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The Namesake is a film directed by Mira Nair that juxtaposes well two cultures, the modern American and the traditional Indian. It follows the lives of a beautiful, artistic Ashima and Ashoke, her professor husband from an arranged marriage. Ashima’s expectations differed from those of her Western counterparts, as she was conditioned by the society she grew up in to marry the ‘best of the lot’ who came knocking on her parents’ door, and not for love.
With the marriage she replaces the colorful, warm, though overpopulated Calcutta with the bleakness and isolation of New York City in search of Ashoke’s dream. Through all the ups and downs that life presents them with, they stay true to their values and to each other.
The film moves on to the next generation of the Ganguli family, born and raised in the U.S., with their different perspectives on life and different values. The story centres around Gogol, or Nick, as he prefers to be called when he becomes a teenager. One of the central themes of the film is Gogol’s dilemma which name to embrace. Is it going to be the name given to him by his father, inspired by the writer Nikolai Gogol as well as an important past event that changed Ashoke’s life, or Nikhil which in Nick form could easily blend with the American culture.
The film also examines the possibilities of immigrant’s children mingling with the elite of their birth country. It raises the issue whether the modern relationships based on the same ‘roots’ have more potential to succeed than those of the chance encounters.
Where, in my opinion, the movie fails to deliver is by trying to pack in too much without going deeper into the characters. At one point a director concentrates on showing that the Bengali culture and traditions are alive and well in New York’s suburbia, with immigrant families closely knit together. At the other, the protagonist is left isolated and alone in times of a major life crisis. I somehow felt that one would preclude the other.
The director likes to use flashbacks, which I felt did not always serve the purpose. Rather than seeing the crucial past event again in this form, it may have been more original to view it from some other perspective entering deeper into the psychology of the character.
My rating would be four out of five.
Spring is very much in the air, and many restaurants are opening their outdoor bars. I headed for a place which has such a little gem in its backyard. As I was waiting for my friend, sipping a glass of just passable Pinot Noir, geographically challenged Wall Street Trader started talking to me. (I do meet a fair deal of people who insist placing Croatia at some interesting locations around the World). I sincerely hope that he finds his way to L.A., where he is moving to seek his fortune, now that New York City has burnt him out.
Walking towards the movie theater, I noticed that the police were out in full force, the blue lights glaring from the car tops. Groups of teenagers were congregating in front of the usual hang out spots – Starbucks, record store, cyber cafe. As the policeman on a bike rode through the crowd, cigarettes were hastily being extinguished, but the unmistakable smell of tobacco uncomfortably lingered.
I saw The Lives Of Others , a film that has won three European Film Awards – Best Picture, Best Screenwriter and Best Actor – as well as L.A. Critics Association award for the Best Foreign Film.
A powerful film about the bleak, monochromatic existence in East Germany. The country is run by the feared Stasi who see and hear everything. Reminiscent of Kafka, this bureaucratic machine persecutes all who disagree with its dogma. Capt. Wiesler (Ulrich Muhe) is an apparatchik, an intelligent man brainwashed by the system, living a loveless life of an automaton. When he finishes his work indoctrinating new agents, interrogating in Stasi cells or eavesdropping on the lives of others, he returns home to a grey socialist totem of apartment blocks. In this cold space he exchanges money for the most basic human contact, devoid of any emotion.
The film documents the metamorphosis of Wiesler into a human being. The catalyst of change is art. Through spying on the lives of a writer (Sebastian Koch) and his actress girlfriend (Martina Gedeck), Wiesler ‘borrows’ Brecht and his transformation begins. The turning point is the moment when he hears A Sonata for a Good Man. The tears are running down his cheek as he changes into a man who forms his own opinions, feels and cares.
The plot is intricately woven around fears, passions, lusts, loves, jealousy, inner motives and social powers of its characters. They are constantly faced with dilemmas and choices that could change their lives for ever. Everything builds up to an inevitable crescendo.
I rate this film 5 out of 5 Stars and will be extremely disappointed if I do not see it as a Nominee for the Oscars in the Foreign Film category.
I have a penchant for small, independent, art movies. They could be quirky like ‘Amelie’, or realistic like ‘Squid and a Whale’, or documentaries like ‘What the Bleep Do We Know’, but there is one thing they have in common – they keep those grey cells ticking by raising ethical and moral questions and they stir various emotions. The discussion that ensues could be lively, provocative, and controversial. With the right person(s) over a glass of red wine, it could turn out to be as enjoyable as the movie.
Tonight I saw Breaking and Entering, Anthony Minghella’s movie with a strong cast (Jude Law, Juliette Binoche) which, with the exception of the few, got average reviews by the critics. Perhaps a story of two people growing apart, a man wrapped up in his career as an architect and a woman who gave up her career to raise her troubled daughter, resonated with me more than it did with the majority of critics. I could see a certain dose of realism in the man who, unknown even to himself , was searching for excitement and risking ‘love of his life’ relationship. But, this was not a triangle of your average affair. Strong social connotations are brought into play. The lifestyle of a whole new generation of Bosnian war refugees living in a crime ridden area of London is brought to life. Characters reminiscent of E. Zola novels, prostitutes, thieves, as well as honest hard working people who have been dealt a rough card, enter the stage. Racial stereotyping raises its head when the possible suspects in a break in are questioned.
I think you should see this excellent movie, providing that Hollywood box office block busters are not your idea of art. Of course, I would love to hear what you think of the film.
