Kal Penn, Tabu, Irrfan Khan, Jacinda Barrett, Zuleikha Robinson, Glenne Headley, Brooke Smith, Sahira Nair

“Don’t take any notice of what they say!”.

Isn’t that what we’re told when we’re younger when someone says something to us that isn’t necessarily true?

So why are we still running our lives based on what other’s say?

In terms of movies, many of us will still only go to see those that the critics – your local newspaper reviewer, the TV critics, and the guy on the radio – say are good. If they say something’s terrible, most likely we’ll skip it like a pregnant lady does the flu-shot. It’s a pity, because those folks are robbing us of some fine movie experiences.

Not only is everyone different, and therefore not everyone is going to enjoy the same movie, but some people will be able to relate to a movie where some people won’t be able to. Most of the critics that saw Mira Nair’s “The Namesake” obviously didn’t recognize the tune it was playing. They didn’t recognize the themes of snubbing one’s heritage, finding one’s identity and place in the world or the many methods of grieving because, well, otherwise, it’d definitely have made their best-of-the-year lists.

If you’re looking for a film with complete resolution, “The Namesake” isn’t it – and that’s probably one reason why the critics took it apart. It’s a film that – in some respects – leaves you hanging to know what becomes of the central characters. In this case, that’s the only ending it could have – because, as the film reminds us, life goes on. The third-act shouldn’t be an open and shut case.

But more so, critics savaged it because it “wasn’t as good as the book”. Yep, that old can of worms. Never has a book been turned into a film that’s an absolute clone of the former – it’s impossible. Trying to condense a coupla hundred pages into a couple of hours of film is not only a huge task in itself, but it’s unavoidable that some bits are going to be left out. You can, for all intents and purposes, only include the important stuff.

Based on the book by Jhumpa Lahiri, “The Namesake” tells the journey of an Indian family living in America. We view Mum and Dad’s struggle in the new terrain, and later, are introduced to Gogol (named after the author), their eldest son, who not only seems to loathe his name but has a little to do with his family as possible. When tragedy strikes, it serves as his wake-up call.

Me, I’ve never read the book. I’m not an Indian living in America, either. Could I relate to the film? Did I get something out of it? My word yes! This is a touching and effecting tale of a man – Indian or not – trying to make his way in the world. It takes him a while to find his place, but he finds it. Just as we all do.

Here is a film with emotional resonance and compassion that combined with some poignant performances – especially by funny man, Kal Penn, in a rare dramatic role – will make anyone question those early reviews.

Among the extras – which include commentary, deleted scenes and so on – is an enlightening and enjoyable featurette where the filmmakers went to a university and sat down with the students to inform them what went into making the movie. This honest and frank piece has Nair, her producer and cinematographer, all informing the wannabe filmmakers about financing a film, lightning a film, and anything else they dare know.

Rating :
Reviewer : Clint Morris