The Namesake 

Drama | English, Bengali with English subtitles | 121 minutes

Info

Ashoke and Ashima immigrate from Calcutta to the United States. They have two children, Gogol and Sonia. While the parents slowly adjust, Gogol becomes a troubled, pot-smoking teenager. In the classroom, the teacher describes the writer Gogol as dissolute and perverted. Gogol  wonders why his parents gave him such a problematic name. He becomes attracted to  Maxine, a white, privileged young woman, hoping to forget his Indian background. The relationship doesn’t pan out.      Gogol’s father suddenly dies from a massive heart attack. When Gogol attends the funeral on the banks of the Ganges, he begins to appreciate his Indian background and culture. 

Cast
Tabu (Ashima Ganguli) / Irrfan Khan (Ashoke Ganguli) / Kal Penn (Gogol Ganguli) / Jacinda Barrett (Maxine Ratcliffe)
Why Stream This Film?
 It’s the classic immigrant story: a couple immigrating to the United States while holding on to their old ways and culture; their children becoming Americanized; the conflicts between the old and new traditions; and the hopeful feelings that somehow reconciliation will take place.
  • Rotten Tomatoes Score (Critics Consensus): 86%
  • Metacritic Score: 82
Accolades
  • Gotham Awards: Nominated, Best Feature Film
  • Listed, Top Ten Films of the Year: National Board of Review, The Christian Science Monitor, The Philadelphia Inquirer, USA Today
With her latest effort, director Mira Nair does not disappoint. Alternately vibrant and restrained in all the right place, THE NAMESAKE is beautiful and engaging.
Toddy Burton

The Austin Chronicle

THE NAMESAKE is Mira Nair’s ninth feature and, I suspect, the one closest to her heart. What holds it together are the subtle loving performances by Tabu and Khan. They never overplay, never spell out what can be said in a glance or a shrug, communicate great passion very quietly.
Roger Ebert

RogerEbert.com

The sumptuous film, based on Cuarón’s own childhood, reverberates not only with innocence but with the awful intuition of its collapse.
Anthony Lane

The New Yorker

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