story of a Bengali family's journey through life in New York after emigrating from India. Their son Gogol (Kal Penn) is caught in a culture gap between his parents' old traditions of India and the clashing modern ways of the United States.
  
  I have to admit I didn't know much about Indian culture prior to seeing this film; not the way I knew about the Japanese, the Chinese, the French, and Italians, anyway. It was easy to relate to the family's alienation and feelings of loneliness. On top of the generation gap between their parents and them, Gogol (whose father named after Russian writer Nikolai Gogol) and his sister Sonia struggle to understand their parents' take on life. The film skillfully deals with life's most important issues and stays in touch with the essence of the characters. The cinematography is beautiful and the performances are heartfelt. Kal Penn sheds his stoner image from Harold and Kumar to deliver his most poignant performance to date. The film does tend to drag a bit in certain places, but the overall experience is an enjoyable one.
  
  Well written characters and script, great actors, and a talented director make this one a must-see for aficionados of foreign and art-house films. If you've always wondered what it's like to come from a different country and be immersed in a society such as America, then see this film. It's not a film meant for the mass audiences, but it achieves what it set out to do.
  
  

• Truly Universal and Cathartic Adaptation of Lahiri's Time-Spanning Novel

  
  By A13E0ARAXI6KJW on 2007-03-10
  Meticulously observed and wonderfully heartfelt, this time-spanning 2007 family dramedy represents a return to form for director Mira Nair, who faltered somewhat with 2004's elaborate but lugubrious "Vanity Fair". This one is also a literary adaptation but this time from a contemporary best-seller by Jhumpa Lahiri, who wrote an emotionally drawn story about first generation Bengali immigrants to the United States and their U.S.-born children. It's an intricate book full of careful nuances, and Nair, along with screenwriter Sooni Taraporevala, captures most of them in a most loving manner. The story speaks fluently to the universal struggle to extricate ourselves from the obligation of family and a perceived enslavement to the past. Nair and Taraporevala manage to transcend the necessarily episodic nature of the novel to make it an involving journey toward self-acceptance.
  
  The film initially focuses on Ashoke Ganguli and his arranged marriage to Ashima, a classically trained singer. The young couple move from Calcutta in 1977 to Queens in order for him to pursue his career as an electrical engineer. The adjustment is difficult, especially for Ashima in assimilating into the often cold U.S. culture, and these quiet scenes show a keen eye for subtle observation. They quickly have two children in succession, son Gogol and daughter Sonia. Gogol's name is the key plot point as he was inadvertently after Ashoke's favorite writer, Nikholai Gogol, and this is revealed to have greater significance as the story unfolds. Eventually, the film switches the perspective to Gogol's as he grows up, changes his name to Nikhil and starts his life as a yuppie architect in Manhattan.
  
  At the same, the film does not abandon Ashoke and Ashima as they remain significant figures in shaping Gogol's destiny, especially as the impact of a tragic turn brings unexpected changes. The cathartic aspect of these scenes is what makes the film powerful. Moreover, with her filmmaking experience in her native India and the U.S., Nair brings a seamless fluency to both locales. The movie falters a bit toward the end when it starts to ramble and feel pat, but the story's old world gravitas rescues it just in time. Beforehand I was convinced Kal Penn would be the spoiler in this film, but he gives a sharp, dedicated performance as Gogol. Poised to be taken seriously as an actor even amid his White Castle and Van Wilder movies, he seems a bit exaggerated only in the early teenage scenes which recall those other movies.
  
  However, it is the superb work of Irfan Khan and Tabu as his parents that make the film soar. Both bring a level of assurance and compassion that ground the film completely, especially Tabu who makes the seemingly modest character arc of Ashima really striking. Playing yet another variation of the spoiled American girl, Jacinda Barrett again proves how fearless an actress she can be in exposing the vanity and ignorance of Maxine, Gogol's first serious girlfriend. As Moushumi, the Bengali girl who comes with the family's seal of approval, Zuleikha Robinson has a ripe presence to match her character's aspiring worldliness. Cinematographer Frederick Elmes and production designer Stephanie Carroll provide masterful work in capturing the diverse flavors of the different locales. This film is for anyone who has struggled to forge his or her own identity only to find the need to embrace the past, especially those of us who have parents who displayed the courage to move from their native lands.
  
  

• Why must I have the name of a lonely depressed suicidal writer that nobody knows?

  
  By A3NH7PYU4AD5GA on 2008-08-10
  Another nice little movie by Mira Nair, based on a nice little novel, which was surprisingly successful in the US, about a Bengali immigrant family somewhere on the NE coast.
  Everything is normal about the story: the marriage arranged by the parents, the small family life somewhere N of NY, the teaching career of the husband, an optical fibres scientist; the growth of the family: first a boy, then a girl; the death of parents at home in Calcutta; growing middle class wealth, kids growing up and alienating; mother with part time job in library and terribly lonely away from family and the real home. The new home never feels home. For the kids, the old home never feels home.
  The title refers to a train accident that the father survived in India, before he went to the US and before he got married. He is reading the 'Overcoat' in a collected Gogol volume, when the crash happens. This leads later to the name Gogol for the baby boy, meant as a temporary one until the decision from Calcutta arrives, but it sticks. The boy first overrules his parents' wish to officialize Nikhil, as at that time he doesn't want to be Nicky, but keeps Gogol. Later, when fashions have changed, he has become the young architect called Nick, while the parents have switched to calling him Gogol rather than Nikhil.
  Nothing dramatic outside the ordinary lives of immigrant families. A very nice movie, as usual from this director.
  By the way, when Nabokov had immigrated to the US, one of his first English books was a monography on Gogol, not quite a biography. Must read it again and review it.
  
  
  
• Sometimes Universal Themes Work Wonders
  By A2ATWKOFJXRRR1 on 2007-03-28
  Films with universal themes run great risks. Mostly this risk entails descending into that pit known as cliche. Many films have done it and fallen victim, but THE NAMESAKE uses its universal theme to great advantage, never disguising what it is and how important it can be.
  
  The theme is family and how vital they are to our core existence. They shape every part of us, from childhood on, for better or worse. They create a sense of belonging, even when we're apart, even when separated by oceans. They give us our early identity, and even our names.
  
  Most of us don't think about how tough it is to name a human being and how we lug that title around with us for the rest of our lives. But in The Namesake, director Mira Nair ( of MONSOON WEDDING fame) gives us Gogol Ganguli, a name of substance and importance, but not necessarily important to its owner.
  
  The Namesake is a tri-generational story of a Bangladeshi family. The film starts with the beautiful Indian singing of Ashima (Tabu). Her initial goal in life is to become a great artist/singer. But family concerns override her plans as she returns home to find a marriage arrangement being put forth for her. Her parents introduce her to her future husband, Ashoke (Irfan Khan), an architect who's been studying and living in America. The marriage takes place and Ashima accompanies her new husband to New York ("Half a world away"). She immediately begins missing her family but her forlorn attitude is whisked aside as Ashoke teaches her the ways of the City. She becomes pregnant with her first child, Gogol. The naming is tricky because normally it is done by an elder from within the family (all of whom are still in India). So Ashoke names him after one of his favorite authors (Nicholas "Gogol", a famous Russian writer). Gogol bares the name with disdain, never fully realizing its importance (one of Nicholas Gogol's books actually saved Gogol's father's life after a fatal train accident in India many years before). Gogol eventually changes his name to Nick, thus ending his family's tradition of keeping an appropriate Indian name.
  
  It is this Americanization that is most troubling throughout the film. It invades the very fabric of what Gogol's family represents. Although not entirely without merit (America does give him a good education and a nice job), the culture of his parents seems stilted and uncool. As Gogol (and eventually his sister) grow into adulthood, they search for love in America, and find it via Americans. This is also another blow to Ashima and Ashoke (Gogol's mother and father). Americans live in the fast lane and often have to choose between one spouse's family over the other. This comes into sharp contrast as Gogol begins dating a beautiful blonde American named Maxine (Jacinda Barrett, POSEIDON). Maxine's pull is strong and forces Gogol to drift farther away from his roots. His parents call and call but never hear back. It takes a devastating family event to get Gogol back on track and it is this that gives the film its emotional heft. Tear-jerking and non-forced, this event was played perfectly and surprised everyone in the audience (all the movie patrons gasped around me when it occurred, a true tribute to this film's masterful weaving of the family theme).
  
  The movie's arc is also well done. It ends just as it begins, with the focus on understanding family and what it means to move on when the time comes, but to never forget where you've come from.
  
  
• A Keepsake
  By A3EE0H0NWQ9QVL on 2007-11-28
  `The Namesake' has several tug-of-wars going at once. Like many immigrants coming to America, there is a draw to the freedoms and folkways of our country while trying to retain the best of the culture they have left behind. Ashoke and his wife, Anshima, leave India to find adventure in the U.S. Starting a family, he names his son Gogol after a friend's favorite Russian author, Gogol Nikolai. Like many second generation Americans, Gogol (Kal Penn of 'Harold & Kumar Go to White Castle' Harold & Kumar Go to White Castle (Unrated Edition) (UMD Mini For PSP) tries to fit in socially with his friends. He listens to Pearl Jam, immerses himself in university life, and socializes with his peers. Despite all his company, his name causes him great insecurity and some insensitive jokes. Against his parent's wishes, he changes it to Nick and dates Maxine, an American girl of Northern European descent. However, changes in his life make him embrace his ancestry more enthusiastically.
  
  Later, he dates an American who shares his Indian heritage only to find this brings complications as well. When his father's health falters, he finds himself drawing near to his family. Before his father's health fails, the family goes to India where Gogol discovers the Taj Mahal and the modest residences of relatives in India. It is only later that he uncovers the real treasures of his thoughtful name and the wisdom of his father's words, "There are no accidents." Gogol must live with all these dichotomies with America his home, but India his family`s tradition--and the family members who are scattered about and affected by life's changes. How he chooses between whom he dates and where he lives and draws meaning in life is a revelation for us as well.
  
  Sometimes lost in translation, the gentle humor and heartwarming development of the movie is absorbing and varied enough to keep one's interest. Much like `My Big Fat Greek Wedding' My Big Fat Greek Wedding before it, `The Namesake' is a heart-felt keepsake.
  
  
• A modern immigrant story well done.
  By A17FLA8HQOFVIG on 2007-05-07
  In 2003 I read this very interesting novel. I really loved it. It seemed to totally encompass the immigrant experience. It was simple and I liked that. And it was forthright and to the point. That's why I was anxious to see the film. I was a little disappointed. This is not a bad film. I just thought the filmmaker could have done better. Perhaps that was because I knew the story and there were no surprises. Or maybe it was because now, in 2007, I've read and heard and viewed so many stories about immigrants that "The Namesake - The Movie " has somehow lost its uniqueness for me. That said, this was a good film and contains a story that it is important to tell.
  
  In The Namesake, we first meet a young man who is in a train wreck. His life has been saved because of the book he was reading by the author Gogol. He recovers from his injuries but his life has changed forever. He wants to go out into the world and explore. That's why he chooses to go to college in America. He does well and comes back to India to take a bride. Even though it is an arranged marriage there is defiantly a connection between the couple. They marry and go to America where at first it is difficult for the wife. But they soon have a son, who they name "Gogol", and later they have a daughter. They prosper. Their children grow up. Their son falls in love with an American girl. The parents are upset. And then, after a tragedy, the son returns to his roots and marries a very modern Indian girl. But this marriage does not end "happily ever after". Eventually, there is a turning point and everyone makes mature decisions. Life goes on.
  
  The film is well done, the pacing is good, the acting fine. Most people will like it. I just can't help it if it didn't grab me emotionally.
  
  
• Insightful portrayal of immigrant life
  By ACYTCGZWKTF93 on 2007-05-15
  Jhumpa Lahiri's international bestseller's screen adaptation, Namesake though not in the same league as the book, is a compelling work of art in its own rights. Though not significantly altered from the novel, the movie's script provides a distinctly different treatment to the way characters are depicted. As a consequence, Namesake the movie, is in many ways is more of a depiction of the life and experiences of Ashima Ganguli than that of Gogol Ganguli (the person who is meant to be the Namesake). Nonetheless, the movie is an insightful portrayal of a lifecycle of an immigrant family - including some brilliant scenes and some tender moments of exquisite emotional glory.
  
  The acting of Tabu (as Ashima Ganguli) and Irfan Khan (as Ashok Ganguli) is of a very high standard. Their comfort in the role of immigrant parents is numbingly realistic. Irfan Khan stands out for bringing a typical immigrant father's character almost live to the screen. He is aware of his children's needs for different perspectives and practices than his own, but at the same time he is uncomfortable at their departure from values he holds dearest to his heart. In her portrayal of an immigrant Indian wife and mother, Tabu has attained excellence in her typical style.
  
  Along with these outstanding characters, coexists a characterization that is less appealing than you would expect from a Mira Nair movie's protagonist. Gogol Ganguli's dilemmas and struggle for an identity have been dealt with in rather brief scenes, and the themes have not emerged well. That is why his reasons for refusing a girl with whom he was happy, and instead loving and marrying a girl, who eventually hurt him, are obvious only if you have an immigrant perspective. That is why the concluding scenes of the movie do not seem consistent with his character - it seems that the pursuer of an American value system in him concedes to his racial roots, but the transition is rather sudden, even mildly abrupt. The enigma around his characterization is the biggest drawback of the movie. After all, the Namesake - Gogol Ganguli - is expected to rise above the rest and convey a bit more.
  
  
• Mira Nair returns... by bringing art back to cinema
  By A3C6CZC2JP67VK on 2008-01-07
  If "The Namesake" had just been your usual coming-of-age story, it would be easily forgotten. But director Mira Nair ("Monsoon Wedding," "Vanity Fair") has gone beyond the usual confines of such a story to present a portrait of three people, a husband and wife, and their son, who come to moments when they lose sight of who they are, only to find through difficult times that sense of identity again. The story begins in 1971 Kolkata, a time when foreign products dazzled us and visits by expatriate relatives were pretty much the event of the year. A young Bengali settled in the US, Ashoke Ganguli (Irrfan) marries a local girl Ashima (Tabu) and they migrate to the US. Some years down the line, Ashima gives birth to a son (Kal Penn). The basic premise of the film is this: How will this child survive in American society with a name as odd sounding and tongue twisting as Gogol Ganguli? Nikolai Gogol is Ashoke's favorite author. A brilliant and eccentric man, who penned literary masterpieces like The Overcoat, he eventually starved to death.
  
  His modern-day namesake Gogol Ganguli experiences all the usual clichés associated with people with unusual names -- his American classmates poke fun at him during lessons on Russian Literature and women raise a quizzical eyebrow at the part when he reveals his name. He grows up, very annoyed. But also, sadly, with a misconception about the origin of his name. Little does he realize that it has a more profound explanation, than he could ever imagine.
  
  Though the premise sounds flimsy, the film breathes life into the book's characters by leaps and bounds, expanding the central idea to encompass a whole lot more. It dissects the complex lot of the American Born Confused Desi and more importantly, their attitude towards India. But sans the caricatures and the clichés. It traces a troubled son's pilgrimage back to his family and the realizations that don on prodigal children only in the face of immense tragedy. In fact, the film is a tribute to one's parents, but tackles the subject sans the emotional drama of say, a Kabhi Khushi Kabhie Gham. The accents, the sets, the costumes and the dialogues boast of an authenticity, which is often missing in Indian films set in a foreign country. And the cinematography boasts a host of frames rich in texture, especially in the scenes set in Kolkata.
  
  Irrfan Khan brilliantly, effortlessly steps into the shoes (which read 'Made In USA') of the very Bengali, practical, cool-headed Ashoke, accent and all (though it slips in one or two places). The chemistry between Khan and Tabu is intense! Kal Penn has a meaty role and finally, an opportunity to act. And he does a smooth job of it. The rest of the cast measure up perfectly, like pieces of a jigsaw puzzle. Though the film begins on a somber pace (and slips back off and forth), it gains momentum post Gogol's birth. Nair makes the search for one's identity both enlightening and entertaining- a journey, both internal and external, you won't regret taking.
  
  
  
• An Indian Family In America
  By A3BEF4IHWI0VC on 2007-04-01
  Ashoke Ganguli and his new bride Ashima arrive in New York City in 1977. They miss their families in Calcutta, India and struggle to adapt to the cultural and climate differences of America. But, ultimately, they do manage to build a successful life and family here. Their son, named Gogol, grows into a smart but slightly rebellious teen-ager who often feels stiflied by his parent's focus on tradition and family unity. He gets engaged to an American girl, Maxine, but they break up after she responds selfishly to the degree of mourning Gogol experiences following the death of his father. Gogol later ends up marrying a very modern and French influenced Indian girl named Moushumi. But once again the relationship doesn't work out. The movie ends with Gogol's mother deciding to sell the family home in America and return to India.
  
  My favorite parts of the movie are the scenes set in India. I spent 4 months travelling there as a college student and the film does a great job of capturing the country in all it's intense, colorful and bustling glory. As in several of her previous movies, director Mira Nair is interested in exploring how Indians are affected by modernization and Western influence while still trying to maintain their own traditions and sense of cultural authenticity. The movie is rather slow paced and with a serious tone. Personally I preferred Nair's more celebratory and humor filled past movies such as "Monsoon Wedding" and "Mississippi Masala". But "The Namesake" is still an interesting and worthwhile film, especially for those interested in life in India or the experience of Indians in America.
  
  
• "Namesake" Shows Us Indian Culture, But How Can We Connect?
  By A3M2WW0PO34B94 on 2007-10-26
  "The Namesake", directed by Mira Nair ("Mississippi Masala", "Monsoon Wedding") and based on the Pulitzer Prize winning novel by Jhumpa Lahiri, tells the thoughtful, well-told story of a Bengali family's life in New York. The parents move to the country, try to get acclimated, have children and then try to instill traditional values in them as they grow up and deal with their own difficulties. "The Namesake" is a very good film, but it lacks just a little something to make it a great film.
  
  Ashoke (Irfan Khan, star of many Bollywood films) meets Ashima (Tabu) in India. Their parents are very keen on their marriage and both consent to become man and wife; Ashoke is clearly taken by Ashima's beauty and Ashima seems to be intrigued with the idea of living in America. Upon their arrival in New York, Ashoke immediately returns to work, leaving his new wife to acclimate to the new, cold weather surroundings alone. Soon, they have a child, Gogol, named after Ashoke's favorite author, Nikolai Gogol. Then, they have a daughter, Sonia. As the children grow, they become more and more entrenched in the American way of life, eschewing many of the parent's traditional beliefs. After graduating from college, Gogol (Kal Penn, "Harold and Kumar Go To White Castle", TV's "24") announces he wants to change his name, he can't see Gogol Ganguli on a resume getting him a good job. This causes a rift between father and son, causing discord in their relationship.
  
  Directed by Mira Nair, "The Namesake" is a beautiful looking, thoughtful film. If Nair is able to accomplish anything, it is to make her films thoughtful examinations of the challenges her characters face in a new environment, or as they strain against old-fashioned ideas and morals. Her films have concentrated primarily on the experience of Indians, both in India and America, throwing her min characters into a new situation, as they face many challenges. In "The Namesake", the story centers on the Ganguli family and it is much different than I originally anticipated.
  
  Watching the trailers, you might get the impression the film is primarily about the struggles of Gogol (Penn), as he deals with life as an Indian in the United States. Actually, his story is just a part of the overall film. The film begins in the 70s, as Ashoke travels on a train, reading a collection of works by Nikolai Gogol. Later, he meets Ashima, they marry, move to America, get to know one another, have children, and much more. The film presents a lot of detail about the lives of this family.
  
  In less capable hands, the film would completely succumb to its `melodramatic' structure, but Nair manages to keep these tendencies at bay, for most of the film. The director makes the characters very real, showing them in very natural situations. This is the history of this family, not merely a slice of life. Because of that, we watch various, representative episodes through the years, in an attempt to get a full picture of the Ganguli family.
  
  Irfan Khan has made about forty films, according to IMDB, and this is the first time I have ever seen him on screen. The majority of his work has been in Bollywood, but with this film, he appears to be branching out and has just completed a role in the Anjelina Jolie film about journalist Daniel Pearl and his wife. Khan is really good as Ashoke. He makes the character seem real by imbuing him with feelings and attitudes that seem real. He almost doesn't appear to be acting; he appears to be pulling thoughts and ideas from his real life to make this character seem more realistic. When he is happy, he smiles slightly, when he is upset, his eyes narrow and he stares at the person he is talking to. He isn't effusive, but realizes he has to protect his family and try to live with their mistakes, even if he disagrees.
  
  Tabu is also very good as Ashima, the Ganguli family matriarch. As soon as she arrives in America, she tries to acclimate, on her own, but finds it too much. When Ashoke realizes this, he becomes much more compassionate, maybe even falls in love with her a little more. As she grows older, and her children grow older, she becomes more of a patriarch, more of a guiding force in her children's lives.
  
  Kal Penn is probably the most recognizable face in the cast. He is good, but he is not a great actor. Penn is capable of delivering the emotions necessary to portray Gogol, the young man torn between tradition and his desire to be a modern American, but he only delivers the one emotion, or thought, never making his character seem real. When Gogol is supposed to be sad, Penn frowns. When he is happy, Penn smiles. There is never anything underneath the surface, never a layer of conflict or a layer of any other emotion than the one he is supposed to portray at that given moment. This makes his performance serviceable, but not much else.
  
  Initially, I thought the film would be primarily about Gogol, which would mean a lot of screen time for Penn. I was surprised to find the film is more of a family portrait, charting the course of this family's journey to America and how they deal with all of their problems. This helps the film because it takes the focus off of Penn and let's the other actors, the better actors, contribute to the success of the film. The other actors are better.
  
  Jacinda Barrett ("Poseidon", "School for Scoundrels") appears as Gogol's American girlfriend. And she is also serviceable. It is easy to see why he would be attracted to her, physically, but she is also a little boring. She is always smiling, a little giggly, which fits her character well. But we never really learn anything about her. At one point, Gogol asks her about her dreams and ambitions. Her replay is "I don't want to think about it now".
  
  Nair has a real knack for pulling away the layers, allowing her characters to show their feelings in a natural way. Ashoke is a complicated character, and we see that in just about every scene, every conversation, every action. Nair allows the character to retain their Indian roots and heritage, yet deal with life in America. Throughout the film, the family has traditional celebrations, interacts with the Indian community and through these moments, we get a glimpse of this culture. I am not an expert, but because these moments are so thoughtful, and interesting, I have no doubt they are also realistic as well.
  
  "The Namesake" is a well-made and thoughtful film, but because of the very reasons it is well made, it is less than great. Because the film covers so much territory, it seems slightly melodramatic, cutting through the film's power like a knife to butter. The scenes are well done and get the message across, but they give the film an episodic structure. There is an overall theme to the film, Gogol accepting his heritage and identity, and there is another layer below that, which I won't reveal, but because the scenes are episodic, they don't allow the story to generate any heat or power, to make it resonate with the viewer. The final moments will move you, I just wish there were more moments like this throughout the film.
  
  As you watch, you will become engrossed in the lives of these characters, then the story shifts, and you have to become familiar with them again, at this new point in their lives. This isn't bad, but these scenes don't always grab us, and demand our attention. After a while, they become a little routine and our attention shifts.
  
  "The Namesake" is a well-made film, worth your attention, but it is not an incredible film, or a memorable film. You will likely only remember it when you hear about Mira Nair's next film.
  
  
  
• Message conveyed is stronger than movie itself
  By AT393OR1JTYNR on 2007-11-24
  While "The Namesake" does deliver a strong message about family and identity, the movie is seemingly less than the sum of its parts, and especially less than its underlying message.
  While it does have some strong and moving scenes, and scenes that those in similar situations to the characters will know and understand, the movie is often episodic without enough connection made between the scenes. We catch glimpses of their lives, but the filmmaker doesn't quite connect how those scenes affect their lives and understanding as the characters grow older. I'm not asking to be spoonfed the meanings of the scenes (we get enough spoonfeeding of the obvious in most Hollywood movies), but it often feels we're just jumping from one episode to another with little transition and little reason as to why we saw that moment in their lives. It's like a book of snapshots, one snapshot's done and we quickly move on as if each "picture" exists independently of the others.
  Even the scene of the father telling his son, Gogol, how he got his name isn't as powerful as it could be. Again, I'm not asking for overdone Hollywood histrionics, but more of a feeling than "OK, the scene ends here, let's move on..."
  It's still worth watching, but if one purchases it, they'll probably be watching more scenes than others to get the heart in this rather softly directed effort.
  
  
• Better Read the Book
  By A15J07RXB3W0YX on 2008-04-08
  It's easy to point out the many tiny flaws is this engaging little movie: the unexplained cruelty of the romantic lead to his American girlfriend, the weird conceit that a woman like Tabu could walk around in the world and not stop traffic,the disconnection of the scenes which make the movie feel like a book of short stories and the sad cinematography.
  What survives from the novel is the compelling poignancy of the isolation of the hero. I think that this very modern tale is better read than viewed.
  
  Lynn Hoffman
  
  
• Another hit for director Mira Nair
  By ATXL536YX71TR on 2007-03-26
  Well she has done it again-Mira Nair has yet brought to the screen another winning,beautiful and lyrical tale that brings great satisfaction.This time Nair has brought us the adaptation of the Pulitzer Prize winning novel, THE NAMESAKE.While this story may seem familiar in other forms,it has the universally identifiable themes of family and tradition vs assimililation into another culture-this time Indian style!Nair takes us from Calcutta to New York following two generations of the Ganguli family and their struggle to remain Indian and yet at the same time be American.The three characters that remain at the heart of the story are the two parents and their son,Gogol.Each character is fully developed and each has a definite epiphany about where they are headed in life.This film is definite Oscar material and can be thoroughly enjoyed by anyone.The pacing,like the novel,is slow and deliberate,yet not at all plodding.The story builds to the proper climax and the viewer will be carried along and will be caught up in this wonderful,absorbing story.Again....another hit for Mira Nair!
  
  
• What a wonderful film
  By A2A9UXEK8XIUOJ on 2007-06-05
  Having grown up in India - I was a skeptic - I am not a movie watcher, and not another book/film about the Indian diasporic experience. I was not going to watch it. I had not read the book.
  
  I saw it last night on a JetBlue flight. What a wonderful film. I was moved. I cried many times! I came here as a grad student in 1984, and so much of the film was so real, and so incredibly well-rendered -- the acting, the characters, the Indian locales, the US Indian experience.
  
  I highly recommend the film. It is great cinema - and though not necessary as a comparison - is right up there with the best that Ray has made. Please see this if you want to see a wonderful film, enjoy good film-making, or just want to learn more about India and the Indian immigrant experience.
  
  
  
• Truly Universal and Cathartic Adaptation of Lahiri's Time-Spanning Novel
  By A13E0ARAXI6KJW on 2007-12-21
  Meticulously observed and wonderfully heartfelt, this time-spanning 2007 family dramedy represents a return to form for director Mira Nair, who faltered somewhat with 2004's elaborate but lugubrious Vanity Fair. This one is also a literary adaptation but this time from a contemporary best-seller by Jhumpa Lahiri, who wrote an emotionally drawn story about first generation Bengali immigrants to the United States and their U.S.-born children. It's an intricate book full of careful nuances, and Nair, along with screenwriter Sooni Taraporevala, captures most of them in a most loving manner. The story speaks fluently to the universal struggle to extricate ourselves from the obligation of family and a perceived enslavement to the past. Nair and Taraporevala manage to transcend the necessarily episodic nature of the novel to make it an involving journey toward self-acceptance.
  
  The film initially focuses on Ashoke Ganguli and his arranged marriage to Ashima, a classically trained singer. The young couple move from Calcutta in 1977 to Queens in order for him to pursue his career as an electrical engineer. The adjustment is difficult, especially for Ashima in assimilating into the often cold U.S. culture, and these quiet scenes show a keen eye for subtle observation. They quickly have two children in succession, son Gogol and daughter Sonia. Gogol's name is the key plot point as he was inadvertently after Ashoke's favorite writer, Nikholai Gogol, and this is revealed to have greater significance as the story unfolds. Eventually, the film switches the perspective to Gogol's as he grows up, changes his name to Nikhil and starts his life as a yuppie architect in Manhattan.
  
  At the same, the film does not abandon Ashoke and Ashima as they remain significant figures in shaping Gogol's destiny, especially as the impact of a tragic turn brings unexpected changes. The cathartic aspect of these scenes is what makes the film powerful. Moreover, with her filmmaking experience in her native India and the U.S., Nair brings a seamless fluency to both locales. The movie falters a bit toward the end when it starts to ramble and feel pat, but the story's old world gravitas rescues it just in time. Beforehand I was convinced Kal Penn would be the spoiler in this film, but he gives a sharp, dedicated performance as Gogol. Poised to be taken seriously as an actor even amid his White Castle and Van Wilder movies, he seems a bit exaggerated only in the early teenage scenes which recall those other movies.
  
  However, it is the superb work of Irfan Khan and Tabu as his parents that make the film soar. Both bring a level of assurance and compassion that ground the film completely, especially Tabu who makes the seemingly modest character arc of Ashima really striking. Playing yet another variation of the spoiled American girl, Jacinda Barrett again proves how fearless an actress she can be in exposing the vanity and ignorance of Maxine, Gogol's first serious girlfriend. As Moushumi, the Bengali girl who comes with the family's seal of approval, Zuleikha Robinson has a ripe presence to match her character's aspiring worldliness. Cinematographer Frederick Elmes and production designer Stephanie Carroll provide masterful work in capturing the diverse flavors of the different locales. This film is for anyone who has struggled to forge his or her own identity only to find the need to embrace the past, especially those of us who have parents who displayed the courage to move from their native lands.
  
  The 2007 DVD offers a robust set of extras, and the best is easily Nair's informative commentary track full of both professional and personal insights. Instead of the standard making-of featurette, we have a half-hour video, "Anatomy of `The Namesake': A Class at Columbia University's Graduate Film School" in which Nair and producer Lydia Dean Pilcher discuss more technical aspects of the filmmaking with the school's film students. There are a couple of photo gallery shorts emphasizing the film's impressive visuals, one covering the film overall and the other specific to Kolkata. Rounding out the extras are three brief deleted scenes (with optional commentary), a short interview with Penn, and several theatrical trailers.
  
  
• Lackluster filmmaking not worthy of the message
  By A1CVJ2IU18RKGC on 2007-12-25
  There was enough interest generated in The Namesake movie during its release, I felt it was worth renting it now. The movie is about an Indian family living their lives out in America. I was disappointed by this movie.
  
  Cinematography was annoyingly inconsistent. Some scenes gave too much space above or below the actors. Others where just simply centered on the scene itself, without much regard to where the actors actually were in the scene.
  
  Acting was good sometimes, but shoddy at other times. Some of the scenes lost importance because the acting wasn't up to par. This one scene where the father is trying to have a conversation about life with his son didn't work at all because Kal Penn was trying so hard to be the teenage with angst that it actually distracted from the moment instead of making the moment what it was meant to be (and needed to be) for the film. I would say it was a case of overacting, but I think a better word for it is wrong-acting. Also, other scenes suffered from a lack of acting effort.
  
  Editing was not well conceived or executed. The flashbacks of Gogol's character (Ken Penn) came off as just cheesy. Some scenes were awkwardly cut in order to hold off on that portion of the story until later in the movie. This, unfortunately, made the movie seem like it dragged on, with random spatterings of story telling.
  
  Overall, the story felt disjointed, without much reason for why it was edited this way. The story itself meandered from point to point. There was no real main character, though it was supposed to be Gogol. Most of the movie seemed aimless. Character motivation was poorly executed. Again, Gogol's character kinda just took action that didn't really have a solid explanation. It made the character seem extremely superficial, even as he faced up to his heritage (which I am sure was an unintentional impression by the film maker). Well, either way the story wasn't well written.
  
  The movie appeared to be a jumbled mess. I can't understand what many of the critics saw in this movie. It was a lackluster attempt to show something didn't really end up being all the important to the story (why the main character was named Gogol). This movie seemed to be an independent film for which the big studios wisely did not waste their money. I'm sure I would've cared about this movie more were I of Indian background, but even then I would have to admit it was not an example of good film making.
  
  
• compelling and thought-provoking......
  By ADS5APY1NKTL4 on 2007-03-28
  THE NAMESAKE, a beautiful film about the delicate ties and tensions between family, culture and identity, is beautifully brought to the screen by the great Indian director, Mira Nair. This story, adapted from a novel, has moments of warm and infectious humor, as well as intense scenes of cultural displacement and alienation. What is especially compelling is the running theme and great significance paid to the Indian custom of one's nickname and "good name" (AKA the name with which most of the world addresses you). This subject ties into other aspects of the struggle to assimilate and come to know one's self in a culture quite alien and unfamiliar, and is beautifully illustrated in the relationships between East and West, conveyed in the film.
  
  Ashoke Ganguli (soulfully played by Irfan Khan) is a young electrical engineer, who returns home to India, to meet and be married to beautiful Ashima (Tabu). Together, they make their home in Queens, New York, which provides great culture shock for Ashima, who has never been away from India before, and must adjust to the cold climate and unlimited supply of gas powered heating, in their modest apartment. Soon, their family begins to grow, with the arrival of their son, Gogol (Kal Penn) and daughter, Sonia (Sahira Nair). "Gogol" is their son's nickname, while Nikhil is his, more formal, good name. Gogol sticks with his nickname, in spite of the merciless teasing he endures in school, and doesn't take on the name "Nikhil" or "Nick," until he is out of high school. This name change is a significant change for the young man, torn between his Westernized self identity, and the Indian identity of his parents. On the way, he searches for his true identity, independent of his parents and the life he knew before, in his relationship with his White girlfriend, Maxine (Jacinda Barrett), and then his Bengali girlfriend, Moushumi (Zuleikha Robinson).
  
  Mira Nair does a fantastic job telling this complex and engaging story. I particularly took notice of (and loved) her attention to distinctive cinematography, in the scenes shot in the United States, versus India. While we see rich colors and flowing light, while the family is on holiday there for the summer, the sky and surroundings are grey and dismal once the Gangulis' have settled in Queens. The color distinctions were poetry for the eyes........Also, the acting was superb. Tabu, who is well-known in India as a respected Bollywood actress, is glowing, sensitive and beautiful here. The rest of the cast was equally strong and believable. Not to be missed!
  
  
• Still wiping the tears from my cheeks, an hour later....
  By AN2CU1YP12J4U on 2008-03-09
  a charming and touching movie about the power of love and the importance of family, culture, and traditions.
  
  This is a beautiful story, well told, perfectly edited, and masterfully shot.
  
  In the extra features, we learn that the director filmed several of the scenes based on famous photographs. This makes perfect sense as the film is artistically shot.
  
  
• 3 1/2 - "The Namesake" is good, but too reserved
  By A3M2WW0PO34B94 on 2007-03-26
  "The Namesake", directed by Mira Nair ("Mississippi Masala", "Monsoon Wedding") and based on the Pulitzer Prize winning novel by Jhumpa Lahiri, tells the thoughtful, well-told story of a Bengali family's life in New York. The parents move to the country, try to get acclimated, have children and then try to instill traditional values in them as they grow up and deal with their own difficulties. "The Namesake" is a very good film, but it lacks just a little something to make it a great film.
  
  Ashoke (Irfan Khan, star of many Bollywood films) meets Ashima (Tabu) in India. Their parents are very keen on their marriage and both consent to become man and wife; Ashoke is clearly taken by Ashima's beauty and Ashima seems to be intrigued with the idea of living in America. Upon their arrival in New York, Ashoke immediately returns to work, leaving his new wife to acclimate to the new, cold weather surroundings alone. Soon, they have a child, Gogol, named after Ashoke's favorite author, Nikolai Gogol. Then, they have a daughter, Sonia. As the children grow, they become more and more entrenched in the American way of life, eschewing many of the parent's traditional beliefs. After graduating from college, Gogol (Kal Penn, "Harold and Kumar Go To White Castle", TV's "24") announces he wants to change his name, he can't see Gogol Ganguli on a resume getting him a good job. This causes a rift between father and son, causing discord in their relationship.
  
  Directed by Mira Nair, "The Namesake" is a beautiful looking, thoughtful film. If Nair is able to accomplish anything, it is to make her films thoughtful examinations of the challenges her characters face in a new environment, or as they strain against old-fashioned ideas and morals. Her films have concentrated primarily on the experience of Indians, both in India and America, throwing her min characters into a new situation, as they face many challenges. In "The Namesake", the story centers on the Ganguli family and it is much different than I originally anticipated.
  
  Watching the trailers, you might get the impression the film is primarily about the struggles of Gogol (Penn), as he deals with life as an Indian in the United States. Actually, his story is just a part of the overall film. The film begins in the 70s, as Ashoke travels on a train, reading a collection of works by Nikolai Gogol. Later, he meets Ashima, they marry, move to America, get to know one another, have children, and much more. The film presents a lot of detail about the lives of this family.
  
  In less capable hands, the film would completely succumb to its `melodramatic' structure, but Nair manages to keep these tendencies at bay, for most of the film. The director makes the characters very real, showing them in very natural situations. This is the history of this family, not merely a slice of life. Because of that, we watch various, representative episodes through the years, in an attempt to get a full picture of the Ganguli family.
  
  Irfan Khan has made about forty films, according to IMDB, and this is the first time I have ever seen him on screen. The majority of his work has been in Bollywood, but with this film, he appears to be branching out and has just completed a role in the Anjelina Jolie film about journalist Daniel Pearl and his wife. Khan is really good as Ashoke. He makes the character seem real by imbuing him with feelings and attitudes that seem real. He almost doesn't appear to be acting; he appears to be pulling thoughts and ideas from his real life to make this character seem more realistic. When he is happy, he smiles slightly, when he is upset, his eyes narrow and he stares at the person he is talking to. He isn't effusive, but realizes he has to protect his family and try to live with their mistakes, even if he disagrees.
  
  Tabu is also very good as Ashima, the Ganguli family matriarch. As soon as she arrives in America, she tries to acclimate, on her own, but finds it too much. When Ashoke realizes this, he becomes much more compassionate, maybe even falls in love with her a little more. As she grows older, and her children grow older, she becomes more of a patriarch, more of a guiding force in her children's lives.
  
  Kal Penn is probably the most recognizable face in the cast. He is good, but he is not a great actor. Penn is capable of delivering the emotions necessary to portray Gogol, the young man torn between tradition and his desire to be a modern American, but he only delivers the one emotion, or thought, never making his character seem real. When Gogol is supposed to be sad, Penn frowns. When he is happy, Penn smiles. There is never anything underneath the surface, never a layer of conflict or a layer of any other emotion than the one he is supposed to portray at that given moment. This makes his performance serviceable, but not much else.
  
  Initially, I thought the film would be primarily about Gogol, which would mean a lot of screen time for Penn. I was surprised to find the film is more of a family portrait, charting the course of this family's journey to America and how they deal with all of their problems. This helps the film because it takes the focus off of Penn and let's the other actors, the better actors, contribute to the success of the film. The other actors are better.
  
  Jacinda Barrett ("Poseidon", "School for Scoundrels") appears as Gogol's American girlfriend. And she is also serviceable. It is easy to see why he would be attracted to her, physically, but she is also a little boring. She is always smiling, a little giggly, which fits her character well. But we never really learn anything about her. At one point, Gogol asks her about her dreams and ambitions. Her replay is "I don't want to think about it now".
  
  Nair has a real knack for pulling away the layers, allowing her characters to show their feelings in a natural way. Ashoke is a complicated character, and we see that in just about every scene, every conversation, every action. Nair allows the character to retain their Indian roots and heritage, yet deal with life in America. Throughout the film, the family has traditional celebrations, interacts with the Indian community and through these moments, we get a glimpse of this culture. I am not an expert, but because these moments are so thoughtful, and interesting, I have no doubt they are also realistic as well.
  
  "The Namesake" is a well-made and thoughtful film, but because of the very reasons it is well made, it is less than great. Because the film covers so much territory, it seems slightly melodramatic, cutting through the film's power like a knife to butter. The scenes are well done and get the message across, but they give the film an episodic structure. There is an overall theme to the film, Gogol accepting his heritage and identity, and there is another layer below that, which I won't reveal, but because the scenes are episodic, they don't allow the story to generate any heat or power, to make it resonate with the viewer. The final moments will move you, I just wish there were more moments like this throughout the film.
  
  As you watch, you will become engrossed in the lives of these characters, then the story shifts, and you have to become familiar with them again, at this new point in their lives. This isn't bad, but these scenes don't always grab us, and demand our attention. After a while, they become a little routine and our attention shifts.
  
  "The Namesake" is a well-made film, worth your attention, but it is not an incredible film, or a memorable film. You will likely only remember it when you hear about Mira Nair's next film.
  
  
• What's in a name? Everything.
  By A3H85Y2BDPJ6JQ on 2007-08-30
  Having been to India myself, the opening minutes of "The Namesake" immediately struck an emotional cord within me. The familiar sights of an over packed train journeying across the sprawling Indian countryside evoked a time of searching. India is a land of great mystery and soul, even for those who call it home.
  
  On this particular train journey, an older man sitting across from a student questions him about the book he reads. The elder man encourages this young student to see the world, not just read about it through books. Then, almost instantaneously, tragedy strikes...then darkness...and silence. As the lovely opening titles ebb and flow before us, with soothing music, a powerful sense of a great journey about to unfold washes over you. It is a rewarding journey, and a very human one.
  
  Adapted from the bestselling novel of the same name, "The Namesake" effortlessly ushers us through the life cycle of a Bengali family. The relationship between the spouses, Ashima and Ashoke, is at first a landscape as unfamiliar to them as is New York, where Ashima joins her newly married husband after their arranged marriage in India. The Pulitzer Prize winning author of "The Namesake" Jhumpa Lahiri, has fashioned a beautiful example of two people very much in love with one another who never fail to respect their individuality in their union. This is poignantly displayed in a scene where, Ashima, in an effort to please her husband, has accidentally shrunk his sweaters in the dryer. She isolates herself in the bathroom, in tears at her husbands frustration. Ashoke is quick to recognize his shortcoming acknowledging to her through the closed bathroom door that her intention was good, and that it was his fault for not telling her she did not need to do the laundry. He also offers to make her some tea. She is surprised at how untraditional he is in his expectations of her.
  
  Two children follow and the focus soon settles on the eldest, Gogol, a name given him after his father's favorite author and one we learn has extra special meaning as the film plays out. Gogol is a typical youth, struggling to find his own identity outside of the one fashioned for him by his parents and the traditions they raised him with. We follow him from boyhood to manhood and experience the pain that comes with moving forward and the doubt that comes from what we've ignored in the process. Yet even though our gaze follows Gogol, we are given a balanced experience of everyone's journey. Ashima is a striking example of a woman in touch with the cycles of life and surrendering to the meaningful nature of its many seasons. Ashoke is a silent pillar of strength and wisdom, loving his son despite of the distance Gogol prefers. But for as much distance as Gogol creates through his interest in his American girlfriend's family, he is pulled back to his roots and eventually succumbs, unaware, to the preferences of his family tradition, only to lose it. But as is true in life, we must lose it, to find it.
  
  "The Namesake" is a full circle tale about finding ones home in the world, after many journeys away from our own back yard. It's about ultimately coming to accept and being thankful for the longings of our heart, and the many journeys it can take us on in life. - Thomas O'Connor
  
  
  
  
• Sorry.... not so good!!
  By A2PO4B6XU39CYO on 2008-04-04
  Such a great idea for a movie, such a powerfull subject and not to mention an amazing trailer, and still, the movie wassn't really good. Skip this one
  
  
• Nair's adaption takes Jhumpa Lahiri's novel to a new level
  By A2QHM5HBSIXRL4 on 2007-06-22
  As much as I liked Jhumpa Lahiri's novel, Mira Nair's film adaptation of it is even better in my opinion. Lahiri's novel is written at times in the matter of a "just the facts" accounting. Nair, however, has succeeded in unearthing the emotional high points of the book and staging them in stirring fashion. Two scenes stand out in particular: the drama of the opening train scene and the interaction between passangers Ashoke and Ghosh are a heart-stopping beginning to the film; and the scene in which Ashoke finally reveals to Gogol the symbolic relevance of his name raises goose-bumps even thinking about it. Great stuff from Mira Nair. Between this work and 'Monsoon Wedding,' she's created two of my favorites.
  
  The film's real revelation is the acting ability of Kal Penn. Previously known and typecast only for stoner-like roles, Nair took a flyer here on Penn and came up a winner. He's brilliant. He pretty much has to be, as he's in just about every scene. Irfan Khan and Tabu are also fantastic as parents Ashoke and Ashima. I love how Ms. Nair is able to pick actors from the US and Bollywood film worlds and make them work as a family.
  
  
• This movie is sentimental and touching...stands out !!!
  By A1LKJPMC72T6JE on 2007-09-07
  I watched this movie recently. It is based on the 'bestseller' novel written by Jhumpa Lahiri that I read a few years back ( Also called THE NAMESAKE). The storyline is very touching as it tries to explore the inner turmoils experienced by an immigrant indian family in US ....especially as they try to raise their children with their own set of indian traditions and run into conflicts between eastern and western mindset.
  
  Ashima and Ashoke ( the Gangulis), move to the US very early in life. They are both very proud of their new country and its limitless opportunities but at heart they still remain attached to their 'bengali' roots and culture. I guess this is the loneliness of most 'first generation' immigrants - irrespective of whichever country you migrate from.
  
  So the couple consciously try to raise their kids with their bengali traditions and values. This makes the kids perpetually unsure about their 'true' identity while they try to blend themselves within the american 'melting pot'. Should Gogol follow the typical lifestyle of the average american youth or should he continue following the indian traditions so dear and near to his loving family??? Gogol grapples with this conundrum throughout his early youth...
  
  As a recent indian immigrant myself I can say that this conflict affects most of our families and it is difficult for both the parents and kids to understand one another. Eventually many of these ABCD kids grow up to become extremely confused or they become rebels (like in the movie Gogol's is embarrased by his odd-sounding name and blames his parents for this act).
  
  I felt the director Mira Nair handled the entire subject with a lot of sensitivity and maturity . As Nair explores the psyche of the Gogol Ganguly ..one almost feels sorry for Gogol as he tries to grapple with his own identity vis-a-vis his unspoken yet deep love for his parents.
  
  It was also amazing to see the depth in Nair's research during the the movie. For example her portrayal of the bengali traditions(arranged marriages, nick names, etc) and festive 'Kolkata' was both authentic and terrific.
  
  I must say the principal actors Irfan, Tabu and Kal Penn played their roles beautifully. Irfan especially stood out as the Bengali Bhadralok(gentleman). Music composition was also very good. To sum up, I felt this Mira Nair film did full justice to the original novel written by Jhumpa Lahiri.
  
  
• WOW....fantastic film
  By A1RKD1I8MW1LG6 on 2008-02-06
  Wonderful character development. Even though the film spans 25 years, I still felt a keen sense of what these characters were about, despite the fact that they grew and changed so much during the film, much of it off the screen.
  
  The film shows problems common to many immigrant families in which the children do not hold the culture in the same reverence as the parents do...but with a fresh look. There is no sense of the director making accusations or judgements. We see events through the perspective of different family members --- which gives the viewer a sense of what would be felt by anyone, in any cultural or ethnic group.
  
  Understated and not at all melodramatic, THE NAMESAKE gives an honest portrayal of a family that is coping with assimilation while trying to maintain its cultural heritage.
  
  Every actor did a marvelous job, sometimes conveying great emotions with just a glance, no words needed. This, to me, is a sign of great acting.
  
  
• Namesake...is the OSCAR stuff
  By A3TJ1OI86K5N9C on 2007-03-22
  This movie is OSCAR Stuff...profound, deeply engrossing, the split personae of first generation immigrants to the nation of Nations, that is, America...the true process of melding of cultures in the mind...the multi-mirrored facets of an immigrant whose roots have been uprooted, but still coping with and, growing new-roots, and fresh growth again...humanly painted in pictures with limited words, but speaking volumes at the same time....
  
  
  
  
• One of the Better Movies of 2007
  By A2X3HLMZO6PGYK on 2007-04-22
  This movie is based off the book by Jhumpa Lahiri (The Namesake) which chronicles the journey of a young indian married couple to America. The movie focuses on the parents, especially the mother who is played by none other than the beautiful Tabu, and their son who is played by Kal Penn. The family's adjustment to life in America takes different shapes and forms seen in broken relationships, friendships, and lovers.
  
  As the movie progressed I found myself empathizing with each character in a way I haven't done since Crash. I miss movies that draw you into the narrative and then at the end bring you to a sense of closure. One of the strongest roles played in the movie was by Tabu (the mom). She starts out as a naive house wife who is struggling to adapt to life in America. As her life moves on she learns to become strong partly because she has no other choice. It is very hard to capture the silent moments in life. This movie did just that. For that reason and so much more I am convinced this film is one of the best of 2007. If you want to watch something that shows you the delicate nature of what it takes to see the beauty in families this is it.
  
  
• The Namesake
  By A2BGFAA5RI6MHW on 2007-06-06
  I watched this movie together with my girlfriend who is indian. Both of us agreed that this move excellently discribes the situation many expatriots find them selves in. The struggle of taking on a new identity while not loosing your own is captured really well. We see that it is really hard to call anyone the villan in this movie, as it is with expatriots and third culture kids so often. There is no definite right and wrong but a battle of priorities defined by cultures. I was challanged and encouraged by this movie. It opened my eyes and forced me to look beyond my own worldview and transported me into that of someone else.
  We liked the move so much that emediately after watching it we bought tickets for my parents who felt the same as us after watching it. It enspired them, challanged them and showed them the value as well as the problems diversity brings.
  The movie is a must see for all those interested in other cultures, crosscultural relationships, or just want to get a better understanding of the neighbour from another country thyat lives down the road
  
  
• Coming of Age
  By A146H6A41B26QT on 2007-08-14
  Based on the novel by Jhumpa Lahiri, "The Namesake" on the surface is a story of culture clash, but on a deeper level it's just a story about growing up. Gogol Ganguli is an Indian boy who is racing as fast as he can to escape his parents and his Bengali heritage. After getting through his obnoxious teenager stage, he goes to Yale and takes up with an almost impossibly WASP girl and her family. It's only upon his father's death that he realizes how much he loved him, but then he runs in the other direction and marries a Bengali girl who nevertheless shares none of his values. In the end he's off to "find himself," traveling through India and really seeing it for the first time.
  
  Much more interesting here is the story of Gogol's parents, especially his mother, and the story of their arranged marriage. And the tale of Ashok, Gogol's father, and how he came to give Gogol his odd name, is quite moving.
  
  Although an interesting film, with beautiful insights into Hindu culture, I had the same problem with the movie as I did with the book--we never fully understand the Gogol character, with his abrupt shifts back and forth. Lahiri came to our attention with her Pulitzer-prize winning collection of short stories, which were truly wonderful, but I don't think she's mastered the novel form, and the trick of watching a character evolve. By filling in more details of Gogol's childhood, the film struggles to overcome this with only partial success.
  
  Nevertheless, this is a beautiful film to watch, especially if you've ever been to India, and the story of immigrants adapting to a new culture is compelling. The film makes us really feel how inhospitable, cold and lonely the "outer boroughs" of NYC must have felt to a young girl whose first plane trip took her to the United States. Hot and cold running water and gas 24 hours a day, as her husband proudly explains, hardly began to make up for the life she left behind. But Ashima grows into a lovely and mature woman, who is free at the end to choose her life for the first time. Hers is the interesting story.
  
  
  

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